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If a “sound” is unique, it can often expect a reasonable success. However, it takes a great deal more than just uniqueness to sustain this success. The Fleetwoods did this – and more. They became America’s top teenage vocal trio. Their sound was more than just different and identifiably their own. It was a perfect blend of young voices, just right for so many of the fine ballads they were singing. The Fleetwoods’ secret, if you can call it a secret, was sincerity. They simply gave each lyric they sang its truest and sincerest meaning. Over the years, many others have tried to imitate them, but none have come close to the overwhelming success they had. We hope you will enjoy this album of The Fleetwoods’ very best recordings.

Global superstar, Dean Lewis has today announced his hotly anticipated third studio album The Epilogue will be released Friday October 18 . Following unprecedented worldwide success, critical acclaim, and sold-out tours, Dean continues to write and perform with unmatched vulnerability, vibrancy, and vitality. As such, The Epilogue, represents both the culmination of an incredible journey thus far and a harbinger for where he may go next. In between a packed live schedule, Dean penned music for The Epilogue during sessions in a Hollywood Hills house and in Hawaii. Harnessing a renewed state of inspiration, the troubadour tapped into the spirit of his earliest material from a fresh perspective honed by six more years of experience. , the 12-track The Epilogue LP includes his previous singles ‘Trust Me Mate’ and ‘Memories’ as well as the recently released single ‘All I Ever Wanted’. The heartbreaking new single with lightly plucked acoustic guitar and soft strings accompanying Dean’s delicate delivery, was written and recorded in Los Angeles and co-produced by Dean and acclaimed duo Afterhrs (Maroon 5, Niall Horan, Liam Payne, Louis Tomlinson). Since its release a fortnight ago, the song has already been added to KIIS, Hit Network (Fox, B105, SAFM) and Nova Networks as well as streamed over 2.1 million times globally.

"For the first time since 2021, Pipe-eye, the moniker for Australian musician, singer and songwriter Cook Craig, is set to release a brand new LP. Titled Pipe-defy, the album is slated for release on October 18th, with the lead single, ""Lords Of Lithium,"" giving a first taste of what's to come.
With nods to the venerable influences of funk and 70s/80s synth dance classics, Pipe-defy is a stylistic departure from his previous albums. For this project, Craig explains wearing his influences on his sleeve; “At around the time that I was starting to write songs for the album, my mum gave me a bunch of old CDs from my early teens that I hadn’t listened to in ages. "

The album is Frost* at its most ambitious, offering nearly 90 minutes of music over 14 exquisite tracks. The album is the brainchild of Godfrey who was inspired to create the conceptual world for the album based on the group’s previous release Day and Age (2021).

Fans of the band’s masterful debut album Milliontown (2006) will enjoy the band revisiting the style that made that debut album one of the most successful prog rock albums of the last 20 years, a fact that was not lost on Godfrey as he was writing this new record. “With Day and Age, we made it a very specific point: we're not doing any solos, we'll do clever arrangements. And we enjoyed that discipline, but this time I thought it might be good to row back on that position a bit. Plus I wanted to have a little bit of a nod to Milliontown with this album, because it's been nearly 20 years since Milliontown came out and I’m still proud of it. The 15-minute title track has a few of those Milliontown moments in it which were great fun to do again.”
Mitwirkende
wird veröffentlicht am 18. Oktober 2024

Line-Up:
Jem Godfrey – Keyboards, guitar, vocals
Nathan King – Bass, vocals
John Mitchell – Guitars, vocals
Craig Blundell - drums

"Jede Prog-Band, die etwas auf sich hält, sollte eigentlich ein Doppelalbum machen, oder?", fragt Frost*-Frontmann Jem Godfrey. Das war eine der ersten Ideen, als der Songwriter/Keyboarder/Sänger der Band die Arbeit an Frost*s 5. Studioalbum "Life in the Wires" in Angriff nahm. Das Album ist Frost*s ehrgeizigstes Werk und bietet fast 90 Minuten Musik auf 14 exquisiten Tracks. Das Album ist das Geistesprodukt von Godfrey, der von der vorherigen Veröffentlichung "Day and Age" (2021) der Gruppe inspiriert wurde, die konzeptionelle Welt für das Album zu erschaffen. Fans des meisterhaften Debütalbums "Milliontown" (2006) werden sich freuen, dass die Band den Stil wieder aufgreift, der das Debütalbum zu einem der erfolgreichsten Prog-Rock-Alben der letzten 20 Jahre gemacht hat - eine Tatsache, die Godfrey nicht entgangen ist, als er das neue Album schrieb. "Bei Day and Age haben wir es sehr genau genommen: Wir machen keine Soli, wir machen clevere Arrangements. Und wir haben diese Disziplin genossen, aber dieses Mal dachte ich, es wäre gut, in dieser Position ein wenig zurückzurudern. Außerdem wollte ich mit diesem Album eine kleine Anspielung auf Milliontown machen, denn es ist schon fast 20 Jahre her, dass Milliontown herauskam, und ich bin immer noch stolz darauf. Der 15-minütige Titeltrack enthält ein paar dieser Milliontown-Momente, die zu wiederholen mir großen Spaß gemacht hat." "Life in the Wires" wird als limitierte 2CD Edition, als Gatefold 2LP und als Digitales Album erhältlich sein, mit atemberaubendem Artwork von Carl Glover (Steven Wilson).

Matt Filippini is an Italian guitar player, rock songwriter and producer. After working with some local bands, he started to take it seriously when in 2001 he started to play some gigs in Italy during a masterclass tour of the legendary drummer Ian Paice (Deep Purple founder and current member since 1968 but also with Paul McCartney, Gary Moore and Whitesnake). One year later, in 2003, after writing a bunch of rocking songs and recording a demo in his home studio, Matt gave a cd with the tracks to listen to Mr. Paice who liked the stuff and agreed to record the drum tracks for the songs. So after Ian Paice recorded three of the tracks, Matt asked Glenn Hughes (Deep Purple, Black Sabbath, ...) to record vocals for two of the songs. Those became Rose In Hell and Where Do You Hide The Blues You've Got, two of the most appreciated songs from the first Matt's studio album, MOONSTONE PROJECT Time To Take A stand, released April 2006 on Majestic Rock Records. The album features other rock and roll gods like Carmine Appice, Steve Walsh of Kansas, Eric Bloom of Blue Oyster Cult, Graham Bonnet of Rainbow and many more! The album, produced and written by Filippini himself, has been acclaimed by the music press with some great reviews and adored by thousands of classic rock fans from all over the World. In 2010 Matt toured Spain and Italy with Carmine Appice., in September 2010 Matt he played a festival in Sardinia along with Roger Glover (Deep Purple), Bobby Kimball and Steve Lukather of Toto and Vinny Appice (Black Sabbath and Ronnie Dio).In 2011, Through the next few years he played with Deep Purple, Doogie White (Rainbow and Malmsteen) and Neil Murray (Whitesnake and brian May Band), as well as several gigs with Hughes and Paice. He has certainly been active these last few years! the Moonstone Project title “New Life” the full album has been completely remixed and remastered by Fredrik Folkare, featuring on the album the Rock legends Glenn Hughes, Graham Bonnet, Eric Bloom, James Christian, Andrew Freeman, Ian Paice, Ken Hensley, Carmine Appice etc.

Originally released via RCA Records - "Everything Changes" is home to some of the group's biggest singles and highest streaming tracks such as 'Babe', 'Relight My Fire' and 'Pray' & the title track. This is the first time this has been available on standard black vinyl (as the previous vinyl release was a picture disc), and the first time on vinyl since its original release in 1993. Released to coincide with the Zoetrope LP Vinyl version for 'National Album Day'. Promo & marketing activity.

Quinnisa Kinsella-Mulkerin recorded her first song at five years old with her parents, who comprise the adventurous Maine band, Big Blood. Ever since the age of five, she was writing songs, banging on chimes, strumming guitars, and clanging together whatever else she could find. Improvisation was natural, and she stuck to the approach. Quinn brings this innate sense of songwriting to The Wickies, a duo she formed with Aiden Arel a year ago at age 16, whose chill approach and fluid delivery belie true inventiveness in the underneath mechanics. Inspired by seventies folk icons like Stevie Nicks, Krautrock bands like Can, and modern indie-rockers like Alex G, The Wickies feel like an amalgamation of these decade-spanning sounds, but uniquely their own. Quinn’s voice croons like a seventies folk star, but it possesses a great and controlled tone. Her vocals feel like another instrument within the mix, building and growing each song to its fullest sound, leaving no detail within the mix unheard. Their use of echoing guitar lines recalls sixties psych, a springboard for their unique take. Quinn’s lush, free-flowing lyrics, created on the spot, complement Aiden's fleshed out backing instrumentation and over-dubbing. Quickly, the pair created more material than they ever needed, allowing them to mold their recordings into a self-titled debut album. Like a painter crafting the perfect exhibition of their finest work, Aiden and Quinn condensed their improvisations to all the best parts. Tracks like “Campfire Song” and “Skipping Pond,” exemplify the ethereal and lackadaisical atmosphere of their sound. “I keep finding these weird, obscure bands from the seventies that have one album and nothing else, which is awesome,” Quinn said, “I want my music to sound like somebody found it in a record store that no one has ever heard of and uploaded it to YouTube. I want it to sound a little strange.”

15 years onwards from the original release in October 2009, "This Is …" by Gizelle Smith & The Mighty Mocambos remains a classic in its genre. Upfront, raw and melodic, this super sister funk album has not aged at all. Now, in 2024, it is time for a proper re-release with unreleased bonus tracks, rare remixes and a limited edition double vinyl album. Welcome to the deluxe version of "This Is …" by Gizelle Smith & The Mighty Mocambos.

Read here what the original release sheet said about the album:

"Strong album – packs a serious punch" Craig Charles Funk and Soul Show, BBC 6 Music

"A breath of fresh air" Keb Darge

"Really amazing stuff, full of killers" Nick / Record Kicks

"Definitely recommended" Peter Wermelinger, Funky & Groovy Music Records Lexicon

"What a fantastic album – this is proper funk" Tobias Kirmayer, Tramp Records

Ever since their first collaboration on the "Mocambo Funk Forty Fives" compilation, things have gained momentum for Gizelle Smith, the "Golden Girl of Funk", and the much respected Hamburg-based label and live band The Mighty Mocambos. Their first single "Working Woman" became an overnight smash and a prime-time club favourite of funk & soul DJs from all over the world. Initially released on the Finnish private press label Old Capital, producer legend and Grammy nominee Kenny Dope (Masters at Work, Bucketheads) picked up and remixed the song for his own label Kay Dee Records. Gizelle Smith & Mocambo now step up with a full-length album of bonafide sister funk. In the days of digital recording and Pro Tools editing, they show true exception to modern techniques and create their highly regarded, unique and raw soul sound, by making use of simple dynamic microphones and reel-to-reel tape machines. In a genre which is often littered with overused clichés of the past, the charismatic Gizelle Smith adds a lot of her own flavour rather than slavishly copying icons of bygone decades. The result is a refreshing alternative to post-millenium plastic pop without being a mere retro rip-off. From the heavy and determined "Gonna Get You" to vulnerable, gospel-tinged laments such as "Coffee High", "This Is Gizelle Smith & The Mighty Mocambos" is just as deeply rooted in the music from the golden era of soul as it is a modern masterpiece in its own right. Blazing horns, soulful guitars, driving drums and basslines combined with Gizelle's gripping and powerful voice all weave together to create a long player that is varied and coherent at the same time.

A steady and sure buzz has been building around Steve Young’s ‘Scarper’ project over the past few years, particularly since his acclaimed 2017 debut album ‘Warmer Squares’ and subsequent dancefloor favourite ‘E-Funk', which won over fans from Skream to Carl Craig with its genre-crossing appeal.

Marking a noticeable shift in direction and a new sense of focus, Scarper returns with four tracks of varying styles and influences. Drawing from dub, techno, breakbeat and rave, he mainly shoots for the floor (with a clear emphasis on bass weight), although as always, there is ample headphone fodder.

Opening with ambient intro 'Wavecrush,' Scarper moves through dub- infused downtempo with the Weatherall-esque chugger 'Metadub,' swiftly picks up the energy with the chunky beats and deep bass of

‘Metadome,’ and concludes with high-octane face melter 'Slab,' which throws tech-breaks, dark garage and jungle/hardcore vibes into the pot.

More quality from Scarper.

A 2024 edition of Terry Riley's »Descending Moonshine Dervishes,« originally recorded live in Berlin in 1975 and released by Kuckuck in 1982. This will be the first time the remastered album has been available since 2016.

Using just intonation and a modified organ, Riley conjures forth a rich and layered sound that challenges the Western ear, reflecting his associations with Indian classical singer Pandit Pran Nath and La Monte Young, whose Well Tuned Piano was well underway. »Descending Moonshine Dervishes« is a virtuosic and kaleidoscopic performance, standing as one of the finest works of a revolutionary composer and musician at the height of his powers.

»Descending Moonshine Dervishes« dates from 1975 and it belongs to a larger Dervish series of compositions whose origins predate Riley’s two signature works of minimalism, »In C« (1968) and »A Rainbow In Curved Air« (1969)… the piece is structured around just intonation, which stretches the listening experience into new areas. Played on a Yamaha organ with a bit of tape delay that allows Riley to duet with himself, the music of »Descending Moonshine Dervishes« is an ear expansion that goes through skittering arpeggios and long, droning notes that indicate something of the many levels that it operates on. – Louise Gray, The Wire Magazine (March 2017)

California composer Terry Riley launched what is now known as the Minimalist movement with his revolutionary classic 'In C' in 1964. This seminal work provided a new concept in musical form based on interlocking repetitive patterns. It's impact was to change the course of 20th century music and it's influence has been heard in the works of prominent composers such as Steve Reich, Philip Glass and John Adams and in the music of rock groups such as The Who, The Soft Machine, Tangerine Dream, and many others. His hypnotic, multi-layered, polymetric, brightly orchestrated eastern flavored improvisations and compositions set the stage for the prevailing interest in a new tonality. Riley has worked with Kronos Quartet, La Monte Young, members of Fluxus, Chet Baker, Pandit Pran Nath, his son Gyan Riley, choreographer Anna Halperin, and many others over the years.

In Cornish slang it is said that things get done ‘dreckly’; that is, not now, not necessarily tomorrow, but, at some indefinite point...in the future...soon...

Fitting then that when Bristol’s Langkamer decamped to their de facto home-from-home in the picturesque south-west seaside town of Falmouth to record their third album in as many years (with an EP thrown in there too) - there was no particular need to rush things: “The process was much slower and more considered for Langzamer.”, drummer/vocalist Josh Jarman explains: “The first two albums felt pretty urgent, and each was finished in about 6 months, but this one feels a lot more deliberate. It’s taken us two years to get this done.”

Equally fitting too that Langzamer kicks off proceedings with ‘Heart of Tin’: the first bars are languidly lugubrious, so deliciously plucked-out and scuzzed-up that they linger in the air like passing smoke, magically, slowing time down to their own assured and steady will. And in so much time, that also feels like no time at all, comes an opening line of such stark, disarming confessionalism as might be found in the David Berman/Silver Jews songbook: “Do you want the good news or the bad news first? // They’re both bad news, but the bad is worse” It’s Langkamer in a nutshell: embattled, heart-on-sleeve Slacker Rock slaked with twinges of fret-sliding Americana, yet deeply embedded in the folk mythologies, colloquialisms and experiences of the band’s West Country roots.

Throughout Langzamer, confronting the listener again and again is this conflict between the band’s breezy, melodic charm, and the threat of something more sinister lurking in the undergrowth. While those more familiar with Langkamer’s oeuvre to date will have already come to know and love their often self-deprecating yet witty lyricism, the songs on Langzamer take this trademark ebullient gloominess to more challenging plains: “Principally this is an album about grief, and everything that entails...” explains Jarman. “in a sense death brought these songs to life.”

This thread is felt no more so than on ‘Salvation XL’. Inspired by a “particularly bad batch of food poisoning I had in Morocco”, Jarman explains, and beginning with the memorable opening line, “Jesus came to me a Burger King in Marrakech”, the band wind their way through the ‘big topics’: death and God.

“This trip was shortly after a few of my friends had passed away, and I think a lot of my thoughts and actions at that time were being influenced by my grief without me realising it.”, he explains, “Whenever I dwell on grief, and how death has given my life a new context, I come back to that. The ongoing battle between agnosticism and atheism. I wasn’t raised in a very strict religious home, but I come from a long line of methodists, and it’s interesting to think about the way theism and religion have shaped my life without me knowing it. I think that’s being channelled on this album a lot. The uncertainty that comes with disbelief.”

Our collective mortal frailties are also felt on lead single ‘Richard E Grant’. With a trademark bittersweetness, a track that begins as an appreciation of the actor’s humorous social media presence unfolds as a study on “finding healthy coping strategies to deal with loss.”. Elsewhere, ‘At The Lake’ - to the tune of mournful, folk-like balladry - explores binge-drinking culture and the troubled association between unhealthy behaviour and creativity. The listener is left in no mind as to the meaning behind the references to James Joyce and Janis Jopin as “souvenirs stolen from the dark”.

With themes as weighty as these strewn across the album’s 10 tracks, It seemed like a particularly astute move then for the band to personally approach Ben Woods, founder of the Golden Dregs, to assist on production duties. Not only would the delicate intimacies of Woods’ main project - see 2023’s On Grace & Dignity for reference - add an appropriate moodiness, but Woods was also born and raised in Cornwall, where the album was recorded; amidst “eating pasties” and breaks by the sea, Woods and the band transformed the vaults underneath iconic Falmouth venue The Cornish Bank into a makeshift studio for a weeks’ worth of recording. Occasionally friends would drop by to lighten the load; Zander Sharp tracking violin on ’Double Island’ and ‘Flight’; Josh Law and Ben Sadler of Breakfast Records labelmates Getdown Services, both of whom contribute to the soul-stirring ‘mountain’ chorus on ‘Aberfan’.

When compared to the brightness of 2023’s The Noon and Midnight Manual, Woods’ influence on the record seems indisputable. On the aforementioned ‘At The Lake’, for instance, which features backing vocals from Woods. Or, most acutely, on the piano strains of harrowing closer ‘Bluff’, a track with such chilling, spectral severity as to effect the band’s most heartbreaking effort to date. While it’s particularly sombre note on which end proceedings, it's also an appropriate one: Langzamer bravely stands tall as their most restrained, matured, and sincere collection to date. And almost by virtue of its impeccable honesty, those moments of sunshine-joy that creep through the cracks feel that much more golden.

SWIMS returns with their third release since last summer’s romance with London’s Kit Records which spawned two beautiful albums by Romeo Poirier and Electric Capablanca.

Leaving behind the soothing natural landscapes of the previous releases, Finomehanika is an intricate 42-minute machinist journey combining the frayed melancholia of Vladislav Delay’s recently reissued Multila, with the strangely real-sounding yet otherworldly mechanics of Autechre in their Confield era. However, Finomehanika sounds thoroughly unique. It makes heavy use of the piano and field recordings for depth and ambience. The line between synthesized sound and manipulated recordings blur to a point where one becomes the other. The often subtle use of field recordings prevents us from drifting too far into the abstract, keeping us grounded in a fragmented, confusing but familiar environment.

Finomehanika is Robert’s first solo release in 20 years since 2000’s Albumski on Phthalo. The sleeve was designed by Michael Tan known for his previous work with artists such as Blanck Mass and Dopplereffekt. The album features on piano Robert’s brother Miro, better known for his releases as Qwerty. The brothers also recently collaborated on 2019 album Na Vrućem Krovu by Robert’s art-pop band Marinada.

First released over 30 years ago, this EP, as with Volumes 1 & 2, is where The Future Sound Of London started in 1991, these tracks under their pseudonyms. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Calcium” transcendental and otherworldly, “Owl” described as ‘one of the greatest breakbeat hardcore tracks ever created’. This edition of The Pulse EP is the first reissue in this original vinyl form since 1991, those initial pressings now expensive on Discogs. Genuine underground hardcore/rave history on vinyl to obtain one more time.

US House Music legend Teddy Douglas of Basement Boys and Jasper St. Co. fame gets set to unleash his first solo artist album, ‘I’m Here’, on the iconic label, Nervous Records. Teddy has gone all out to deliver one of his most creative and musically diverse albums to date. ‘I’m Here’ is a colourful pallet of meaningful songs and grooves that reach far beyond Teddy’s signature soulful Baltimore House sound, with added infusions of Funk, Rock and Jazz, yet still loaded with plenty of Teddy’s trademark House and Disco sounds that we all know and love.

Across the album he’s pulled together an array of heavyweight international vocal talent including; UK vocal diva Pauline Taylor; Danish award winning Folk and Blues artist, Richard Farrell; Chi Town Hip House legend, Fast Eddie; dance music’s legendary No.1 vocal queen, Ultra Naté; up and coming Brit Soul talent, Sipho; and Buckshot from Blackmoon appearing as BDI Thug. From the shimmering cover of The Frontline Orchestra’s ‘Don’t Turn Your Back On Me’ with Pauline Taylor on the vocals, to the downtempo rocky vibes of ‘Help!’ with Sipho delivering a spine-tingling gravelly vocal, ‘I’m Here’ is testament to Teddy’s finely tuned expert musicianship and impeccable knack for penning great songs and delivering vibrant covers.

Baltimore’s Teddy Douglas has produced everyone from Michael Jackson, Lenny Kravitz, Crystal Waters, Erykah Badu, Martha Wash and Ultra Nate’ and was an important figure in the development of the Baltimore “House” Sound. Teddy has held down a long and successful DJ career since 1983 staring out in Baltimore and spreading his wings globally gracing the decks at clubs such as Yellow in Japan to London’s Ministry of Sound and beyond. In 1985 he met Jay Steinhour and Thommy Davis, who later formed The Basement Boys production company. The Basement Boys have produced countless dance classics like Crystal Waters’ 1991 Gold single, ‘Gypsy Woman’. In the mid 90’s Teddy Douglas and Jay Steinhour opened Basement Boys Records and released club anthems from Teddy Douglas, Jasper St. Co., Ann Nesby, Those Guys, DJ Spen, Byron Stingly, Karizma, Kenny Bobien, Taja Seville and more

***BACK IN STOCK ON ORANGE CREAM VINYL!!!

On Fire is widely recognized as the canonic pinnacle of Galaxie 500's career. The artwork conveys this, with a low-angle shot of the band, looking up towards an amber sky. This record marked the realization of their signature sound. Nowhere is it clearer than on the album opener, "Blue Thunder," the closest a song can come to waves crashing on a beach in song form. Lyrically inconsequential, with a chorus composed entirely of "la"s, the track's power lies in a systematic build and break of intensity that reaches a Spector-like climax. It is the quintessential Galaxie 500 song, encapsulating all that was great about the band. With the Boston trio once again utilizing the bizarre genius of producer Mark Kramer, On Fire sounds like anything but. The guitars are warm blankets enwrapping Dean Wareham's vocals, percolated by the open percussion of Damon Krukowski and anchored by the emotion-laden bass of Naomi Yang. Songs like "Snowstorm," "Strange," and "Decomposing Trees" have an endless quality, without beginnings or ends, but rather frozen somewhere on a spectrum of melancholy. For the first time since its original pressing, On Fire is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

Ena revisits his Divided series with 2 unique releases compiling highlighted dissections of his live performances, further developed into individual tracks.HOROEX4 - Divided: Body sees Ena's return to the Horo label for his first vinyl release since the Divided 7' in 2015 which garnered support from the likes of Nicolas Jaar and Lee Gamble. Divided: Body contains 4 physical, caustic creations that show clearly just how far Yu's style has developed in the past 3 years since his landmark 'Binaural LP for Horo.

Ren Schofield’s long running electronic project Container returns with his first release since the Creamer EP in 2021. Rolling straight out of the pandemic Schofield has since played a large number of live shows all over the planet, rilling up audiences with a heady mix of method and mania. Now is the time to unleash a new studio offering.

Yacker presents what is undoubtedly an electronic record but one imbued with a spirit more aligned with rock music. Always hijacking the electronic music scene for his own unique and twisted path here we see a further extrapolation on his original blueprint for DIY noise techno adding a more physical and muscular edge to the standard hysterical proceedings. The drums retain an almost human, somewhat muscular feel with a sweaty and suggestive ‘real drums’ feeling.

Schofield cites inspiration on Yacker as the Nirvana song ‘Oh, The Guilt’, the Mindflayer album ‘It’s Always 1999’, and the Rah Bras song ‘Sooop Toe Pump Girls’. Container has always danced the absurd space between serious and stupid, with Yacker all elements are turned up to eleven as he delivers a pristine field guide to furious frenzied fun.

Yacker strikes an even balance between heavy, relentless, joyful, silly, and sloppy. Think Lollapalooza 1996 held at Berghain 2006 and you are somewhere on the way to formulating this fresh new insanity from one of the contemporary electronic music scene's more playful pioneers

"SUNSHINE is my Appalachian trail album. It’s the collection of songs I wrote after walking 1500 miles in 123 days, and all that unraveled as a result. The biggest change in my life, after living outside for 4 months, is that I haven’t lived anywhere since. I’ve been nomadic for three years now and this album is the result of that.

Single #1 Orbit
There are many things that have changed about my life since I wrote my last album, and one of those has been falling in love. I wrote Orbit after falling in love with my partner Milla. I was awe-struck, dumb founded, blinded by the light, however you want to call it. I could not believe my luck, and I wanted to write a song about it. I wanted the song to race fast like a heartbeat, and to get up in your face like feelings. The music video is about finding harmony with all the different parts of yourself.
For fans of Johnathon Richmond, Daywave, Paul Cherry, Beach Fossils

Bogotá-based Colombian composer Eblis Álvarez, known as Meridian Brothers, has been concocting a unique blend of psychedelic sounds since 1998. With his latest project, "Mi Latinoamérica Sufre," Álvarez explores the untapped potential of the electric guitar in a tropical Latin context. Drawing inspiration from African highlife and soukous traditions, Álvarez crafts a fearless sonic experiment infused with invention, playfulness, and emotion. Unlike typical tropical guitar records, this album eschews distortion and clichés, opting for a pure, clean approach. Through intricate compositions blending cumbia, champeta, soukous, Brazilian tropicalia, and underground psychedelic rock, Álvarez pays homage to the golden era of Congolese rumba, Ghanaian highlife, and Nigerian afrobeat.

"Mi Latinoamérica Sufre" delves into the ego trip, presenting a humorous yet introspective journey of self-discovery and identity. The central character, Junior Maximiliano the Third, navigates through the complexities of self-discovery using psychedelic substances, political philosophy, and folklore. As he grapples with nostalgia, paranoia, and shared suffering, Álvarez showcases his vocal prowess, creating a sonic theater of the mind. Accompanied by visual narratives from Colombian artist Mateo Rivano, the album portrays various psychological states of disorientation, self-pity, enlightenment, and optimism. "Mi Latinoamérica Sufre" emerges as a worthy and innovative addition to the concept album tradition, offering a distinctive blend of bitter-sweet flavors inspired by Latinoamérica.

A unique, dreamy Dutch-language indie-folk record reminiscent of Jessica Pratt and Joni Mitchell.



Catbug is the project of singer-songwriter Paulien Rondou who grew up in Duisburg, a Belgian village near Tervuren. After completing her 'Cabaret' studies at the Antwerp Conservatory, Paulien moved to her mother and stepfather's little farm in Westmalle. Although she left without any specific goal in mind, it didn't take long for the first wonderful songs to originate in this environment.

Catbug released her debut album Universe back in 2018. A record that immediately put her on the map within the Belgian music landscape. "Since the release of King Fisher, Catbug's first song, we have been sitting here on the edge of our seats", Radio 1 wrote about it at the time. Despite the fact that her musical career had clearly taken a direction, Paulien did not feel comfortable living the big city life. That said, it didn't take long before she left Antwerp behind to run the organic farm De Paardebloemhoeve in Malle. As it turned out, that farm was the ideal habitat for Paulien to work on her first Dutch-language album slapen onder een hunebed peacefully and quietly. This album was also well received in Belgium and was even picked up by Japanese label Think!Records. In one way or another, Catbug's music reached the Japanese label and, upon their request, several hundred vinyls were immediately sent out to Japan. In no time, all vinyls were sold out. Despite the fact that Catbug's lyrics are sung in Dutch, the people in Japan love her music.

Now, three years later, there's the brand new album Musjemeesje. The album has become an ode to all the birdson and around the farm, which again served as the breeding ground for all the new songs. One winter day in 2021, Paulien was given a pair of binoculars as a gift and decided to learn as much as she could about the birds on and around the farm. Soon she learnt to recognize the distinctive sounds and ways of flying of many different species, and a separate story began to form with each bird. There was something in them that Paulien identified with, and she wanted to try to map it out. This is where the idea was born of writing an album of songs about birds. "Birds always manage to uplift and inspire me with their crazy habits and their twittering. They reach out to the child in myself", Paulien added herself. For this album, Paulien worked with producer Aiko Devriendt again, who also did the mix. They recorded the album in pianist Guy Van Nuyten's studio and just like they did the last time, a conscious choice was made to keep it sober. Less is more. This resulted in a unique, dreamy Dutch-language indie-folk record reminiscent of Jessica Pratt and Joni Mitchell.

Field Music will release Limits of Language, their first album of new music for almost four years. Back in 2022, the touring cycle for the Flat White Moon album ended with a sense of finality. For the first time since the Mercury-nominated Plumb ten years earlier, Peter and David had no plan for what, if anything, would come next. However, after six years of continuation, they were clear that if Field Music was to carry on then it would have to be different, in both sound and scope.

Field Music will release Limits of Language, their first album of new music for almost four years. Back in 2022, the touring cycle for the Flat White Moon album ended with a sense of finality. For the first time since the Mercury-nominated Plumb ten years earlier, Peter and David had no plan for what, if anything, would come next. However, after six years of continuation, they were clear that if Field Music was to carry on then it would have to be different, in both sound and scope.

LP - 180 Gram Vinyl Alex Rossi`s third solo album `Buenos Aires Sessions' , is a vibrant and soulful exploration of funky jazz, recorded in May 2023. He came upon the Harmonica in his childhood when passing a harmonica factory. The young musician developed his own technique by profiting of his basic musical knowledge, technical information given at the factory and by his musical experiments. Since then, he is traveling the world, giving courses and performing on stages with great names of the Blues circuit like Buddy Guy, Magic Slim, Koko Taylor, Smokin' Joe Kubek, Tutu Jones, Lucky Peterson, Texas Slim, Sam Meyers, Robert Ealey, and John Primer, Jeff Healey, the saxophonist Joshua Redman.

LP - 180 Gram Vinyl Alex Rossi`s third solo album `Buenos Aires Sessions' , is a vibrant and soulful exploration of funky jazz, recorded in May 2023. He came upon the Harmonica in his childhood when passing a harmonica factory. The young musician developed his own technique by profiting of his basic musical knowledge, technical information given at the factory and by his musical experiments. Since then, he is traveling the world, giving courses and performing on stages with great names of the Blues circuit like Buddy Guy, Magic Slim, Koko Taylor, Smokin' Joe Kubek, Tutu Jones, Lucky Peterson, Texas Slim, Sam Meyers, Robert Ealey, and John Primer, Jeff Healey, the saxophonist Joshua Redman.

Das neue Album des kroatisch-slowenischen Soul-Pop-Duos freekind., bestehend aus den beiden Jazzerinnen Sara Ester Gredelj (piano, voc) & Nina Korosak-Sercic (drums), kanalisiert die Essenz des goldenen Hip-Hop-Zeitalters, aber auf eine frische und innovative Weise, indem es Elemente aus Pop, Neo-Soul und Jazz einbezieht. freekind. Songs tragen eine starke Botschaft der Liebe und Hoffnung, ergänzt durch R&B- und Jazz-Grooves. Die Musikszene lernte das Duo 2020 mit einer ersten EP kennen, es folgten Auftritte auf europäischen Festivals wie Reeperbahnfestival, Eurosonic, Ljubljana Jazz Festival, Europavox oder Waves Vienna. 2023 erschien ihre Debüt-LP "Since Always And Forever" via Légère Recordings, aus der viele Songs auf Sendern wie FM4, RBB radioeins und Flux FM Berlin liefen.

It has now been four years since our return to earth in "2020 back to earth". There we had found a cold and inhospitable place, humanity was inexorably channeled on the path to extinction. We therefore decided to flee immediately in search of another planet where we could dwell.
We therefore came to New Babylon, a planet inhabited by humanoids but also by monstrous and ravenous creatures. There are "giants" that march about raising immense clouds of dust, stealing and plundering everything from people. Giants much like our corporations, they know no defeat and have no weaknesses, at least apparent ones.
There are old warriors like jarek who wait for war to feel like heroes, to feel alive. They find their dimension within the battle, where the line between hero and assassin magically blurs.
There are pyramids erected by men who think they are gods and turn the things life gives them into weapons and death, changing their use and meaning. Little men who think themselves omnipotent, burying knowledge of how life works under piles of lies.
We find a myriad of slaves, surrendered to live in huge troughs. They toil at nothing and find meaning in nothing. They prefer a convenient lie to an inconvenient truth.
In short, we realize that we have arrived in a world very much like earth. We are aliens but in a certain way we feel at home. We want to know, to understand, to evolve. We don't recognize ourselves in this deceived humanity, we don't give in, we believe. Nature, life is wonderful but when one thing loses its usefulness life gently explains to it that it is time to make room for something else. This existence has already explained to the dinosaurs.
Kayleth continue their journey, never stopping because who seeks will find itself.

"New Babylon ranks next to Space Muffin as Kayleth’s best album for me and one that contains some of their best grooves of their career to date." - Outlaws Of The Sun
"Sit down and really take in We Are Aliens as it’s a joy to listen to, but are the aliens we think exist, just like us? Let Kayleth take you on their journey of discovery." - The Sleeping Shaman
"On this album the Italian five manage to translate heroism into wild and wonderful sounds, often sounding even more like a grungier, metal version of Monster Magnet, mixed with mix a definitive love for Kyuss, Orange Goblin and a prog rock outfit like Riverside." - Stoner Hive
"It’s a call to arms for the dreamers and the rebels, a reminder that no matter how dark the journey, there is always light to be found. This album is a must-listen for anyone into psych stoner rock!" - Witching Buzz
"New Babylon is a triumph. It’s an album that demands to be listened to in full, each track a journey through heavy riffs and cosmic themes." - Iron Backstage
"Listening to a piece like 'New Babylon's Wall,' you can appreciate the richness and sonic fertility of the group, with beautiful melodies enriched by the right amount of electronics, starting from a psych conception of the stoner sound, and there is no lack of prog elements, all with beautiful melodies. As mentioned earlier, a sci-fi band in both approach and essence." - InYourEyesEzine
"KAYLETH doesn't reinvent anything, but they absolutely crush it by the rules!" - Rock'N Force
"Stoner rock has rarely sounded as original, diverse and intoxicating as it does here!

10 brand new songs mixed and mastered by Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...). Having past 28 years since the last long play (Fuzz Godz, 1996, a Kent Steedman production) and after the rebirthing of the band and come-back from the vaults of oblivion, La Secta take the right decision to record ten brand new songs now with the hand of Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...) behind the mixes and masterization, from his Seattle studio, not able to come to Spain due personal health issues. This fourth Long Play takes intense power, giving the sound another stratospheric dimension after Mr. Endino treatment. Ten songs surfing from psych rock and dark psychedelia through the Aussie Rock and raw folk to ranking psych jungle and the darker Stooges with some groovy garage, grunge and surround psychedelic elements. For fans of psych rock, dark psychedelia, aussie rock, raw folk, groovy garage, grunge...

Obijuan & YUNGMORPHEUS join forces on SLANG CASINO. Smoked out raw hip hop that sees Obijuan's unique flow tread across a range of soul & funk laced beats produced by YUNGMORPHEUS. But since both artists are of Bahamian and Jamaican descent respectively, they wanted to bring it back to their Island roots and blend some reggae with the grittier hip hop sound they're known for. Slang talk, bravado and esoteric maundering run throughout the record, with guest features from Rahiem Supreme, Bisk, and looms.

The thirteenth drop from Curtis Electronix comes courtesy of veteran of the electronic music scene. Edward Upton has been producing music since 1994 and much has changed since he unveiled his debut release under the DMX Krew alias. Warp Zone LP showcases the great mastery of his studio, his technical expertise and his exceptional ability to create monolithic soundscapes using very few elements. Each layer contributes to a rich, immersive experience, each element resonates with depth, highlighting his deep understanding of club music, sonic texture and space.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

To mark the 10th anniversary of Gidge's landmark album Autumn Bells on Atomnation, the label has assembled a brand new box-
set reissue. This deluxe and expanded edition features a 58-page photo book, poster, the original double album plus a nine-track bonus vinyl with alternative edits and demo tracks from the time, all on transparent wax. The exclusive, limited edition boxset comes first on September 27, then all tracks come digitally in mid-November.

Gidge is the Swedish duo of Jonatan Nilsson and Ludvig Stolterman, who has also taken all of the photos in the booklet. As
friends since high school, they have a deep connection, a great understanding of one another and a shared love of Nordic
woodlands. The spirit of the northeastern forests they grew up around has always coloured their music and lent it an organic,
ethereally, otherworldly edge that conveys feelings of inner peace.

Their brilliant debut album Autumn Bells captured all that in nine accomplished tracks that picked up critical praise from the music
media and millions of online streams. More importantly, it also won them a dedicated fan base who appreciate the art of Gidge's
craft and the sensitivity of their sound. Despite the early success of the album and the three more that have followed since, this
humble pair have chosen to remain low-key. They play only a few shows a year and consciously haven't chased wider commercial
acclaim.

Readers of encyclopedic tomes are obviously familiar with exploding animals – there are numerous reports of torn-apart toads (even in Hamburg, Germany!), actual ants exploding altruistically – but humans that decide to jointly detonate, and with no harm done, that’s rare: Kobe’s own o'summer vacation are unique (and volatile) like that, and they’re back to light the fuse for the second time, presenting 13 more musical quarter sticks that have already blown up venues in Europe and Japan.

“Keep it lean, keep it mean,” they say, and that’s what this band loves to take to the extreme: breakneck concision and collective combustion meet freeform noise punk hazards on o'summer vacation's second (not quite) full-length – as the Kobe-based three-piece’s “Electronic Eye” is set to arrive on October 11, 2024. Following a bunch of trips to Berlin, Munich etc., the Japanese fire starters have found a new home with Alien Transistor, and it’s the perfect launch pad for their latest set of guitarless pyrotechnics. Going right for max q (maximum dynamic pressure), “Electronic Eye” is (unlike those Starships) actually supposed to explode right after lift-off ;)

Even though there have been some line-up changes since the group recorded its sophomore album, the energy caught by producer Shinji Masuko (DMBQ, Boredoms) is still unmatched: a very physical and hard-knocking barrage of mosh-inducing madness that leaves you speechless + inevitably twitching towards the pit. Mastering was done by Masaki Oshima aka Watchman (Melt-Banana).

Opening with sizzling hi-hats and heavy ripples of breathless bass, singer Ami presents a non-sequitur kind of lullaby over the math rock-style interlocutions of “宿痾 (Shuku - A)” – which at 6+ minutes makes up more than a quarter of the album. A shapeshifting frenzy of voice (Ami), unbridled, pedal-powered bassline insanity (Mikkki, formerly Mikiiiii), and hot-blooded drums (Manu, meanwhile replaced by Karry), the album features mosh-inducing blows (previously released “Luna,” “Anti Christ 大体 Super Star”), 30-sec mini noise punk anthems (“竦(shou)”, “Days Go By Fast”), and continues to surf at breakneck pace up and down scales (“@ The”), which often feels like catharsis served with a hammer (“Ultra”). Whereas some tracks are bigger more song-y than others (“Song#2,” that full-throttle “Poodle”), “Vs I” is on time like Tierra Whack (exactly 60 seconds of pick-grinding action), and “Rage” indeed feels like Zack is about to join the party – only to see Ami wipe the floor with pure onomatopoetic fire. Finally, “Aloooooone” and “Humming” (that opening lilt!) are sure going to be live favorites, shifting up and down via hardcore speeds and various break-downs.

Quite hotheaded and terminating things on a high note, o'summer vacation point out that the quick-fire lyrics of their “songs have no meaning. It’s called onomatopoeia in English. Ami, our vocalist, does not like to communicate her thoughts through her music.” Although she considers her contribution “a part of the instrumentation,” they still have strong messages and concerns (unrest, discontent, willingness to shake, wake up, enliven anyone near the audible bomb crater): “That doesn’t mean we don’t have a point of view, but we choose to express ourselves through sound rather than words. Generally, but not exclusively, we are anti-racism, anti-war, gender-free, angry at the companies we work for and their bosses, etc., which are very common sentiments held by so-called rock bands.”

It’s only three ingredients, just like sonic gunpowder: bass, drums, voice – but they tend to explode a few bars into each new track. In a perfect world, there’d be giant colorful clouds of dust gracing the sky over each venue they descend upon.

Mighty Vertebrate is the International Anthem debut from Anna Butterss. The Adelaide born bassist / composer has been a first call for LA tour and studio work since relocating there in 2014 – racking up credits with notables across the experimental, jazz, and pop worlds alike – but their most notable contributions to the burgeoning LA scene have been as a member of both Jeff Parker’s ETA IVtet and rising proto-trance supergroup SML, who Pitchfork says “represents the thrilling next phase of a vibrant L.A. community.”

“I had just gotten off of a bunch of touring at the end of 2022 and just wanted to write music,” says Butterss. “The best way for me to do that, I’ve found, is to set myself a discreet and focused task."

I’m going to make a song where the bass doesn’t function in the role of a bass.
I’m going to work on this for an hour and then I’m going to stop.
I’m going to make a song that uses groups of three-bar phrasing.
I want to sample something and make it into a song.
I’m going to start with a drum machine.

The music itself reflects that structure beautifully, with the material being tightly
composed and melodically realized by Butterss well in advance of production concerns. Here they reconvene a group of trusted longtime collaborators to bring their compositions to fruition: Ben Lumsdaine (drums, guitar, production), Josh Johnson (sax), and Gregory Uhlmann (guitar), plus a smoking guest appearance from Jeff Parker. The breadth and scope of the results might have been difficult to achieve otherwise. From the Robbie-Shakespeare-in-groove-mode intro to the album opener “Bishop” to the spacious cinematic doom of “Seeing You”, there is a lot to wrangle into one cohesive concept. On Mighty Vertebrate, Butterss and crew do just that.

Timeless soul, 'Cool Cool' is the standout title track from James Alexander Bright's recent album. It's an immediately enchanting gem, with tendermusicianship and a stripped back production highlighting James' voice, pitchedsomewhere between Eddie Chacon, Beck and Michael McDonald. Athens of theNorth's in-house band East Coast Love Affair add a delightfully psychedelic Balearicpiquancy with an beautiful dub version on the flip.

'Cool Cool' has been enjoying a plethora of worldwide support; seeing James insession for Gilles Peterson, suppling a Block Party mix for Huey Morgan, interviewedby Bandcamp Weekly, and played across tastemaker shows on stations includingBBC 6 Music, FIP, Jazz FM, KCRW, KEXP, Les Inrocks, NTS, Soho Radio, Triple R,WDET, WNXP.

The past six years has seen James release a veritable treasure trove of music:'Mallorca' and 'Strange Folk' EPs, debut album 'Headroom', joyous second 'Float', analbum of collaborations and reworks with cosmic Americana-disco DJ/producer duoFlying Mojito Bros, and a new project with Groove Armada's Tom Findlay as Bright &Findlay. 'Cool Cool', his third solo album since 2020, was released on 26th July 2024.

The Concealed Club Manifesto project pays homage to the mid 2000s underground UK club music scene, an era of music which acts as well of inspiration and creativity for the Nouveau Monica, and has no doubt helped shaped his sound. For the French producer, the UK club scene holds a special allure and mystique, especially since he observed this phenomenon from afar, and was idealized as one of the most “pivotal” moments in underground club culture, making it seem intangible, hence concealed. Nouveau Monica’s sound palette is deeply rooted in the UK scene, which he combines with his own personal musical background. This mid 2000s UK club sound is what the producer defines as his “Golden Era” and the genres created during that time are the building blocks of the Concealed Club Manifesto EP.

“See the Light” closes the EP as a triptyque. First with the OG version, cut out to be the straightforward, grimy, clean, and uncluttered bass track the producer always seeks for when going for the uncompromisingly strong raw material.

The second version conducted by Nouveau Monica as an alternate 4/4 version of the same title, harmonizes the repetitive chopped vocals with a technically syncopated drum loop designed for a new mental perspective, an after-hours sensation that blurs the line between euphoria and melancholy.

The last iteration of “See The Light” comes from none other than Hodge himself. A club tailored cut with a heavy groove, pattered with percussive elements, followed by sun drenched melody and sweltering pads that unleash into a a bellowing bass track, perfectly suited for peak sunset hours at a day rave an unforgiving Soundsystem.

On their third full-length album, 'The Signal', the Compact Disk Dummies keep a few interesting balls in the air. They play with the opinions and expectations of the outside world, while also confronting their own desires and doubts. This is aptly depicted on the cover with a table, a bell, two brothers and an impatient crowd: who is waiting for whom? The album is as diverse as its cover is surprising. In a mix of styles and influences ranging from retro house to funk, Lennert and Janus Coorevits demonstrate their versatility. Following their scintillating performances at Rock Werchter and Pukkelpop, and the success of the radio hits 'There's No Sex Without You' and 'fomo', 'The Signal' marks the start of a new era for the Dummies.

Lennert notes, "Pfff, I would think about everything indefinitely. And I'm not the only one, I notice. Stuck in a kind of limbo, a state of uncertainty, surrounded by signals, but still feeling a certain fear of following the signal."

On 'The Signal', 'fomo' dissects human desire, reaching for the unattainable. 'Where We Go (Calypso)' is like the shipwreck no one wants. And in the title track, the female lead character finds herself in a toxic relationship, the signs of which are obvious, at least to the outside world. While the content of 'The Signal' revolves around doubt, contemplation and acting or not acting, the musical interpretation is in direct opposition to that. The Compact Disk Dummies do not doubt; they hold their heads up and their chests out. With certainty, they mix everything that excites them musically into the blender, without grinding the identity of the Dummies themselves; actually enriching it instead. The retro house of 'Solàr' (a song about Louis the Fourteenth? Why not) flows into the rampant funk of 'Ballet Dancer' before expanding into 'Underwater'. In every track, you sense the long road the Coorevits brothers have travelled since their breakthrough - and their then angular electro-punk. This third album is Lennert and Janus' most sophisticated work in the expanding universe of the Compact Disk Dummies.

In addition to being a mix of styles, 'The Signal' is also a mix of collaborations. There is the French touch of mixer Michael Declerck and mastering engineer Alex Gopher. There is the Dutch input of Wieger Hoogendorp (Goldband) and Jens Van Der Meij (Froukje). Beautiful string sections are provided by Wietse Meys and Reinhard Vanbergen, bass licks by Boris Van Overschee and backing vocals by Isolde Lasoen and Judith Okon, among others. Producer Jasper Maekelberg always kept an eye on things. And again, for the third album in a row, after 'Mess With Us' (2013) and 'Neon Fever Dream' (2020), artist Athos Burez also provided the artwork for 'The Signal'.

But however international the music sounds, however great the contributions from other top artists, 'The Signal' remains largely the work of the Dummies, with Lennert as vocalist, lyricist and multi-instrumentalist, and Janus as engineer, producer and all-around tech wizard. The album was not made in New York, Tokyo or Berlin, but in Desselgem. Studio 87, the Coorevits family's garage converted into a studio, remains Ali Baba's cave for the Compact Disk Dummies. In their studio crammed with synths, percussion and guitars, Lennert and Janus could not ignore the signal: time to smash it!

2025 Repress

Originally released in 2002 the Martin Solveig remixes of Madan by Salif Keita is one of those rare releases that even now, 22 years on still gets played everywhere from festivals in Croatia to super clubs in Ibiza. Anyone who has graced any dancefloor in the past 20 years will no doubt instantly recognise this one!

Afro house with a French touch, Salif Keita, often referred to as the 'Golden Voice of Africa' lends his impeccable vocals to flawless production by Martin Solveig.

Until now the only way to obtain a copy on vinyl would be to pay close to £50 on second hand market. For the first time since its original release in 2002, South Street International have remastered and officially reissued this modern classic. Both the Exotic Disco Mix & Exotic Disco Dub are included here, one side each & cut loud for maximum enjoyment.