INXS live on the Coffee Break Concert series at the Cleveland Agora on 27th June 1984.
Following the April 1984 release of their fourth album, The Swing, INXS began to make commercial headway outside Australia. They toured relentlessly to promote the album, and had an international hit with Original Sin.
The performance captured here, on 27th June 1984, was part of the WMMS Coffee Break Concert series, a live radio simulcast on 100.7 WMMS in Cleveland. It captures them at the peak of their early game, and is presented here with background notes and images
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From Isla label head, NAP. EP of emotive electro, tinged with Spanish vocals, sedative pads and fried rhythms. Featuring ZDBT (1800 Haight St) on "Transhumano". Made in Vancouver BC, at Deep Blue studios, Winter 2018.
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The first release on a new label: Pura Vida Sounds founded by Guts, in conjunction with Heavenly Sweetness. El Tipo Este is a pioneer of Hip Hop in Cuba and Al Quetz, a leading French beat maker.
This canny combo have drawn from the local musical currents, absorbing Afro-Cuban sounds, adding the freedom of jazz, the metronome of hip hop and a healthy bass shake of neighbouring island Jamaica.
For Cubans, El Tipo Este is the pioneer of all things hip-hop. As founding member of Obsesion, one of the nation's most notable hip hop exports. Early champions of his music included Gilles Peterson, who selected a track
to include in his 'Havana Cultura; New Cuba Sounds' compilation. Hot off the heels of this, El Tipo Este was enlisted to assemble the full band of musicians for the Havana Cultura tour. This unit played stages across Europe, USA and
closer to home in Latin America, and in turn this led to collaborations with The Roots and Mos Def For this long player, El Tipo Este he has enlisted beat maker France's Al Quetz to carry his rhymes. Originally known as Quetzal, Al Quetz is a crucial figure in
the world of beat making. A sound scientist whose cut, loop, program, paste compositions has seen him collaborate with the likes of Onra, Guts, La Fine Equipe and Milk Coffee & Sugar.
b1 Regla Sound System
[|] b2 Tu Vera
[] b3 Dicen
[~] c1 Usame
[] c2 Interludio En El 106
[] c3 Inflowencias
[] d1 Ya No Me Pertenezco
[] d2 Revolucion Vivencial
[] d3 Tierra, Semillas Y Frutas
[{] b1 Regla Sound System
[|] b2 Tu Vera
[}] b3 Dicen
[~] c1 Usame
[] c2 Interludio En El 106
[] c3 Inflowencias
[] d1 Ya No Me Pertenezco
[] d2 Revolucion Vivencial
[] d3 Tierra, Semillas Y Frutas
[{] b1 Regla Sound System
[|] b2 Tu Vera
[}] b3 Dicen
[~] c1 Usame
[] c2 Interludio En El 106
[] c3 Inflowencias
[] d1 Ya No Me Pertenezco
[] d2 Revolucion Vivencial
[] d3 Tierra, Semillas Y Frutas
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(12 EP, edition of 200 copies) This is what happened when Enfant
Terrible label boss M. and Roberto Auser went to work on some music
together. All tracks on this EP were tracks or sketches Roberto Auser
created for ET but went a different way after some studio sessions
together... so they created Silver Age People as a project and ended
up with a mix of elektro, post-techno, post-industrial with touches of
(dark) ambient... the music is much more subtle as the VEKTOR
project by M. and for sure darker as Roberto Auser has ever sounded
before... from pounding beats with a flirt to EBM to hypnotic dark
ambient pieces... it is all here on this debut EP...
Hound Gawd! Records Wird Das Neue «the Gentlemens» Album Mit Dem Ikonischen Und Ironischen Titel «triage» Am 22. Februar 2019 Auf Vinyl, Als Cd Und In Digitaler Form Weltweit Veröffentlichen. Beim Dritten Album Der The Gentlements Spielt Giordano Baldoni An Der Gitarre, Daniele Fioretti Am Schlagzeug Und Paolo Fioretti An Der Gitarre Und Am Gesang. «triage» Enthält 11 Erstklassige Stücke Rohen Rock'n'rolls Gespickt Mit Blueseinflüssen.
Auf Diesem Album Sind Sämtliche Tourerlebnisse Und Ekzesse Der Band Seit Dem Letzten Veröffentlichten Album Im Jahr 2016 Verarbeitet. Das Trio Beginnt Bei Den Wurzeln, Nimmt Den Garage Blues Als Sprungbrett, Saugt Sämtliche Einflüsse Des Rock'n'rolls Auf Und Kontaminiert Sie, Sodass «triage» Das Persönlichste Und Sicherlich Charakteristischste Werk Der Band Ist. The Gentlemens Injizieren Blues Punk, Rockabilly Und Den Garagensound Der 60er Jahre Mit Ihrer Eigenen Wut. Roh, Wild, Aber Unglaublich Eingängig, Deckt Dieses Album Eine Breitere Klangpalette Ab, Als Man Es Zunächst Vermuten Mag. Von Poppig Bis Wild Spiegelt Es Ein Großes Spektrum An Ideen Und Emotionen Wieder Und Behält Gleichzeitig Eine Überraschende Konsistenz Bei.
Aufgenommen Und Gemischt Wurde Das Album Im "outside - Inside Studio" Von Gianluca Turrini (jon Spencer Blues Explosion, One Dimensional Man) Und Matt Bordin (mojomatics, Squadra Omega), Gemastert Von Andrea De Bernardi Im Eleven Mastering Studio.
Following on from one of the most sought after reissues of recent years 'MUSICA PARA EL FIN DE LOS CANTOS' on Berlin's Cocktail D'amore, Iury Lechs debut LP 'Otra Rumorosa Superficie' is made available for the very first time on vinyl launching the reissue division of London based Utopia Records set up in 2015 by Alexander Bradley.
This cassette only release from 1989 is a minimal masterpiece practically unheard until now. Arguably a more complete album than '...De Los Cantos', originally composed for two short films 'Final Sin Pausas' and 'Bocetos Para Un Sueno' as a full score, the arrangement is a beautiful listening experience spanning through ambient, meditational and cinematic minimalism of real depth, romanticism and sincerity.
Iury Lech is a Ukrainian born multidisciplinary artist, whose main focus now is as the curator of 'Madatac' a festival based in Madrid focused on new media art, video art and audio visual technologies which has featured the work of Brian Eno amongst many others.
During the late 1970s and 80s he rose as a pioneer within a moment focused on electronically generated audio and visual media. Drawing on the ground gained by Minimalist pioneers like Steve Reich, Terry Riley, and Philip Glass - built from repetitive rhythm and sheets of rippling resonance, drone, and ambience, Lech's work of the period is so striking and beautiful, that it seems shockingly unjust that it was overlooked until now.
The album comes in 180 gram vinyl edit form in deluxe sleeve.
Utopia Originals sets out to promote and reinvigorate music and artists in the most authentic way possible.
'OTRA RUMOROSA SUPERFICIE' has been remastered from original master tapes at Central Dubs, Bern Switzerland and the original artwork licensed through Argentine visual artist Pablo Siquier.
New one on Antinote.. Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyarh with punkish synthpop traxx
Some words from the label:
Remember that straightforward mix of EBM and synth-punk that came out on Antinote last year, wrapped in a suggestive black and gold sleeve The lyrics were strictly not ambiguous and the music produced by Panoptique and Paula was joyfully aggressive.
Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyard.
The thing is, it seems that Succhiamo's scrapyard has been animated by Bill Plympton : in place of dogs and cats, it's a lew Pink Panther chasing a spaced-out Scooby-Doo on Dolore Dentro or Stai Male. Happily championing bad taste, the two musicians even venture into the illegitimate territories of italo-pop missed hits, shaped for lipsync performances on Rai Uno with the nagging Que Pena.
As we're getting close to the middle of the record, the music gets openly punkier, climaxing with the explicitly
named Desiderio Di Violenza, brushing past 200 BPM. While the inevitable silence following the last notes of Que
Pena temporarily puts an end to the pleasant nightmare that is Mani In Fuoco, the figures - somehow similar to
those inhabiting the world of Fritz the Cat - that Succhiamo insidiously inserts into the listener's head don't fade
away: they patiently wait for the duo's pulsing drum machines and the saturated synths to wake up again and set
them in motion for another ride.
The first studio album of the albanese duo I TPAME I TVRAME 'IKIN VIJNE¨' is a catching, surprising and innovative masterpiece work composed of 10 new songs where they shown how noise can be dominated. If you follow and likes projects such as November No¨velet, Portishead, Tropic Of Cancer or Not Waving, more than likely this album will be a highlight of your collection. It will be presented on DOUBLE 12 EP format and produced in a ONE-OFF truly extra limited edition of 200 copies lacquered pressed on 140 gr. high quality solid black vinyl. All tracks have been specially mastered and remastered for LONG CUT vinyl by Eric Van Wonterghem.
Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the 'Secrets' album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
The album's release in 2001 was preceded by the single 'All I Ever Wanted', but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album's release.
This 2LP edition features the original album over the first three sides, while the newly-added fourth side
features a non-album B-side, along with one rare remix each of 'All I Ever Wanted', 'You'll Be Sorry' and
'Love Me Madly'.
Housed in a gatefold sleeve, the inner sleeves features all the lyrics.
A long time ago, in a Norway far far away in time, keyboardist Bugge Wesseltoft introduced his New Conception of Jazz to the world. We're talking about the late 90s, when Bugge's cosmopolitan blend of jazz, hiphop and techno beats was pretty much the coolest music coming out of Norway at that moment. That was a golden time for Norwegian music, in fact, when the rest of the world began to sit up and take notice that something was stirring up north, and realised the music was more than just glacial tones hurtled from icy mountaintops and frozen lakes. This was the sound of urban Scandinavia.
A few years later came the electronic dance genre 'space disco'. Along with Todd Terje, Bjørn Torske and Lindstrøm, Prins Thomas was at the epicentre of this next big wave to surge out of Norway. Now, the two generations have come together in this exclusive collaboration between Bugge and Prins Thomas on the Smalltown Supersound label. Jazz and electronics combine for that energising vitamin D shot of Nordic sunshine.
The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label - many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas's 'Bobletekno' in 2015 but this is the first time they have worked together as active musicians. The results - also partly taped at Thomas's home studio - fuse programmed rhythms, live synths and percussion, all captured in a sumptuously spacious acoustic.
For an even more authentic touch they called up one of their all time local heroes and one of Norway's most famous jazz drummers, Jon Christensen, who's been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years he's still pretty spry behind the kit, as you'll hear on several tracks here.
Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves. Which is exactly what it is.
Key facts:
Bugge Wesseltoft is one of Norway's leading jazz figures. He set up Jazzland Recordings in 1996. His solo Christmas LP It's Snowing On My Piano remains Norway's best selling jazz album!
Prins Thomas's real name is Thomas Hermansen. His label, Full Pupp, means 'full breast'. He's released several albums under his own name, as well as collaborations with Bjørn Torske and Lindström. Check out his amazing Paradise Goulash mixtapes.
Dax J returns to Monnom Black with a huge double EP of Techno and Acid weapons! Absolutely Essential!
Comes with free digital download code, A5 Art + Sticker.
pulsewidthmod,creates tracks that are very epic and driving in nature; all of which are recorded as live techno jams using Elektron's Dark Trinity and an MS20 mini. Her influences from Techno to Industrial, EBM, and Belgium New Beat leaves the listener with some menacing drums and a juxtaposition of both pleasing and disorienting melodies.
Serpentine Servitude explores the idea that perhaps the serpent in the garden of eden was really being humanities servant. Who was this creator character to dictate which fruit was ok for us to eat Who was he or they to say that if we ate the fruit we would be tainted and forever separate from divine love All this did was create the idea in our consciousness that we were tainted. It is of my personal belief that the idea that we are sinful is the original sin. This God character who created beings in his own image and then dictated how they were to live their life kind of sounds like an over controlling father. Where is mother in all this The album started with the track 'Original Sin' which was originally titled 'acid'. Seems somewhat appropriate since the concept of original sin seems to be a violation on humanities consciousness
The chorus: that moment where everyone connects and participates in unity. A moment anyone who's shared a dancefloor can recognise whether it's a festival arena, subterranean dark room or an illegal rave in a field, warehouse or any abandoned canvas between... Like the ones Cologne's Julian Stetter has come from. Inspired by subversive communities, all pulling together for a greater cause, his background in underground parties can be felt in everything he's done so far: his work with the Ancient Future Now label, his vast imaginative techno constructions and now his work with Jennifer Cardini's long-standing community Correspondant with the widescreen odyssey that is 'Chorus' Six slices of evocative narrative-rich electronic soul inspired by his on-going international experiences on the road; loaded with poignant introspection, thunderous rumbles and playful theatrics, the EP is bookended by two versions of 'Chorus', a vision of scorching hope and lift that can seize a full floor's attention in seconds and full live up to the track's title, message and meaning. By far Julian's most significant solo EP to date, this is a moment for us all to connect and participate. Join in if you know the chorus...
From Paris with Techno! Taapion records is back with a second compilation: Four tracks made in the French Capital city with Shlomo, Francois X, PVNV & Birth Of Frequency. Fisrt come Radioactive Sin from one of the label owner: Shlomo. The track has an uptight rythm, giving a feeling of pressure with hopless pads on top. Like an empty landscape after a nuclear war. Francois X is standing on A2 with Dreaming Of The Tesseract. He is building up a hudge loop with the Devil's tension and driving the cinematics Leads as an Horror movie director. Just flip the record and you'll find an other Taapion records owner on B1 : PVNV. He's travelling again In a deep and atmospheric techno with a track called Pace Chemistry. An amazing journey into the center of a dream where techno is a religion. Birth Of Frequency is closing the record on B2. With this track named Child, he decided to recreate his own vision of Taapion records. With that amazing Pad, wich is almost there all the time in the track, Simon aka Birth Frequency catch you on the Techno highway and gives you strong emotions.
Originally released on Studio !K7 Records in 1998, Peter Kruder and Richard Dorfmeister's groundbreaking release, 'The K&D Sessions' reset the bar for what could be achieved in a compilation. Across an array of original tracks, dubs and infamous 'K&D Session' remixes, the DJ and producer duo took the listener on a smoke-filled blunted journey that flowed flawlessly.
Often compared to DJ Shadow's 'Endtroducing' for it's similarly deft craft of rhythm and quoted by Allmusic as "the most blissfully blunted music the world has ever heard", the album has sold over 1,000,000 copies to date and was included in Spin's 'Top 20 albums of 1999'.The album has long since been deleted on Vinyl with original 4LP sets changing hands for €300+ on the collectors market and even a bootleg vinyl copy will set a buyer back over €100. Sixteen years later, this legendary album will be available as a long overdue 5LP reissue remastered by Bernie Grundman Mastering in Hollywood.
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Modularz 25 Produced by South American Techno Queen Adriana Lopez who now resides in Barcelona. The Colombian born Producer & DJ has been putting out music on Modularz for a few years as well as her own imprint Grey Report. This is her first full EP on Modularz and were very happy with the results. Four driving techno cuts that are made for non stop mixing. All the tracks on the ep are great for the club or the warehouse.
Fantastic new LP on Pin Cushion Records featuring eight superb tracks of the finest funky rock, folk and soul. The A side kicks off with the awesome funky monster 'Save Me', an absolute dancefloor bomb with slamming b-line from Nanette Workman's self titled 1976 LP. Next up is the super funky 'Lucky Lost Sin', a wicked female vocal funk-folk-jazz cut that also works well in the clubs, followed the great uplifting vibe of Rory Block's 'Lovin' Of Your Life'. Closing this side we have the wonderfully laid-back 'Santa Cruz Mountains' taken from Eddie Callahan's hugely in-demand and impossible to find 'False Ego' LP. The flip side features the excellent 'Spill The Wine', a great Rhodes-driven workout from Eric Burden's WAR, followed by David Amram's 'Message To The Politicians of the World', a killer spoken word track over a sweet melody. Next up is Friends Of Distinction's 'Light My Fire', an amazing funky cover of the Doors' classic taken from their rare 1969 Highly Distinct LP and last but not least a cool breezy summer groover from Bay Area band Kingfish whose lineup included the legendary Bob Weir, founder member of The Grateful Dead. A superb selection of tracks, not to be missed.
The SYMP.TOM imprint delivers a brutal 5-tracker by industrial hero THE RELIC !! This new release already is very well received in industrial hardcore land. Ragin" kickdrums, dark sounds, and phat effects make this 12" another powerful release for the underground!
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For the 004 release we teamed up with roots singer 'Kojo Neatness' delivering that true Kingston reggae vibe. Vocals wererecorded in the mythical 'Caveman Studio' in Jamaica with the help of the great late Nazamba.
MEKONS - OUT OF DESPERATION (LUXURY CHICKEN SONG): ,Ein Luxus-Huhn ist was ganz Besonderes und Einzigartiges und hat einen hohen Wert. Es gibt auch ein handbemaltes Mekons-T-Shirt mit einem Huhn drauf, das eine Zigarette raucht. Hagar the Womb sind auch ganz besonders und einzigartig und haben einen hohen Wert, und ich bin froh, dass sie sich an dem Abend im Hawley Arms nicht wirklich getrennt haben, obwohl sie unseren Rider geklaut haben." - JON LANGFORD (Gründungsmitglied von Mekons, Three Johns und Waco Brothers), 2025 // HAGAR THE WOMB - FARE DODGING WITH THE MEKON'S RIDER (3 BEERS & A LEMON): Geschrieben von Ruth Elias & Chris Knowles. Aufgenommen bei Church Road Recording Company, Hove, von Paul Pascoe 2025. Hags: Ruth, Karen, Paul, Lorna, Mitch, Chris. Coverdesign & Illustration von Lorna Tiefholz. Text von Ruth. Der Labelaufdruck zeigt Chris, wie er eines der drei Biere im Zug trinkt. Dieser Song entstand kurz nachdem das dritte Bier getrunken war. ,Fare Dodging with the Mekon's Rider" entstand, nachdem wir vor ein paar Jahren in Brighton unsere Lieblingsband The Mekons supportet hatten. Im Gegensatz zu den Hags hatten sie einen reichhaltigen Rider, darunter eine Obstschale mit einer prächtigen Zitrone. Als wir uns auf den Weg zum Zug zurück nach London machten, steckte Ruth heimlich drei Bier aus dem Rider der Mekons in ihre Tasche und konnte sich dann nicht von der Zitrone trennen! Von Gesetzlosigkeit erfüllt, sind wir aus dem Zug ausgestiegen, nachdem uns gesagt wurde, dass wir nicht einsteigen könnten, weil wir die falschen Fahrkarten hatten. Wir haben die Biere getrunken, bevor der Zug den Bahnhof verließ, aber, liebe Leser, die Zitrone wurde nie verzehrt. Ein trauriges Ende für die Zitrusfrucht, aber in diesem Song, der unsere Errungenschaften des Abends feiert, wird sie nie vergessen werden.
Since its original release, Aging has taken on an interesting wider significance. OCA’s music came to the attention of Kelela, who featured the duo in her Aquaphoria mix before later working with Yo van Lenz and Florian T M Zeisig in their Berlin studio. Those sessions would go on to play an important role in shaping the sound of her acclaimed 2023 album Raven, on which both artists are credited.
2019 Press Release:
Berlin based duo OCA present Aging, their sophomore album and first for Métron Records. Following up last year's Preset Music (recently featured in Kelela's Aquaphoria mix) Aging is an album that focuses on memory, experience and the passing of time.
A collaboration between producers Yo van Lenz and Florian T M Zeisig, OCA formed after the pair met and became friends while studying in Berlin. Originally from small towns in Bavaria, the duo now live and work in the German capital.
Through a series of 10 vignettes, Aging transports the listener on a trip across a series of life events that retain a special personal importance to both of the artists. These emotional touchstones range from the profound to the prosaic - the discovery of something new, the relief from annoyance or the familiarity found in an old companion - and have been fully explored with playful sonic introspection.
Whilst the concept retains a certain ambiguity, it is the sound palette, created solely on an Alesis QS6 synthesiser - that brings these experiences to life. OCA blend and weave classic dance music motifs with shimmering synths, Japanese wet ambient, and even anthemic 80s rock to create a soundscape rich with texture and sensation.
The bass notes and tentative lead of ‘Baby’s First Blade of Grass’ reference the memory of first consciously or subconsciously experiencing something new, whilst the decaying ripples of ‘Stretching in Water’ paired with sounds of flowing streams conjure up images of tranquil pools. Their most developed work to date, Aging showcases OCA as rising stars of progressive pop and modern ambient.
Dina Summer is the Berlin-based collaborative project of Greek-German dark-disco couple Local Suicide and Bavarian electronic producer Kalipo. The supergroup began working together in 2019 and have since been refining their combined sound. It is a unique blend of their influences, drawing from 80s italo disco, new wave, EBM and early 00s electroclash for a dark retro-futuristic synth/wave pop sound that stands out with club-ready basslines, epic melodic hooks, and lyrics ranging from dadaist abstractions to empowering, thought-provoking themes.
The trio will return with their new mini album, “Children Of The Night”, bringing together all the elements that have defined their sound so far. From the disco infused synth pop of “Burning Heart” and “Bats In Paris,” recalling their debut album Rimini (2022), to the dark club driven tracks “Fuel”, “Komodo 3000”. and the title track “Children Of The Night,” which echo the atmosphere of Hide & Seek (2024), and the dark wave influenced indie songs “Rat Race” and “On The Road”, which would have felt right at home on “Girls Gang” (2025), the release showcases the full spectrum of the band's musical identity. The nine track record takes its title from and pays homage to Bela Lugosi's iconic line in Dracula (1931): “Listen to them. Children of the night… what music they make”.
Format: Ltd transparent clear vinyl
Dina Summer ist das in Berlin ansässige Gemeinschaftsprojekt des griechisch deutschen Dark Disco Duos Local Suicide und des bayerischen Elektronikproduzenten Kalipo. Die Supergroup begann 2019 gemeinsam zu arbeiten und hat seitdem ihren gemeinsamen Sound kontinuierlich weiterentwickelt. Dieser verbindet auf einzigartige Weise ihre Einflüsse und schöpft aus Italo Disco der 1980er Jahre, New Wave, EBM und Electroclash der frühen 2000er. Das Ergebnis ist ein dunkler, retro futuristischer Synth Wave Pop Sound, der sich durch clubtaugliche Basslines, epische melodische Hooks und Texte auszeichnet, die von dadaistischen Abstraktionen bis hin zu empowernden und zum Nachdenken anregenden Themen reichen.
Das Trio kehrt nun mit seinem neuen Mini Album „Children Of The Night“ zurück, das alle Elemente vereint, die ihren Sound bisher geprägt haben. Von dem Disco geprägten Synth Pop von „Burning Heart“ und „Bats In Paris“, der an ihr Debütalbum „Rimini“ (2022) erinnert, über die düsteren, cluborientierten Tracks „Fuel“, „Komodo 3000“ und den Titelsong „Children Of The Night“, die die Atmosphäre von „Hide & Seek“ (2024) aufgreifen, bis hin zu den von Dark Wave beeinflussten Indie Songs „Rat Race“ und „On The Road“, die ebenso gut auf „Girls Gang“ (2025) hätten erscheinen können, zeigt die Veröffentlichung die gesamte Bandbreite der musikalischen Identität der Band.
Das Album mit seinen neun Tracks trägt seinen Titel in Hommage an Bela Lugosis ikonische Zeile aus dem Film Dracula (1931): „Listen to them. Children of the night… what music they make.“
It's time to dip into the secret vault once more, and after the first two visits this year, we can't wait. The latest from this mysterious and so far anonymous new label and production crew is another scorching disco two-tracker. The opener on the A-side is full of excitable horns and funky guitar lines with irresistible hand claps and tracky grooves that roll for days. On the flip-side, 'Track 2' brings a vocal line that is brings a sing-along and uplifting vibe as it rides on busy, funky bass motifs with lovely slide in the hi-hats and more lush strings. It's a big-hearted and fulsome disco-house sound for when the whole floor needs locking in to a loved-up vibe.
Gigi D’Agostino and Molella, two icons of Italian dance
music whose names need no introduction, revisit two
timeless classics of Italian pop. Presented together for the
first time ever on a single vinyl release
Enyas neues Album trägt den Namen »Amarantine« und erinnert durch seinen Titel an den niemals endenden Zyklus von Werden und Vergehen. Denn »Amarantine« nennt sich jene Wüstenblume, die jahrelang in trockenem Zustand überlebt und zu grüner Pracht aufgeht, wenn sie mit Wasser in Berührung kommt.
2007 erhielt Enya für "Amarantine" einen Grammy in der Kategorie "Bestes New Age Album".
"Memory Remains" A Vinyl Cover Painted by 20 Children Who Believed They Could
A new album where the artwork is as personal as the music, created entirely by first-graders from Croatia.
When it came time to design the cover for Memory Remains, there was only one group of artists who felt right for the job: the first-grade class 1A of Osnovna škola Luka in Sesvete, Croatia.
Every single child in the class took part. Each student was given the chance to draw whatever came to mind: memories, dreams, imaginary worlds, the people and animals they love, and every one of those drawings made it onto the final cover. Nothing was left out, nothing was "corrected." The front and back panels of the vinyl are a patchwork of more than two dozen individual visions, side by side, unfiltered and unmistakably their own.
The idea grew directly out of the album's centrepiece track, "World Child", a song about the simple, often-overlooked truth that every child carries a talent that belongs only to them, and that no two ways of seeing the world are the same. Rather than illustrate that idea with a single artist's interpretation, it felt right to hand the canvas to an entire classroom of six- and seven-year-olds and let them prove the point themselves.
The result is a cover that doesn't try to look polished or professional, because that was never the goal. It looks like a classroom wall covered in a year's worth of drawings, each one different, each one someone's best effort, each one worth keeping. Which is exactly what "World Child" is about.
Memory Remains is out on vinyl.
Track of note: "World Child"
Artwork by: The students of 1A, Osnovna škola Luka, Sesvete, Croatia 2026
Few records sit between genres as confidently as Schöneberg. Not quite techno, not quite trance, not quite house, and precisely because of that, instantly recognisable as something of its own. Originally released in 1993 as part of Marmion's Berlin E.P. on Superstition Records, the track became one of the defining anthems of early European club culture, championed by Tony De Vit at London's legendary Turnmills Trade events and played in the best clubs across the UK, Benelux and beyond.
Schöneberg grew directly out of the duo's DJ sets at the Bunker in Berlin-Mitte. Between techno and trance, Mijk van Dijk and Marcos López were looking for a common ground. The track was recorded in a single night, the result of that search. Its defining details were deliberate: the hi-hat arriving unusually late, the short disorienting break that became a trademark. As López puts it: "For me the piece is still a condensed version of an entire DJ set."
In 2023, Superstition marked the 30th anniversary with a 21-track remix collection spanning three decades of reinterpretations. Now the track returns to vinyl, focused and stripped back to three versions: the original 1993 mix, the in itself legendary Marmion Remix, and the interpretation by DJ T., appearing on vinyl for the first time.
Pressed on orange coloured vinyl, this 2026 reissue sees all three versions carefully remastered from the original sources and newly recut for vinyl, bringing renewed depth and clarity while preserving the character that made Schöneberg a classic.
Rasante Gitarren, hämmernde Drums und eingängige, aber tiefgründige Texte. Das sind die Mittel, mit denen Pardoner seit über einem Jahrzehnt ihre ,Slacker"-Songs formen. Auf ihrem fünften Album ,Target Practice" verfeinern sie ihren Ansatz weiter, auf der Suche nach einem himmlischen Pop-Hit Ö. Da sie einen kulturellen Rückfall in Richtung Math-Rock und Prog spüren, ist dies ihr bisher geradlinigstes Album. Fehlende sind die überraschenden Blast Beats und Szenenwechsel, die die Markenzeichen von ,Came Down Different" (2021) und ,Peace Loving People" (2023) waren. Übrig bleiben 10 prägnante Songs, geprägt von verspielter Boshaftigkeit und Satire. Es ist schwer, inmitten der feindseligen Kräfte dieser Welt kein ,Blackpilled"-Doomer zu sein. Die Angriffe der Band auf pseudo-intellektuelle Hochkunst und Kollegen aus der Szene sind jedoch nicht frei von Selbstkritik. ,Driving across the country // Preaching bulls**t gospel" wird auf der Lead-Single ,Twisted" halb gesungen, begleitet von klirrenden Gitarrenklängen. ,Target Practice" - vom ,Record Store Final Boss" abgesegnet - ist eine moderne, spritzigere Interpretation des College-Rock der 80er/90er. Flying Nun, Smudge und die lautere Seite von Yo La Tengo sind alle im Geiste präsent. Die Single ,Don't Slouch" ist ein Versuch, einen Blessed-Virgins-Song auf Xanax-Art zu interpretieren. Wann wurde diese Band das letzte Mal auf einem One-Sheet erwähnt? Vor ihrem Album-Closer ,Changing Mags", bei dem die Band ihr Herz auf der Zunge trägt, covern sie die Nuggets-nahen The Barracudas, deren Text ,Target Practice" auf den Punkt bringt: ,Ich bilde mir das nicht ein, ich sehe die Zeichen. Wir leben in gewalttätigen Zeiten."
2024 feiern die Broilers ihren runden Geburtstag: 1994 - 2024, 30 Jahre Broilers. 30 gemeinsame Jahre bedeuten Wachsen und Zusammenwachsen. Auch miteinander streiten und zusammen streiten – für die gute Sache. Zusammen feiern und zusammenstehen, in den Besten aller Zeiten und den Schlechtesten aller Zeiten. Und weil es für jede gute Geburtstagsparty auch die passende Musik geben muss, hat die Band zum ersten Mal alle ihre Hits und Lieblingslieder auf einem Album versammelt. Und nicht nur das, die Broilers machen sich selbst ein Geschenk: Zehn der 22 enthaltenen Songs, nämlich alle, die vor 2011 eingespielt wurden, haben sie noch einmal komplett neu aufgenommen. So erstrahlen legendäre Broilers-Klassiker in zeitgemäßem Glanz, ohne ihre Wurzeln zu verleugnen. Die Broilers sind ein Phänomen: Seit über einem Jahrzehnt gehören sie konstant zu den erfolgreichsten Rockbands im deutschsprachigen Raum. Millionen verkaufter Konzertkarten, Nummer- 1-Charts-Platzierungen, Edelmetallauszeichnungen in Folge, kaum ein Superlativ, den die Gruppe sich noch nicht zu eigen gemacht hätte. Ein paar Schulfreunde aus den Vierteln am Stadtrand von Düsseldorf gründeten 1994 eine Band, die sich am ruppigen Sound einer Streetpunk-Variante orientierte, der schon Anfang der 80er-Jahre unter der Bezeichnung „Oi!“ auf der britischen Insel das Licht der Welt erblickte. Die bedingungslose Liebe, die ihnen bis heute von vielen ihrer Anhängerschaft entgegengebracht wird, hat ihren Ursprung in dieser Zeit. Neben den Liedern, mit denen sie über die Jahre ihren Hörern stets aufs Neue aus dem Herzen sprachen, führte aber auch die Kombination der individuellen Charaktere der einzelnen Musiker an die Spitze: Wie fünf Superhelden aus einer Comicserie bündeln sie als Team ihre Kräfte, begeistern so die Fans und können aus dieser Unterschiedlichkeit Kraft schöpfen und spenden. Die Broilers haben keine Angst vor Pathos, Emotionen und Kontrasten: In ihrer Musik sind wuchtige Bläsersätze, Offbeats, da ist Soul und Rocksteady, da sind Flirts mit Power-Pop und Kitsch und das alles, als wäre es das Logischste und Normalste auf der Welt. Diese eklektische Mischung trauen sich nicht viele. Die Broilers wollen es sich anders gar nicht mehr vorstellen. »Jolly Good Fellas – Best of Broilers 1994 - 2024« legt davon eindrucksvoll Zeugnis ab!
Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat
Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat
Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat
The premise of this compilation is simple: music we’d like to hear at the airport.
The idea came after learning that Honolulu’s international airport has been playing AI-generated music over its speakers since November 2025. First reported by Civil Beat, the news has caused frustration and disappointment among residents and visitors, as well as within the local music community.
Everyone knows Hawaii is one of the most musically rich regions in the world — why then is the airport using AI music? 'Music For The Airport' is our response.
Located in the middle of the Pacific at the outskirts of one the most remote cities on the planet, Honolulu’s Daniel K. Inouye International Airport (HNL) is for most people the first place they encounter when they arrive in Hawaii. Warm sun, tropical tradewinds, playful palm trees and majestic mountains welcome every traveler, as do the sounds of birds, familiar music from Hawaiian artists like Aunty Genoa Keawe and Israel Kamakawiwo’ole, and—at least for now—seventeen “island-themed” AI-generated songs.
In late 1977, while sitting in Germany’s Cologne Bonn Airport on a Sunday morning, Brian Eno noticed how terribly uncomfortable he felt hearing the airport’s “muzak” overhead. For a harried, hurried place like the airport where travelers scramble to their gates, stand in long border control lines, and wait impatiently for their luggage at the carousels, music can create more anxiety than calm. Asking himself, "What should we be hearing here?", Eno soon created ‘Ambient 1: Music For Airports’, a sonic remedy aimed at reducing nervousness in public spaces.
When we heard the news that HNL airport is playing AI-generated “muzak”, we were immediately reminded of Eno’s genre-defying 1978 album. And we were similarly inspired to react. But how? Recreating an ambient masterpiece wasn’t in our wheelhouse. We started digging through our catalog of licensed music which we haven’t yet re-released. We quickly realized this was our chance to highlight some of favorite songs from the so-called CD era: the 1990s and 2000s (with a few exceptions). In less than 20 minutes, we pulled 17 original songs recorded by local artists between 1984 and 2017.
The speed at which this project came together surprised us; reactionary gut instinct often produces swift and lasting results. Ironically, our new compilation likely took less time than it did for the state Department of Transportation to commission its AI songs in question. But even though ‘Music for the Airport’ came together in less than one week, the truth is that this collection of 17 songs is the result of years of hard work, trust, sacrifice, patience, and understanding. Building relationships with and licensing music from artists doesn’t happen overnight, but more importantly: these songs are the result of people pouring their hearts and souls into something they believe in. This music wouldn’t exist today without the artists and their loved ones who supported them along the way.
As of this writing, the DOT states its intention in creating AI-generated songs is to “highlight different aspects of the islands, aviation and the airport” and that “no state funds were used to produce them”. Okay, but at what cost? Technology disrupting the music industry isn’t news to anyone. AI music in public spaces are cost-saving measures, since its users (airports, for example) don’t have to pay the licensing fees typically required, which can be a worthwhile source of revenue for artists. But what happens when a place like HNL airport, which hosts more than 21 million passengers annually, uses music created by machines instead of people to represent Hawaii? The identity of a place beings to erode, diluted by a language learning model’s conceptual summary of what a people and its culture sounds like. To echo Brian Eno: what should we be hearing here? In other words: what should the music of Hawaii sound like?
We believe in the power of music, especially when it comes from the soul. We believe in supporting artists, especially as AI disrupts our lives. We believe that Hawaii must be represented authentically, especially when it comes to song. And of course we believe in vinyl, especially since it was a record from 1978 (Mackey Feary Band’s debut LP) that inspired Aloha Got Soul’s origins in 2010.
We hope you find as much joy in this compilation as we have. Perhaps it’ll soundtrack your next journey to Hawaii. At the very least, we hope some people take a moment to hear these sounds: in your headphones for now‚ maybe someday overhead at the airport in Honolulu.
Für die Feier des Miteinanders! Mit ihrem zweiten Album "Wenn man das Licht zurückverfolgt, weiß man, wie alt die Sterne sind" gelingt WIM ein eindrucksvoller Schritt nach vorn. Die Hamburger Künstlerin verbindet erstmals ihre poetische Tiefe mit einem neuen, synth-poppigen Sound, der Raum für Leichtigkeit und Bewegung schafft. In zehn Songs erzählt sie von prägenden Momenten, Verlust, Erinnerung und dem, was Menschen im Verborgenen formt. Dabei entsteht ein Album, das Empathie einfordert, ohne zu beschweren - und das zeigt, dass selbst schwere Themen tanzbar sein können. Produziert von Tobias Siebert (Kettcar, Enno Bunger), klingt die Platte organisch und frisch - unverkennbar WIM, aber mutiger und offener als je zuvor, fast schon moderner, urbaner XL-Pop: Die Songs werden rhythmusgetriebener, luftiger und teils konsequent vom Beat getragen. Und wenn es inhaltlich doch zu schwer wird, tanzt WIM im Studio zu Paula Hartmann, hört Chappell Roan und lässt sich von Wir Sind Helden inspirieren. LP farbiges Coke Bottle Green Vinyl (140g), CD Digipak mit Posterbooklet.
Mit Music From The Films Of Francis Ford Coppola erscheint eine sorgfaltig kuratierte Doppel-LP, die die unverwechselbare Klangwelt eines der einflussreichsten Regisseure des modernen Kinos wurdigt. Von Der Pate uber Apocalypse Now bis hin zu The Conversation und The Outsiders vereint diese Sammlung Musik aus Filmen, die das amerikanische Kino seit den 1970er Jahren nachhaltig gepragt haben. Die Zusammenstellung zeigt eindrucksvoll, wie entscheidend Musik fur die emotionale Wirkung von Coppolas Filmen war. Neben den Kompositionen von Carmine Coppola finden sich Aufnahmen von Kunstlern wie Buddy Holly, The Beach Boys, Elvis Presley oder Richard Wagner. Die Doppel-LP beleuchtet das Zusammenspiel von Bild und Ton und richtet sich gleichermaßen an Filmfans, Soundtrack-Sammler und Liebhaber klassischer Filmmusik.
The track titles on Post Dub Cities – the new album by Adriano Zanni, photographer, sound artist, and field recordist – evoke the aftermath, that moment when a place continues to exist and live on, but no longer serves anyone. The human element has vanished, whether it happened overnight or through a slow abandonment that lasted for years. The perspective shifts: buildings, homes and palaces reveal a dimension of reality all their own, in which even the ruins give shape to this landscape that endures, transforming into pure presence.
This, after all, is our fate. The fate of us human beings, of our civilisation, of every civilisation: to pass away, to be forgotten, to erect monuments whose significance no one will remember once we are gone.
The opening track Crisopoli transforms the sonic dimension of a city into an echo chamber: a dark, urban dub built from delays and resonances, holding the imprint of what is no longer there — like a bassline that keeps vibrating even after its source has gone silent. What we see is not the presence, but its reverb.
Available from September 11, second excerpt Warosha gives us a minimalist, enveloping, solemn beat, like the symbols on a map that no one can read anymore. Warosha was the district of luxury hotels overlooking the sea in the city of Famagusta. After the island of Cyprus was invaded by the Turkish army, the entire area, emptied of its inhabitants, who had fled south, was fenced off and surrounded by barbed wire. No one has been allowed to enter it since 1974. Now, on these unspoilt beaches, sea turtles have found the perfect place to breed.
Fordlândia, on the other hand, is the symbol of Henry Ford’s failed dream of conquest. An industrial settlement built deep within the Amazon rainforest, several hours’ boat journey from the nearest towns, to gain access to natural rubber for the tyres of his mass-produced cars in Michigan. An extremely costly project, it quickly became a ruinous pipe dream: a town that has been uninhabited for almost a century and has since been reclaimed by nature.
For a long time now, Adriano Zanni has been exploring, through music and photography, the landscape that unfolds before our eyes, as attentive yet silent observers. As if we were absent, a civilisation that has long since vanished: human presence has dissolved, preparing to fade into oblivion. The precise depiction of places through field recordings, and the black-and-white imagery, give rise to apparitions, hallucinations, and memories. The less present we are, the more we seek meaning. We resist abandonment and the indifference of time.
In the ten tracks (plus three bonus tracks) of Post Dub Cities the echoes and reverberations of dub grant us access to an unknown future, as yet untold – in which we are nothing more than a vague memory. The deep sound guides us through a landscape that is familiar yet unknown, unrecognisable. The cold, distant, industrial rhythm resonates within us as if we were the last, all too aware, inhabitant of a now-deserted village.
Every place – be it an abandoned mining settlement on an island in Svalbard, or a ghost town in Pennsylvania evacuated following an underground fire that has been burning for sixty years at a depth of one hundred metres – leaves questions unanswered, shrouds itself in mystery, and makes us wonder, ceaselessly: what happened here?
In the end, we realise that we don’t really care that much about knowing the details of the disappearance. We can guess them, we’ve seen it happen a thousand times before. Just like in the photos accompanying the album, portraits of ghostly, deserted cities: Belgrade, like Venice, Dublin, Sarajevo, Lisbon, Kraków, Sofia, Naples, Hanoi, Lampedusa, Tehran. Unexpectedly, pleasantly emptied of people, and of their obsessions, struggles, illusions.
Then, suddenly, the crowd returns. Busy, feverish, hardworking. The record ends, the spell is broken. We feel a sense of longing for a future that has not yet come to pass, for a place we were only able to observe because we were not there.
After more than 20 releases as Not a Headliner, José consolidates his real-name identity with his second release
Four tracks, 28 minutes. José's first record under his own name.
Femenino Singular is José's first record under his own name, following more than 20 releases as not a headliner and an earlier take on the project with not a headliner presents José.
That same gesture moves with the record itself: side A happens at night, side B in the morning, and what the titles hint at shifts with that transition. Built with real instruments - bass, guitar, percussion, synths - reaching for a swing that breaks away from a machine's quantized grid, somewhere between house and techno.
GEORG DANZER - "JAHRESZEITEN" - Das Beste aus fünf Jahrzehnten Anlässlich des 80. Geburtstags des großen österreichischen Liedermachers GEORG DANZER veröffentlicht Sony Music eine von Georg Danzers langjährigem Wegbegleiter und Manager Franz Christian Schwarz liebevoll kompilierte Best Of mit dem Titel "Jahreszeiten". Das auf farbiger 2LP sowie auf 1CD erhältliche Album umfasst Lieder aus jeder Schaffensphase des 2007 verstorbenen Künstlers, dessen musikalisches Erbe die österreichische Musik nachhaltig prägte. Das Albumcover setzt sich aus vier Portraits Georg Danzers zusammen, die von Nina Maron, Tochter des unvergessenen Sigi Maron, gemalt wurden. Franz Christian Schwarz beschreibt die Zusammenstellung der Best Of mit folgenden Worten: "Alle meine Lieder sind wie Sonne Mond & Sterne" ist der Beginn eines Liedes auf der CD-Single "Sonne, Mond & Sterne", die anlässlich der gleichnamigen DVD-Veröffentlichung von Georg Danzer erschienen ist. Diese Liedzeile gab auch den Ausschlag, die vorliegende Doppel-LP "Jahreszeiten" zu nennen, um die Bandbreite von Danzers musikalischer Vielfalt unter Beweis zu stellen. Danzer schaffte es wie kaum ein anderer Beobachtungen, Erzählungen, Gedanken und Emotionen in Worte und Melodien zu fassen. Mit über fünfhundert veröffentlichten Liedern für sich selbst und andere Interpretinnen und Interpreten zählt Danzer zu den produktivsten Liederschreibern des Landes. Einige seiner Lieder hielten auch in Schul- und Notenheften Einzug. Die vorliegende Doppel-Vinyl und die um einen Titel verkürzte CD-Version wurden eine spezielle Zusammenstellung, auf der neben bekannten Liedern auch solche zu hören sind, die entweder bisher unbekannt oder dem Zuhörer nicht so geläufig sind, aber das musikalische Spektrum des großartigen Poppoeten widerspiegeln. Sie dient zur Auffrischung von Erinnerungen ebenso wie als Anreiz, sich mit dem Werk Danzers vertraut zu machen oder es neu zu entdecken. Der Frühling ist für viele Menschen ein Zeichen dafür, das
* 2026 REPRESS *
Handed to the legendary Channel One Soundsystem in exclusivity over a year ago, Don Fe's Jericho has been on constant rotation around the globe ever since. Cut to dubplate by Mikey Dread this tune has been securely locked down and spun exclusively as Channel One's last tune at places such as Notting Hill Carnival and many of the soundsystem's international sessions and festival appearances. After a very patient wait Steppas Records are extremely pleased to be able to offer this plate to the world, pressed to 12' vinyl, featuring two new mixes of Jericho and two exclusive cuts of the equally powerful Weep Not.
UK born musician and producer based in Spain for over 20 years, Don Fe's passion since the age of five has been music, classically trained in piano, flute and theory and as from sixteen reggae. From his humble beginnings in the 80s with a 4 track and a TDK D90 his riddims and productions are now being played by the world's most respected sounds - Channel One, Jah Shaka, Aba Shanti, Iration Steppas and many more all over the world.
In 1990, Pop Will Eat Itself released their third studio album. The British alternative rock band drew on many popular genres of the time, making them their own. Hip hop, industrial rock and alternative dance are all featured on Cure For Sanity.
The band also enjoyed success in the UK Singles Chart, with four singles reaching the top 40.
This album contains 1991 reissue of the album and is now available on a 2LP set for the first time.
Cure For Sanity is available as a limited edition on purple coloured vinyl and includes an insert.
The small print:
• Due to rights restrictions, this item is only available for customers in Europe.
Zum 50-jährigen Jubiläum der „Muppet Show“ singt und swingt Seth MacFarlane auf „Sings The Muppets“
beliebte Songs aus der „Muppet Show“, den Muppet-Filmen und der „Sesamstraße“ im Stil opulenter orchestraler Jazzstandards neu. MacFarlane, preisgekrönter Schöpfer von „Family Guy“ und gefeierter Sänger
im Bereich Swing und Jazz, verbindet dabei seine Leidenschaft für das klassische American Songbook mit
diesem legendären Repertoire. Mit Songs von Joe Raposo, Paul Williams und Jeff Moss sowie Arrangements von Andrew Cottee entstand das Album unter der Leitung von Dirigent John Wilson mit einem
erstklassigen Orchester im Studio der Skywalker Ranch. Inspiriert von legendären Arrangeuren wie Nelson
Riddle und Billy May, feiert das Album den warmherzigen Humor und die zeitlose Magie der Muppet-Songs.
Life In Patterns welcomes Uncertain for his first appearance on the label with “Defeat”, a five-track EP bringing together five warehouse-focused techno tracks, moving between darker industrial tones and the classic rave influences that have long been part of his sound. “Defeat” will release on vinyl and digital formats on 16 October 2026. Across the EP, Uncertain explores a broad range of peak-time energy. “Anxiety” and “Dismiss” take a darker route, built around tense atmospheres, heavy percussion, and industrial textures, while the remaining tracks introduce classic rave chords and a more open, melodic character. Despite the differences in tone, the five tracks share the same directness and focus, designed with the dance floor firmly in mind. Uncertain, formerly known as Boriqua Tribez, has been active in electronic music since 1989. Over the past two decades, he has released and remixed more than 50 tracks for labels including KMS, Recycled Loops, and Ingoma, before starting a new chapter under the Uncertain name in 2018. Since then, his more frantic approach to techno has found a home on labels such as Rekids, Symbolism, Beard Man, H-Productions, WRKTRX, ANAOH, Illegal Alien, Mind Medizin, Intec, and Uncage. Alongside his productions, Uncertain is an experienced DJ known for fast, precise three-deck sets, with international performances and support from artists including Ben Sims, Radio Slave, Truncate, Mark Broom, Carl Cox, Blasha & Allatt, Chris Liebing, Richie Hawtin, Luke Slater, DJ Rush, DJ Bone, and others. With “Defeat”, Uncertain makes his Life In Patterns debut with a focused collection of five techno tracks — from dark industrial pressure to classic rave energy, all built for the warehouse.
Another Day on Earth (2005) was Brian Eno’s first song-based album since Nerve Net in1992, and remains one of his most acclaimed solo records. It featured a young Jon Hopkins alongside long-standing collaborators Nell Catchpole, J. Peter Schwalm and Leo Abrahams, with lyrics co-written by Michel Faber and Danny Hillis. The album was launched with a public conversation between Eno and the writer Michael Bracewell at the Marble Palace in St Petersburg and its cover photograph was taken by Eno himself in Beijing, during his first Chinese audio installation in the city’s Ritan Park. Following Warner Bros’ purchase of Hannibal Records in 2006, the licence for Another Day on Earth lapsed in 2008 and the album has been unavailable outside Japan ever since.
“Grand, sweeping choruses ... that insinuate themselves deep into the memory, but also moments of whispering intimacy - a wistful, haunting record that runs warm with understated emotion. ★★★★★” - Matthew Collin, The Observer (2005)
shishi, das sind drei Frauen, die an den Ufern der litauischen Ostsee Post-Punk und Indie-Rock mit Surf-Einflüssen spielen. Diese physische Split-EP (und ihr Debüt auf Vinyl) enthält die neue QUEEN DEYONNA-EP und die frühere FAQ-EP. Ihre Musik verwandelt die Angst und Paranoia einer Welt im Umbruch in kathartische Verrücktheit. Ihre Live-Auftritte sind legendär - voller reichhaltiger dreistimmiger Harmonien, ineinander verwobener Gitarrenparts, grooviger Basslinien und treibender Schlagzeugbeats.
ADULT. kooperiert nicht. Seit über 25 Jahren verkörpert die dystopische Detroit-Synth-Punk-Institution, gegründet von Nicola Kuperus und Adam Lee Miller, unbeirrbare Frustration, Misstrauen und Beklemmung. Man könnte erwarten, dass sich die Kanten mit der Zeit abschleifen, doch ADULT. hat kein Interesse am Komfort eines Vermächtnisses. Noch nie klang die Musik des Duos so unmittelbar, so dringlich und so unverhohlen wütend wie auf dem abschließenden, kompromisslosen Kissing Luck Goodbye.Mit aufgerüstetem Equipment und einer neuen Klangbibliothek gebaut, ist das Material erdrückend dynamisch, lauter - und zugleich klarer. Kuperus' dominante Darbietung rückt im Mix stärker in den Vordergrund und skizziert ein Arsenal aus lebhaften, ätzenden Rufen, Sprechchören und Gedankensplittern. Lachen - ob in den Texten oder als besessene Präsenz - fungiert als Leitmotiv und verweist auf die bedrohliche Absurdität der modernen Zeit.,THE CHAOS IS WHAT THEY WANT", singt sie in ,R U 4 $ALE" - zugleich eine Absichtserklärung: einer brennenden Welt aus Gier und Unordnung mit trotzigem, meisterhaft zusammengebautem Chaos zu begegnen. ,Du hast in dieser Höllenlandschaft, in der wir gerade leben, zwei Möglichkeiten: kämpfen oder depressiv sein", sagt Miller. ,Beides ist okay. Aber, na ja, die Entscheidung war einfach."ADULT. ist bekannt für hochriskante Katharsis auf der Bühne und griff kürzlich auf seinen Backkatalog an Bassgitarren-Songs aus den 2000ern zurück, wobei sie die vorausschauende Anxiety Always-Ära erneut nachzeichneten - teils aus Notwendigkeit angesichts der heutigen politischen und technologischen Angsttemperatur. Die Reaktion war sofort spürbar: ,Wir waren in Paris, und die Kids sind von der Bühne gesprungen. Und ich dachte nur: Das ist großartig. Das ist irgendwie die Energie, in die ich wieder zurückwill", sagt Kuperus.Diese Erkenntnis fiel mit einer Reihe von Rückschlägen zusammen - Kuperus' Anfällen von chronischem Schwindel, dem Verlust ihres engen Freundes und Kollaborateurs Douglas McCarthy von Nitzer Ebb, dem das Album gewidmet ist - alles unter dem drohenden Regime noch einmal erheblich verschärft. ,Wir dachten nur: Alles zerbricht. Wir zerbrechen. Wir sind kaputt." Dieses Gefühl hielt jedoch nicht an, denn letztlich waren sie viel zu sehr von Wut aufgeladen, um stillzuhalten. Die Stimmung vor Kissing Luck Goodbye waren vier Mittelfinger, die kerzengerade nach oben zeigten.Anstatt sich zurückzuziehen, konzentrierten sie sich auf den Prozess und überarbeiteten ihr Setup - inklusive der ersten neuen Mikrofone seit 20 Jahren. Hält man das Album an irgendeiner Stelle an, zählt man wahrscheinlich ein Dutzend Dinge, die gleichzeitig passieren, in seltsamer, schwindelerregender und dissonanter Harmonie. ,No One Is Coming" attackiert Untätigkeit angesichts des Faschismus - ,NO ONE IS COMING TO YOUR RESCUE". ,None of It's Fun" feuert mit atemloser Dringlichkeit, rasenden Glissandi und pointierten Zeilen wie: ,OH I AM TEARING MY GUTS OUT / LOOK AT ME_ DO YOU THINK THAT THIS IS AMUSING?"Eine geradlinige Basslinie und Kickdrum prallen im Abschlusstrack ,Destroyers" auf pulsierende Mantras, werden dann vollständig gesättigt und kakophonisch. Ihre jüngeren Ichs hätten den Song vielleicht sich selbst zerstören lassen, doch hier gelang es ihnen, die Lautstärke durch alle Extreme hindurch zu stabilisieren und Raum für ein eindringliches, abschließendes A-cappella zu schaffen: WE PAY THE PRICE FOR THOSE IN POWER EXPLOITING YOU EXPLOITING ME CONSUMING YOU CONSUMING ME SICK SICK SICK SICKENING IT IS US THAT ARE DEVOURED BY EVERYTHING I WILL EAT YOUR HATE
Die Musik auf Horse Lords' "Demand to Be Taken to Heaven Alive!" wirkt zugleich unglaublich detailliert und zutiefst menschlich. Die zwölf versammelten Stücke sind vielschichtig, verflochten, tonal und rhythmisch komplex - moiré-artige Muster aus Interaktion und Verzahnung, die sich sowohl körperlich als auch geistig entfalten, voller klanglicher Gänge mit einem unausweichlichen Groove. Künstler sind nicht notwendigerweise Wissenschaftler, Logiker oder spirituelle Führer, doch durch ihr persönliches Verständnis von Ordnung und Erfahrung eröffnen sie einen unmittelbaren Zugang zu gesteigerten Zuständen von Materialität und Immaterialität. Horse Lords wurden 2010 in Baltimore gegründet; sie gingen aus einer anderen Gruppe namens Teeth Mountain hervor und starteten als Trio mit Gitarrist Owen Gardner, Bassist Max Eilbacher und Schlagzeuger Sam Haberman, bevor der Altsaxofonist Andrew Bernstein zum Kernensemble hinzustieß. Obwohl das Quartett aus einer fruchtbaren Noise- und Experimental-Rock-Szene hervorgegangen ist - einem legendären Umfeld für Künstler und Außenseiter, das viele einflussreiche Bands hervorgebracht hat (Lungfish, Matmos) - war ihr Ansatz über sechs Alben, zahlreiche Kollaborationen und als gefeierte Liveband weit vielseitiger, als es die punktierten Rhythmen instrumentaler elektrischer Rockmusik vermuten lassen. Für dieses Projekt wird die Band durch Bassklarinettistin Madison Greenstone, Posaunist Weston Olencki und - erstmals bei Horse Lords - durch Gesang von Nina Guo und Evelyn Saylor ergänzt. Das Eröffnungsstück ,Eureka 378-B" ist ein Arrangement von sakraler Harfenmusik aus dem 19. Jahrhundert, getragen vom Gesang von Guo und Saylor; seine Melodie entfaltet sich weit und setzt einen tonalen Startpunkt für vieles, was folgt. Dazu kommen die kurzen "Rotations", die Fragmente aus anderen Stücken isolieren. "D2BT2HA!" enthält unzählige klangliche und konzeptuelle Schichten, doch angesichts der unverkennbaren Kraft und Menschlichkeit der Musik ist der Prozess, sie zu entschlüsseln, begeisternd und zutiefst lohnend. Selten ist eine Platte, die einen so unmittelbar packt und zugleich bei jedem Hören vollkommen neu erscheint.
The Lemonheads release a strictly limited edition 12” single on 21st September featuring three classic tracks on white vinyl. Lead cut is ‘Roky’, Evan Dando’s homage to the late, great outsider genius Roky Erickson (of garage psyche legends 13th Floor Elevator and much solo strangeness).
"If Roky Erickson had vanished from the face of the earth after The 13th Floor Elevators released their epochal debut single, ‘You're Gonna Miss Me’, in early 1966, in all likelihood he'd still be regarded as a legend among garage rock fanatics for his primal vocal wailing and feral harmonica work." AllMusic
‘Roky’ is Evan's incisive take on the songwriter’s struggles and features a searing guitar break from the song's co-writer Nick Saloman (The Bevis Frond)
The Bevis Frond toured with The Lemonheads in support of the latter’s much-praised ‘Love Chant’ album of 2025 from where ‘Roky’ originally comes. And, to complete this unique package, the Frond cover two Lemonheads’ songs, ‘The Great Big No’ and ‘My Drug Buddy’; both sounding like the kind of UK-based left field power pop that inspired Kurt Cobain in the formative days of grunge – indeed, they could have snook out on the original Rough Trade or 53rd & 3rd labels at any time.
Fact fans looking for Roky-styled curveball ley line between events, might note that The Lemonheads covered The Bevis Frond’s ‘Old Man Blank’ on 2019’s ‘Varshons II’, the same year that Roky sadly passed.
Stars & Quotes:
“One of the most distinctive voices of the ‘90s” The New York Times
“The Lemonheads are one of my favorite bands” Jimmy Fallon
“Gloriously euphoric melancholy” MOJO (on Roky)
Fila Brazillia is the name of the decidedly singular collaboration between Steve Cobby and David McSherry, born in the coastal town of Hull in the UK. Bending—and often outright breaking—more or less every rule in the book, they've been effortlessly blending deep house, downtempo, breaks, ambient, and wry humour, sampling anything they can get their hands on. Their first outing was the 1990 single-sided white label 12" Mermaids, an airy deep house tune featuring a cheeky sample taken from the theme from Robison Crusoe. Since then, they've released a boat load of singles, seven highly regarded full-lengths, and more than 60 remixes for artists such as Radiohead, Busta Rhymes, and Lamb.
Black Market Gardening is their third full-length and marks a creative high-point for the duo. Over nine tracks, Fila Brazillia guides you through hazy, bass-heavy trip hop, cosmic synth lines, brisk breakbeats, funky guitar riffs, and even touch of drum 'n bass (it's the mid-1990s after all...). There's just so much to take in, leaving the listener wondering where the samples end and the live instrumentation begins. Yes, Fila Brazillia's output fits squarely within the chill-out tradition prevalent in the UK at that point in time, but their unmatched creativity and boundless approach to the studio process makes their music truly timeless.
Black Market Gardening is available as a 30th anniversary edition for the first time since 2001.
Alles spaltet sich. le_mol loopen. Was bleibt? SPLIT SPLIT - ihr 6. Post-Rock-Album (Noise Appeal Records). Während manche Spaltungen unvermeidlich ("Splitsville"), erzwungen ("Splitter") oder sogar pathologisch ("Split Brain") sind, wirken viele Spaltungen vermeidbar und durch bestimmte diskursive Kräfte vorangetrieben ("Split The Rich"). Würde man Spaltungen jedoch immer weiter aufspalten, käme es dann nicht zu einer Rückkehr von Nuancen, Meinungspluralität und Gemeinschaft? SPLIT SPLIT. Da bei den Instrumentalstücken von le_mol Wort und Musik getrennt sind, dienen die Titel jedoch ohnehin bestenfalls als Interpretationshinweise. Eine Ausnahme bilden die existentialistischen Lyrics von The Zew ("Split Tongue") - einer selbsternannten Cyborg Folk Musikerin aus Wien. Das Konzept setzt sich fort in den Collagen und Monotypien der wienerischen Künstlerin Hanna Hollmann. Musikalisch bietet 'SPLIT SPLIT' eine Mischung aus melancholischem Post-Rock und Shoegaze ergänzt durch Elemente aus Post-Punk, Ambient und Industrial. Der Einsatz mehrerer Loop-Stations ermöglicht es den beiden Multiinstrumentalisten wie eine fünfköpfige Band zu klingen und sorgt für überrasche Wendungen im Songwriting, die gängige Hörgewohnheiten herausfordern. Loops stick together - they never split! FFO: Mogwai, Radiohead, Godspeed You! Black Emperor, Sigur Ros Marketing Hardfacts: - begleitende Konzerte 2026/27 (bestätigte Daten bis hierhin): TBA - eine Vorabsingle (splitter!)
Auf den Alben der “Verve Remixed”-Reihe war Nina Simone stets die unbestrittene Favoritin. Jetzt wird
die “High Priestess of Soul” auf “Verve Remixed // Nina Simone” mit acht brandneuen Mixen gefeiert. Die
Gelegenheit zu dem Projekt ergab sich, als Verve Records Anfang 2026 die Feierlichkeiten zu seinem 70-
jährigen Jubiläum einläutete. Unter dem Titel “Year of Nina” begann man damit, jeden Monat einen brandneuen Remix eines Nina-Simone-Klassikers als digitale Single zu veröffentlichen. Das Echo der Musikfans
war überwältigend. Der universelle Appeal von Ninas Musik wird dadurch verdeutlicht, dass mit Solomun,
DESIREE, Supershy, Mochakk, HAAi, Austin Millz, Dublon und Antdot acht der derzeit angesagtesten
DJs, Remixer und Produzenten aus unter anderem den USA, Brasilien, Südafrika und Großbritannien für
das Projekt gewonnen werden konnten.
Purple color LP, 140g, Single Sleeve
Bloodhound Gang’s irreverent brand of comedy-rock and rap-rock is collected here on this essential 1LP hits package, pressed on exclusive Milky Clear vinyl and including a collectible poster. Featuring the band’s biggest and most enduring tracks, the set is led by the international smash “The Bad Touch”, a multi-million-selling single that reached No.1 in Germany, Sweden and several other European territories, while also hitting the UK Top 5. Also included are fan favourites “Fire Water Burn”, “The Ballad Of Chasey Lain”, “Along Comes Mary”, “Foxtrot Uniform Charlie Kilo”, “Uhn Tiss Uhn Tiss Uhn Tiss” and “I Hope You Die”, spanning the band’s most successful era from the platinum-selling Hooray For Boobies through to Hefty Fine. Bloodhound Gang have sold millions of albums worldwide, with Hooray For Boobies reaching No.1 in both Germany and Austria and achieving Platinum certification in the US. Combining the group’s biggest chart hits, cult classics and live favourites, this specially curated single-LP edition delivers the definitive Bloodhound Gang experience in a concise, collector-friendly format.
Gold Colored Vinyl LP Edition zum 25jährigen Jubiläum des Jan Delay Solo Debüt Albums! Zusammen mit der Sam Ragga Band produzierte der Beginner-Frontmann Jan Delay ein Album, das die deutsche Pop-Landschaft nachhaltig veränderte. Noch nie war Reggae mit deutschen Texten so authentisch, so fett und so erfolgreich. Mit der Interpretation des Nena-Hits "Irgendwie, Irgendwo, Irgendwann" schaffte Jan Delay den Durchbruch auch außerhalb der HipHop-Community und legte 2001 mit "Searching For Jan Soul Rebels" weiter nach. Jan Delay zeigt sich als scharfzüngiger Kritiker und Zyniker, Songs wie "Ich Möchte Nicht, dass Ihr Meine Lieder Singt" und "Vergiftet" polarisieren, wurden aber trotz aller textlichen Radikalität zu veritablen Hits.
Here we go! Ein echter 90er-Jahre-Kult-Hit ist zurück auf Vinyl! „Saturday Night“ von Whigfield, der legendäre Top-Hit aus dem Jahr 1994, ist endlich wieder als streng limitierte farbige 12“ Maxi Single erhältlich.
Mit seinem unverwechselbaren Dance-Sound, der eingängigen Melodie und dem legendären „Saturday Night“-Refrain eroberte Whigfield 1994 die internationalen Charts und wurde zu einem der großen Dance-Klassiker der 90er Jahre.
Jetzt gibt es den Hit endlich wieder auf hochwertigem, farbigem Vinyl – ein echtes Highlight für alle Fans der 90s, Dancefloor-Klassiker und Vinyl-Sammler.
Die Maxi Single enthält insgesamt 4 verschiedene Mixe und bietet damit gleich mehrere Versionen des unvergessenen Dancefloor-Hits.
Ein echter Dance-Klassiker ist zurück auf Vinyl! „2 Times“ von Ann Lee, der große Superhit aus dem Jahr 1998, erscheint endlich wieder als farbige, streng limitierte 12“ Maxi Single.
Mit seinem unverwechselbaren Eurodance-Sound, der eingängigen Melodie und dem legendären Refrain gehört „2 Times“ zu den unvergessenen Dance-Hits der späten 90er Jahre. Jetzt gibt es den Kult-Track endlich wieder als besonderes Vinyl-Release – ein Highlight für Nostalgiker, DJs und alle Vinyl-Liebhaber.
Die 12“ Maxi Single bietet insgesamt 5 verschiedene Mixe und lädt damit zu einer musikalischen Zeitreise zurück in die große Ära des 90er-Jahre-Dance ein.
Das farbige Vinyl und die streng limitierte Auflage machen diese Veröffentlichung zu einem besonderen Sammlerstück, das in keiner Dance- und Vinyl-Sammlung fehlen sollte.
V Don and Da$h are not strangers to each other. Connecting in the past for memorable tracks like “Glad Bag”, “Redrum”, and “Now or Never”. They picked right up where they left off with a menacing five track EP back in July. “5 Deadly Venoms” put V Don’s expert production and the many flows of Da$h on front street. A duo that has always held themselves to high standards.
"Beirut City Pop" vereint zehn Aufnahmen aus der libanesischen Privatpress-Kassettenszene der späten 1970er und 1980er Jahre. Diese Songs, die von kurzlebigen Bands und Studioprojekten entstanden sind, bewegen sich zwischen Disco, Pop, Soul, Jazz, Bossa, Rock und AOR. Viele davon wurden während des libanesischen Bürgerkriegs produziert, zu Hause kopiert und nur im Freundeskreis und in lokalen Gemeinschaften verbreitet, wobei einige ausschließlich auf handkopierten Kassetten erhalten geblieben sind. Viele der Musiker waren über Ziad Rahbanis "Bypass Studio" miteinander verbunden, arbeiteten projektübergreifend zusammen und teilten eine gemeinsame musikalische Sprache. Inspiriert von der Genremischung des japanischen City Pop spiegelt der Titel sowohl den Klang als auch den Geist dieser Aufnahmen wider. Mit Künstlern wie Stephanie Stephanou, Force, Games, Andromeda und Walid Itayim dokumentiert "Beirut City Pop" eine eng verbundene Musikszene, deren Kreativität und musikalische Kameradschaft trotz außergewöhnlicher Umstände Bestand hatten.
Karen Morrison - stage name Bryck Rose formerly known as K Vibes on the Reggae Dancehall scene. Currently a gospel singer, songwriter, poet, and aspiring playwright and one of the younger members from Studio One of Jamaica.
Rome Streetz drops "Buck 50", his first offering for 2024, a 6 tracks EP entirely produced by mastermind Wavy Da Ghawd, unleash the raw essence of his lyricism. Carving once again its place in the game just like a buck 50, Rome Streetz delivers his gut-punch of gritty underworld narratives. Pressed on a single sided 12" pressed on 180g vinyl, w/ screen-printed art on the B-side, courtesy of Ral Duke.
In the spring of 1971, somewhere between Brussels, Paris and a collective pop fever dream, Le Monde Fabuleux Des Yamasuki landed on vinyl. It sounded like nothing else then and it still does not today. More than half a century later, Sdban Records proudly presents a reissue of this singular cult album, available from April 3, 2026 on vinyl.
The album was produced by Jean Kluger and written both by Jean and Daniel Vangarde (aka Bangalter, later the father of Thomas Bangalter of Daft Punk), who were alreadywell ahead of their time, long before electronic music rewrote the rules of pop culture.
Released under the name Yamasuki, also referred to as The Yamasuki Singers, or The Yamasuki's, the project was never intended as a conventional band. It was a studio-born fantasy, a concept album disguised as a pop record. What began as a standalone single quickly expanded into a full-blown pan-cultural pop opera that ignored genres and common sense with joyful abandon.
Musically, the album sits at a delirious crossroads. Psychedelic pop collides with funk rhythms, samba and bubblegum melodies, full of chants and choruses in a phonetic pseudo-Japanese, written with the help of a dictionary. Kluger and Vangarde famously recruited a children's choir to perform the vocals, and for added spectacle, they brought in a Japanese judo grandmaster, whose ritualistic shouts and battle cries erupt throughout the record.
Several singles were released. One of them, Yamasuki, with accompanying dance move, appeared in the United Kingdom and France on John Peel's Dandelion label, a fitting home for a record that thrived on the margins of pop culture. Its B-side, Aieaoa, proved even more potent. In 1975, the song was reborn as A.I.E. (A Mwana) by Black Blood, an African group recording in Belgium, this time sung in Swahili. That melody would travel even further. Aie a Mwana became the debut single of English pop group Bananarama, and in 2010 it resurfaced once more as Helele, an official song of the FIFA World Cup, recorded by South African singer Velile Mchunu with Danish percussion duo Safri Duo. That version became the most widely known incarnation of the song. With Jean Kluger directly involved, it was less a cover than a continuation of the original idea.
The album's afterlife did not stop there. Over the years, Yamasuki has been quietly sampled, covered, and featured across media far beyond the realm of novelty pop. Kono Samourai was sampled in The Healer by Erykah Badu (2007), produced by Madlib, while Yama Yama has found its way into recent pop culture as well: appearing in the television series Fargo, on Angus Stone's project Dope Lemon, and on the 2008 Late Night Tales compilation curated by Arctic Monkeys drummer Matt Helders. Proof, if any were needed, that this strange little record carries a deeper musical DNA than its playful exterior might suggest.
This new reissue of Le Monde Fabuleux Des Yamasuki proves the renewed interest and respect for this cult album, faithful to the original spirit while finally giving it back the physical presence it deserves. In an era obsessed with genres and algorithmic neatness, Yamasuki still laughs, dances and karate-kicks its way past definitions. It reminds us that pop music can be playful without being disposable, strange without being cynical and joyfulwithout explanation. The world of Yamasuki was always fabulous, we are just lucky it found its way back to us!
Following his debut 12" on Futura Resistenza, Aukio Sound returns with a new release on Turbo Guidance Entertainment — a deep dub techno exploration rooted in heavy reggae influence, featuring the late Baba Ras. A solemn tribute to a singular voice. Like Rousseau's Tiger in a Tropical Storm, this record paints a dense, dreamlike fresco — where rhythm and texture grow wild beneath the surface. The record also includes a remix by Non Posso, a mysterious duo. Mastered by Carsten Dämbkes and pressed on 180g vinyl for the full listening experience.
Courtney Storer is Aerofunk, a UK producer who broke out back in 2023 and has been dropping heat ever since., This new EP for Funk Dubs is no different: 'At The Tone' opens with a blend of woozy synth tones and answering machine messages that are offset by gritty and cold drum textures that remind of early tech house greats. 'Relax' is another cut that blends body-popping and elastic bass with snappy drums and odd samples that work perfectly. 'Wet One' is a hot stepping acid-laced tech house slammer with plenty of machine soul and 'White Heat' then closes with more hefty drums that spark plenty of physical reactions and come laced with tactile synth designs.
Discotchari unveils a full deadstock run of this rare 7 inch from 1970, found in original factory boxes and reissued as the first release of the label. It features previously unheard material from oud virtuoso John Bilezikjian and percussionist Raja Zahr, a Burbank via Beirut collaboration. The record will be available on vinyl and digital platforms from November 3rd, 2023.
Recorded under the name Something Different, the duo produced a single 45 RPM that was shelved as their solo careers took off. At just 21, Bilezikjian handles oud, bass and harpsichord, while Zahr delivers rich and inventive percussion.
Side A, Zulu Man, blends late 60s psychedelia with a more experimental edge, closer to underground acts than mainstream rock of the era. Carried by evocative vocals and expressive oud lines, the track unfolds like an epic narrative.
Side B, Chemical Reaction, is harder to define, moving between cinematic moods and rhythmic tension. The track evokes shifting landscapes and contrasting atmospheres, making it as intriguing as it is unpredictable on a dancefloor.
Argentinian artist Juan Hansen presents his debut album 'Ultrasonido'; twelve tracks spanning indie dance, tech house, and soft melodic house, released on his own newly founded label Ultrasonido, with the second single 'Inside My Mind' coming out via belonging by Innellea.
After his breakthrough Boiler Room appearance in 2019, Juan has been on a relentless quest to push the boundaries, playing major stages around the globe, becoming one of the figureheads of the Argentinian electronic music world. As an exceptional live artist, multi-instrumentalist and vocalist, Juan brings a real sense of groove to the stage, merging two worlds effortlessly: deeply emotional songwriting and direct, dancefloor-focused club tracks. 'Ultrasonido' brings both sides together. The album is a clear evolution of Juan Hansen, presenting a wider range of his sound, which he also presents in his live performances. A journey through the musical world of Juan Hansen.
Across twelve tracks, with contributions from Clér Letiv, Santi Portillo, Franco BA, Rocio Giorgi, Miko Franconi, Brigado Crew and Marley Waters, Juan shifts between club-focused tracks and more intimate, song-driven moments, moving naturally between Spanish and English. It’s a debut album that captures both his roots and the direction he’s evolving toward.
Juan Hansen's story doesn't start on the dancefloor, it starts with acoustic instruments. He built his foundation in the indie and rock scenes of Argentina before crossing into electronic music, a journey that's still audible in every track he makes. After years of building his profile with live performances, mesmerizing audiences from Cosquín Rock and Ultra in Argentina to Watergate in Berlin, Burning Man in the Nevada desert, and Grand Factory in Beirut.
His search is real and visceral; a search for the different, mixing genres without prejudice, with a seriously playful attitude. Positioned within a new generation of artists dedicated to improvising on stage, Juan fuses electronic sounds with analog instruments and organic soundscapes. There's no genre cage. 'Ultrasonido' is his debut album and the launch of his own label, also named Ultrasonido. A long-form statement after years of singles, EPs, and shows around the globe.
Sublime frequencies from the golden era of ambient electronica.
Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.
The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.
Press response to Io:
"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”
IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.
Peter McIntyre, Mixmag, UK 1994.
"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.
"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.
"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.
Sublime frequencies from the golden era of ambient electronica.
Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.
The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.
Press response to Io:
"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”
IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.
Peter McIntyre, Mixmag, UK 1994.
"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.
"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.
"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.
