Search:sound

Bryan Ferrys gefeiertes Album „Avonmore“ aus dem Jahr 2014 ist eine meisterhafte Mischung aus anspruchsvollem
Songwriting, eleganter Produktion und atmosphärischem Charme – von Kritikern als sein bestes Werk seit
„Avalon“ gefeiert. Mit Kollaborationen mit langjährigen Bandkollegen von Roxy Music und Gastauftritten
von Johnny Marr, Nile Rodgers und Marcus Miller liefert das Album einen modernen und doch klassischen
Ferry-Sound. Herausragende Tracks wie „Loop De Li“ und „Driving Me Wild“ zeigen seine charakteristische Mischung aus Eleganz und Melancholie, während Coverversionen von Stephen Sondheims „Send in
the Clowns“ und Robert Palmers „Johnny and Mary“ für zusätzliche Tiefe sorgen. Ein Muss für Fans von
Bryan Ferry und raffnierter Pop-Kunst und eine fesselnde Ergänzung für jede Sammlung.
Das Album erscheint zum ersten Mal seit 2014 wieder auf limitierter roter Vinyl-LP und CD. Bryan Ferry
hat auch das aktualisierte Artwork für beide Formate gestaltet.

Am 19. September 2025 veröffentlicht die britische Sängerin Lola Young ihr drittes Studioalbum „I‘m
Only F**king Myself“, welches unter anderem auch ihre Hits „One Thing“, ”Not Like That Anymore”
und ”d£aler” enthält. Nachdem sie mit dem hochgelobten Vorgänger-Album „This Wasn‘t Meant For You
Anyway“ (2024) alle Erwartungen übertraf und mit der Hitsingle „Messy“ die Charts dominierte, legt sie
mit diesem Projekt einen drauf. Mit einem musikalischen Mix aus Pop, Soul und Indie-Rock, scharfsinnigen
Lyrics, einer ordentlichen Portion Charisma und ihrem typischen South-London-Sound beweist Lola Young,
warum sie als einer der spannendsten Stimmen ihrer Generation gilt. „I’m Only F**king Myself wurde
von Lola Young zusammen mit Manuka und SOLOMONOPHONIC (Doja Cat, SZA) geschrieben und
produziert und ist ab dem 19.09.25 erhältlich.

Der Co-Founder, Gitarrist, Sänger und Songwriter Jake Kiszka gründete 2023 gemeinsam mit dem britischen Sänger und Gitarristen Chris Turpin, einem Mitglied des Folk-Duos „Idea Mea“, ein neues Bandprojekt
unter dem Namen MIRADOR.
Gemeinsam erkunden sie die Grenzen des Rock’N’Roll und zeichnen sich durch ihren gitarrenlastigen Sound
aus.
Dieser unverwechselbare Stil verleiht MIRADOR ihr charakteristisches Rockband-Image.
Das gleichnamige Album „MIRADOR“ umfasst 12 Tracks und ist sowohl als CD als auch auf Vinyl erhältlich.

TRON: Ares (Original Motion Picture Soundtrack)
24 neue Tracks von Nine Inch Nails: das Duo aus Trent Reznor und Atticus Ross veröffentlicht am 19.
September 2025 sein Album zum Disney-Kultfilm „TRON: Ares“, inklusive der neuen Single „As Alive As
You Need Me To Be”. Damit setzt die Band eine erfolgreiche Soundtrack-Geschichte fort: ihre vorherigen
Untermalungen zu Filmen wie „The Social Network“ (2010), „Soul“ (2020) oder „Challengers“ (2024)
wurden unter anderem mit zwei Oscars, drei Golden Globes, einem Emmy und einem Grammy ausgezeichnet. Die düstere Industrial-Handschrift Trent Reznors fängt die Stimmung der Sci-Fi-Reihe „TRON“, für
deren letzten Film Daft Punk komponierten, perfekt ein. Reznors Einfluss auf die alternative Musikwelt ist
seit den späten 80ern ungebrochen: mit Hits wie „Closer“ und „Hurt“ sowie Alben wie „The Downward
Spiral“ kombinierte das Mastermind elektronische Sounds mit Rockmusik wie nie zuvor. „TRON: Ares“ ist
die erste NIN Veröffentlichung seit fünf Jahren und liefert gleich 70 Minuten neue Musik – erhältlich ab
dem 19.09. auf CD und Vinyl.

Dem Pianisten Sonny Clark (1931-1963) wurde gelegentlich nachgesagt, er habe sein Licht zu sehr unter
den Scheffel gestellt und sei auf seinen eigenen Platten zu oft in die Rolle des Begleiters geschlüpft. Für das
1957 entstandene Album ”Sonny’s Crib” gilt das jedoch nicht. Mit einem fantastischen Sextett interpretiert
er hier zunächst drei Standards, bevor er zwei seiner bekanntesten Eigenkompositionen vorstellt. ”Sonny’s
Crib” zählt neben John Coltranes ”Blue Coltrane” zu den Alben, die den aufregenden Hard-Bop-Sound der
späten 1950er Jahre bei Blue Note geprägt haben.

Der aus Harlem/New York stammende Pianist Freddie Redd (1928-2021) wurde 1959 durch die Musik
bekannt, die er für das mit mehreren Preisen ausgezeichnete Off-Broadway-Theaterstück “The Connection” geschrieben hatte. Der Soundtrack des Theaterstücks, in dem es um das Leben heroinabhängiger
Jazzmusiker geht, erschien ein Jahr später bei Blue Note. Noch im selben Jahr spielte der von Charlie
Parker, Thelonious Monk und Bud Powell beeinflusste Pianist mit “Shades Of Redd” sein zweites Album für
das Label ein. Darauf stellte er sein kompositorisches Können mit einem formidablen Hard-Bop-Quintett
noch nachhaltiger unter Beweis.

On Friday, September 5 Liv Andrea Hauge Trio releases its third album, Dognville, on Norwegian label Hubro. The record explores the feeling of being "dognvill" a Norwegian term describing the sensation of being out of sync with time and reality, like during jet lag or insomnia. The music inhabits this liminal space between structure and freedom, consciousness and dream. Half of the compositions were written while pianist and composer Liv Andrea Hauge was bedridden with a high fever in a semi lucid, dreamlike state. The other half emerged ahead of the trio's European tour in autumn 2024.The result is a fusion of fresh inspiration and songs shaped and seasoned through live performance a record rooted in both spontaneity and maturation.Since forming in 2022, the trio Liv Andrea Hauge (piano), Georgia Wartel Collins (bass) and August Glännestrand (drums) has become a compelling voice in modern acoustic jazz. With extensive touring across Norway and internationally, and two previous album releases, the band has cultivated a strong, intuitive musical chemistry.Dognvillereflects this presenting a sound that is more serious and contemplative than earlier works, echoing the uncertainty and introspection of our times.

Disasternoon is an album of psychedelic melancholia, a carousel of dreams, otherworldly and fantastical, each song sculpted into an allegory, elegant, rich, textured and authentic. Crayola Lectern explore memories, separation, isolation and the times that changed us, with lyrics scattered sparingly throughout. Crayola Lectern is the project from Chris Anderson, often compared to the piano led jazz of Robert Wyatt, the psychedelic folk of Gorky's Zygotic Mynci, with echoes of Mercury Rev, or Flaming Lips, and experimentalism of Fred Frith. In 'Disasternoon' Chris Anderson performs on vocals, piano, mellotron, synths, organs, sax, guitars and bass, with Alistair Strachan on trumpet, cornet, glockenspiel and Damo Waters on drums and percussion. Bic Hayes performs electric guitar solos on Disasternoon and Coscoroba, and Maria Marzaioli plays violin in Coscoroba. The live show often also featuring the likes of Jon Poole (Cardiacs, Widhearts) heading-up electronics, gadgets, sounds and keyboard parts, Bob Leith (Cardiacs) on drums, and Bic Hayes (Cardiacs, Levitation) on guitar.

Mit der neuen Single ,Die 10 Gebote der Jungpianiere" auf der A-Seite und dem Klassiker ,Skandal im Sperrbezirk" auf der B-Seite bringen sie Punk-, NDW- und Rock-Attitüde zurück in die Jetztzeit. Mit ,Die 10 Gebote der Jungpianiere" präsentieren PIA UNITED nicht nur einen Song, sondern gleich ein Manifest für ihre stetig wachsende Fan-Community. Im Mittelpunkt steht die charismatische Frontfrau Frollein Höhne, die gemeinsam mit ihren drei erfahrenen Mitstreitern General, Sir Herle und Costja Chaos musikalisch und textlich klare Kante zeigt: Freude am Anderssein, rebellischer Humor und Zusammenhalt beschreiben das Lebensgefühl der Pianiere. Der B-Seiten-Hit ,Skandal im Sperrbezirk" (feat. Jogi von HARTHOLZ) taucht die NDW-Legende der Spider Murphy Gang in ein neues Licht - visuell und soundtechnisch frisch aufgeladen. 2 Track 7" in schwarzem Vinyl Auflage: 300 Stück, handnummeriert Inside out print, + Post- und Mitgliedskarte

Needless, Monoder & TM Shuffle join forces on VUO Records for a deep excursion into the realms of dub-infused techno and stripped-back house. Echoing chords, warm low-end pressure, and hypnotic grooves form the backbone of this release - a sonic journey where raw analog textures meet subtle swing and spatial depth. Crafted for sound system lovers and late-night explorers alike, this is a record that resonates far beyond the dancefloor.

Tuber, steps into the spotlight with his debut EP, a calculated assault tailored for dark and smoke-filled rooms. Five meticulously programmed tracks, each designed to unleash visceral sensations when played on top-tier sound systems. The result is a heady, sweat-soaked experience, drawing dancers into a relentless rhythm that captivates the mind and drives bodies in motion

EELS-Frontmann E und Kate Mattison (79.5) präsentieren: BOO BOOS – YOUNG LOVE

Ein bicoastales Indie-Soul-Debüt zwischen Charme, Tiefgang und verspielter Nostalgie

Mit Young Love veröffentlichen die Boo Boos – bestehend aus Mark Oliver Everett (aka E, Frontmann von EELS) und Kate Mattison von 79.5 – ihr gemeinsames Debütalbum. Entstanden zwischen Los Angeles und Brooklyn, verbindet das Album verspielten Indie-Soul, herzliche Melodien und den unverkennbaren Sound zweier Ausnahmemusiker*innen.

Was mit einem zufälligen KCRW-Radiomoment begann, entwickelte sich schnell zu einem kreativen Hin-und-Her zwischen Küsten und Klangwelten. Produziert wurde das Album vom Duo selbst, aufgenommen u. a. mit Koool G Murder, Tommy Walter, The Chet, Caíto Sánchez und dem Hollywood Boo Boo Orchestra, dirigiert von K.G. Murder.

Young Love ist mal groß, mal intim, immer aufrichtig – ein warmherziges, unangestrengtes Album, das Soul, Pop und persönliche Geschichten in den Mittelpunkt stellt.

Für Fans von: EELS, 79.5, Durand Jones, Lady Wray, Chicano Batman, nostalgischer Pop-Intimität und liebevoller DIY-Produktion.

Das atemberaubende Debütalbum von Peki Momés mit 12 herausragenden Songs: Türkischer Psychedelic, Global Disco und Outland! Peki Momés ist eine in Deutschland lebende türkische Künstlerin, die erst 2024 zufällig begann, Musik aufzunehmen. Gesegnet mit Stil und Intuition statt formaler Ausbildung, eroberte ihr frischer und kompromisslos authentischer Zugang zur Musik Herzen und Ohren im Sturm. Peki wurde innerhalb und außerhalb der Organic-Groove-Szene schnell zur Sensation, die von Trendsettern wie Coco Maria, Iggy Pop oder Turntablist DJ Koco unterstützt wird. Peki Momés' Musik ist ein vielseitiger Mix aus Klängen des globalen Undergrounds, geschmackvoll arrangiert von Produzent Dustin Braun und einer Band unglaublich talentierter Jazzmusiker. Dirty Disco, Fuzzy Funk, anatolische Rare Grooves, experimentelle Synthesizer, Library Music und japanischer City Pop verschmelzen auf natürliche Weise mit ihrem unverwechselbaren Gesang und kreieren einen einzigartigen, ätherischen, fremdländischen Sound, der ganz ihr eigen ist.

Limitierte Erstausgabe im handgefertigten Deluxe-Tip-On-Sleeve.

"Turkish city pop - I love it." - Coco Maria

Find Deliverance“, hat uns mit seiner seltenen Mischung aus technischem Thrash und unorthodoxem, aber höchst inspiriertem Songwriting so begeistert, dass es in unsere Best-of-2022-Liste aufgenommen wurde. Aus dieser Liste wurde eine Zusammenarbeit geboren und nun geben Species mit ihrem zweiten Album „Changelings“ ihr 20 Buck Spin-Debüt. "Changelings" ist in jeder Hinsicht ein Schritt nach vorne, und es ist erstaunlich, wie viel die einzelnen Tracks und das Gesamtwerk leisten können. Das Album bietet ein Übermaß an kantigem Gitarrenkrieg, traditioneller Euro-Thrash-Aggression mit modernem Nachhall, rhythmischen Percussionsanfällen und komplizierten Basslinien, die nicht nur der Gitarre folgen, sondern mit ihr auf eine Weise dialogisieren, die dem Album ein zweites melodisches Gehirn verleiht. In Kombination fügen sich diese Elemente nahtlos zusammen und verleihen „Changelings“ seine farbenfrohe und unheimliche Vision, als hätte John Carpenter „Rust In Peace“ hinter dem Eisernen Vorhang mitproduziert. Es strotzt nur so vor Sci-Fi-Paranoia, außerirdischem Terror und einem Hauch von Bedrohung durch den Kalten Krieg. Die frühe Konvergenz von Thrash Metal und Death Metal ist auch im formwandlerischen Sound von Species unverkennbar.

Zwar gibt es mehr als genug primitive und traditionelle Thrash-Bands, doch Species beschreitet den weniger ausgetretenen Pfad des Genres, der von vorwärts gerichteter Virtuosität und einfallsreichen Experimenten geprägt ist, und zeigt, dass es immer noch genügend fruchtbaren Boden gibt, um neues musikalisches Terrain zu erschließen. Nirgendwo wird dies deutlicher als auf dem 10-minütigen Albumschlussstück „Biological Masterpiece“, wo Species alle ihre Waffen ausspielt: Hyperspeed-Attacken, dystopische Ruhephasen und instrumentale Meisterleistungen in einer klimatischen Saga jenseits von Raum und Zeit. „Changelings“ ist das seltene Album, das heutzutage immer noch die Fähigkeit hat, auf die triumphalste und euphorischste Art und Weise zu überraschen.

Finnish visionary composer, multi-instrumentalist and singer Jimi Tenor joins forces with the bold "Critical Ass" flash mob project from Switzerland to deliver the soundtrack for a truly global happening. The "Critical Ass" crew handpicked Love Is the Language from Jimi's rich catalogue, as the language of love is the metaphysical sun, which gives us the energy to continue the cosmic project called humanity from generation to generation.

The Critical Ass Version begins as a fresh reimagining of the original Love Is the Language, enriched with cinematic horn arrangements and a playful spirit. As it unfolds, the track transforms into a dystopian soundscape, driven by thundering synths and an insistent, forward-pushing beat.

The Koti Koti Version delivers a funky house treatment with clear nods to the '90s, guaranteed to set the dance floor ablaze.

Last but not least, the Original Version stands as a timeless gem of beauty, with the potential to become a true anthem of love.

Following the frankly HUGE Benny L remix, UK dons Reggae Roast wind down the tempo for a deep and heavy dubwise remix, drawing on elements of dubstep for a real soundsystem stepper!

Tyler Bates' original score for MaXXXine and selected songs from the film, pressed on sparkly red carpet glitter vinyl.

Tyler Bates and Chelsea Wolfe's original score for X , featuring Chelsea Wolfe's single "Oui Oui Marie."

Für sein treffend betiteltes Solo-Debütalbum "Introducing..." hat Aaron Frazer mit Dan Auerbach von The Black Keys zusammengearbeitet. Soft spoken und mit dem Aussehen eines leicht unzufriedenen Matinee-Idols aus den 1950er Jahren gesegnet, besitzt Frazer eine einzigartige Stimme, die sowohl zeitgemäß als auch zeitlos klingt. Der in Baltimore aufgewachsene, zurzeit in Brooklyn lebende Songwriter wurde als Schlagzeuger und Co-Vokalist von Durand Jones & The Indications bekannt. Jetzt tritt er mit "Introducing..." als Solist hinter dem Drumkit hervor und demonstriert nicht nur seine beeindruckenden stimmlichen Qualitäten, sondern auch sein Können als hochklassiger Songschreiber. Schon die erste Single "Bad News" sorgte für Aufsehen ("a gorgeous piece of vintage R&B" - CLASH), die sich anschließende Lead-Single "Over You" ist inspiriert von elektrisierenden Northern Soul 45s der 60er Jahre. Nur zwei Belege der erfolgreichen Zusammenarbeit zwischen Frazer und Auerbach. Die zwölf Songs auf "Introducing..." verbinden gekonnt den Soul der 70er Jahre mit Dan Auerbachs besonderer Sensibilität für Vintage-Sounds im neuen Gewand. "Introducing..." enthält klassische Message-Songs im Stil von Künstlern wie Gil Scott-Heron sowie motivierende Liebeslieder, die von Disco-, Gospel- und Doo-Wop-Einflüssen durchzogen sind. Das gesamte Album wurde innerhalb nur einer Woche in Auerbachs berühmten Nashville-Studio nach einer schnellen und produktiven Songwriting-Session aufgenommen. Auerbach holte auch den legendären Songwriter und Falsettspezialisten L. Russell Brown (schrieb früher Hits für Frankie Valli von The Four Seasons) an Bord, der den wunderschönen Opener "You Don't Wanna Be My Baby" auf dem Album mitkopmponierte. Für "Introducing..." rekrutierte Frazer eine beeindruckende Schar alteingesessener Session-Musiker aus Nashville. Darunter Mitglieder der legendären Memphis Boys (die in Dusty Springfields "Son of A Preacher Man" und Aretha Franklins "You Make Me Feel Like A Natural Woman" mitspielten), den Perkussionisten Sam Bacco sowie diverse Musiker aus dem Daptone/Big Crown Records-Umfeld.

Tin Fingers takes on a darker, melancholic direction on their second full album. Felix Machtelinckx' weeping vocals, preaching, searching, and trying to understand God, form the leitmotif. With rich melodies, haunting piano sounds, improvisations, first takes and no overdubs, Tin Fingers is searching for pureness and keeping things human and simple. The band is playing together intuitively, without a computer, without ego, just for the sake of music

The creation of the album was very fluent and spontaneous. Singer Felix wrote the backbones of the songs and the lyrics on acoustic guitar and piano. He wanted to have songs ready in order to be able to record and write arrangements fast. With an eye for details but without overthinking, keeping the ideas fresh. 'I wanted to stay in love with the music.' he explains. 'It needed to go fast, very fast, in just two weeks the entire album was recorded and ready to be mixed.'

In the studio, the band especially focused on picking the right mood rather than playing the right notes.

They were fed up with working on a computer for many hours, overthinking production choices, and adding instruments on top of each other as if they were Lego blocks. This time they decided to work in a more traditional way, going for first takes, jams, and essentially working with analog gear. No computers, no screens, no distractions. Only four humans in a studio trying to make a sound together by keeping things spontaneous and raw. They said goodbye to perfection and worked towards an unfinished product, a snapshot.

Tin Fingers also didn't want to sound like any other artist on this record. They decided not to listen to music during the sessions, and to never express ideas by referencing other bands. Just before the studio session, however, bass player Simen Wouters broke the rules and shared Bonnie 'Prince' Billy's, I See Darkness. Its dark and searching sound ended up inspiring the band unmistakably.

Once the recording was finished, the band decided to keep the volatile rhythm going and asked reputable NYC-based mixer and producer D. James Goodwin to finish the job. Goodwin, known for his analog folk productions with a real American punchy sound but a tender touch, proved the right man for the job. He opened up the songs and kept things poetic, minimal but impressive.

Leila Gamal’s ‘Abaleeh Abalingi’

At the height of Pan-Arabism, when the United Arab Republic fused Egypt and Syria in a fleeting but bold experiment, a new wave of popular music was emerging—vibrant, infectious, and universally danceable. Among its lesser-known stars was actress Leila Gamal, whose voice—delicate yet rich with longing—embodied the golden era of Egyptian cinema. Born in Alexandria to Syrian roots, Gamal’s vocals were a magnetic blend of sweetness and passion, with a timeless allure that echoed the silver-screen sweethearts of her time.

Abaleeh Abalingi pulses with the hypnotic drive of funky organ riffs, reminiscent of the blind visionary Ammar El Sheriyi, creating a sound both cinematic and undeniably catchy. The delicate lyrics by Khairi Fouad place the track firmly in the lineage of the Middle East’s most iconic pop divas, from Angham to Nawal El-Zoughbi who he subsequently wrote for. This reissue, lovingly remastered, brings this long-lost gem back to life, where it belongs—spinning on turntables, teasing dance floors, and transporting listeners to Egypt in the late sixties.


Adel Osman’s “Oriental Eyes”

Oriental Eyes captures the essence of the 60s Egyptian Franco-Arab movement, blending Western (often jazz) influences with Arabic melodies to mesh mystique with sensuality. Osman’s commanding yet delicate vocals deliver the bilingual lyrics with captivating sincerity, his voice effortlessly gliding over the swells of the arrangement. The trumpet, possibly connecting him to Zaki Osman of Salah Ragab’s legendary Cairo Jazz Band, adds a layer of flair, enriching the track’s Tarantino-esque eclecticism. Now remastered, ‘Oriental Eyes’ is not only a nostalgic gem but a timeless reminder of the boundary-defying spirit that defined the 1960s musical landscape.

Given the ongoing war efforts against Israel, this record wasn’t pressed by Sono Cairo till much later in 1975 once Egypt had recaptured the Sinai and restored national pride. Sono Cairo (Sawt el-Qahira) was the first Arab-owned and by far the largest record label in the Middle East, amassing an unmatched catalogue of music. With exclusive rights over much of Umm Kulthum’s works, Sono Cairo played a crucial role in disseminating the sounds of Arab Nationalism and projecting Egypt’s soft power across the region.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Sono Cairo

Maggid Tewfik – Mazzika Nicab Parts 1 & 2:

Released in 1973, Mazzika Nicab by Egyptian film director and iconic figure Maggid Tewfik is a trippy instrumental journey into the experimental realms of baladi music. Known for his prolific career as a director and DOP in over 30 Coptic films, Tewfik’s composition, split in two parts, presents a moody yet undeniably cheeky tune that is unlike anything found in Egyptian music over the ages.

The track is a hypnotic blend of Eastern rhythms and Latin grooves, featuring an early drum machine that guides the track through its jubilant and stormy atmosphere. This mechanical beat is paired with funky garage sounds, creating a psychedelic fusion that evokes images of an epic cinematic score, where belly dance meets the raw energy of late-60s experimental rock. Belly-dance sci-fi perhaps..?

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Sono Cairo

Bodhi, the Cardiff-based production team, return to Hotflush Recordings with a follow-up to last year’s standout Laurus Ascending extended play.

Having emerged in 2012 with a slew of breathlessly-received edits and subsequent releases on labels including Future Classic and Rinse, the pair took a 4-year hiatus in 2017, returning with an invigorated sound in 2022. Recent releases on Hotflush and dh2 have brought the duo back to the forefront of the UK’s cutting edge music scene.

‘Corrupta’ is six tracks of bass-inflected, garage-influenced beat science. Opener ‘dwndwn’ sets the stage with a genuine wtf beat-drop moment. That vibe is continued on the shuffling ‘Silian Rail’.

Dancefloor smasher ‘Okinobi’ is a hat-tip to the recent Speed Garage revival, while T.O.P. is a classic slice of 2-step bassline pressure. Bodhi’s techno influences are also present with electro breaks hybrid of ‘Without You’ and the 8am Berghain vibes of ‘Bellcurve’.

This is another long-form statement of intent from some of the most inventive club producers in the game right now.

Support from Jamie xx, Lee Gamble, I.Jordan, dBridge, Machinedrum, DJ Haus +++

Unearthing old gems, remastering and bringing them back to the forefront is what Private Parts are up to for release number 07 in the catalog. Original London Tech masters Rob Pearson & Dave Mothersole originally released Wanting You in the early 00’s, but with the extreme prices on Discogs it seemed like the right choice to get this re pressed for your pleasure.

Wanting you is everything you ever wanted from those timeless sounds of London Tech. Dubbed out vocals, tribal rhythms, pulsating acid lines and a groove to keep you locked right in.

Flipping to the B, and the biggest thank you to Rob himself for spending weeks searching old DAT tapes in his loft to find the original pre master of the driving remix from the late Iteration X. They don’t come more heads down, and hypnotic than this. Throbbing bass stabs, luscious chords and in true Iteration X style, a roller that you could keep you shaking for days on end.

It only seems fitting to dedicate this re issue to Simon Copleston, Mr Iteration X. Thank you for the music!

Back in 2020 we released the original of ‘Oliver Dollar & ADMN feat. Mr. V - Sanctuary’ on Industry Standard.

The original is a sublime track with a nod to a vintage deep house sound. ’Sanctuary’ features Mr. V’s spoken word vocal over a slick rhythm section, lush chords stabs, and ethereal synth pads.
Fast forward to 2025 and we are delivering a vinyl release featuring the original mix, and 2 new remixes from France’s DJ W!ld, and Detroit’s Bendersnatch.

DJ W!ld comes with a deep, rolling take on the track, with a low slung baseline, and trippy breakdown that will wig out the dance floor. Bendersnatch take their version into trackier territory with a heavy kick, stripped back vibe and FX on the vocals that give this version another dimension to the package.

The vinyl release will proceed this come some months before we release these remixes digitally, so get them while they are hot on wax!

One of the most expansive instrumental Hip Hop series to date, MF DOOM’s lauded Special Herbs collection assembles a mountainous collection of his beats, ranging from series exclusives to slightly reworked favorites he produced for himself and others. Released under the alias Metal Fingers, Special Herbs succeeds at capturing DOOM’s highly influential sound which continually breaks and reinterprets the rules of the game in favor of The Super-Villain. The world is a treasure trove of sounds, and the Metal-Fingered DOOM accepts no limits; ’70s Soul/Funk classic, ’80s R&B hits, rap nostalgia, and even soundbites from children’s records & TV all find their place in the ingredients needed to perfect his recipes.

Aer making everyone dance with "I'm Gonna Dance," Muzic Family Vs. Stylóo is ready to ignite the
dancefloors again with "Sweat," an adrenaline-fueled track that unites the tradi!on of Italo Disco with a
modern pop-dance sound.
At the helm of "Sweat" is Roberto Tura, one of the most influen!al producers in the Italian and
interna!onal dance scene. A key figure of 80s Italo Disco, Tura( has shaped !meless hits for ar!sts like Den
Harrow, Joe Yellow, Albert One, and Stylóo themselves, helping to define the sound of an era that s!ll
makes fans' hearts beat faster all over the world. With "Sweat," Tura( once again proves his ability to
merge the magic of those years with a modern, powerful sound, capable of winning over new genera!ons of
listeners and ge(ng everyone dancing.
By his side is Silvio Melloni, a top-level musician and arranger, who is now part of the historic band Ma"a
Bazar. Melloni brings his experience and musical sophis!ca!on to the project, cura!ng arrangements rich in
detail and nuance, where every element is calibrated to maximize the emo!onal and rhythmic impact of the
track. His ar!s!c sensi!vity perfectly matches Tura('s energy, crea!ng a winning combina!on of technique,
passion, and crea!vity.
The release of "Sweat" doesn't stop at the original version: two exclusive remixes are included to enrich the
project, promising to make the track explode on the most demanding dancefloors.
 Italoconnec"on Remix – The duo formed by Fred Ventura and Paolo Gozze( (aka Italoconnec!on)
transforms "Sweat" with their characteris!c touch: sonic elegance, pulsa!ng energy, and a refined
sound that blends dance-pop rhythms with the vibrant nostalgia of Italo Disco. It's an interpreta!on
that leaves no room for rest and pushes you to listen and move.
 A.P. Mono Remix – A.P. Mono infuses an 80s-flavored electro-disco soul: funk syncopa!on,
enveloping synths, and an irresis!ble groove. His reinterpreta!on turns the track into a true
energe!c vortex, perfect for making anyone who dances to it sweat.

Müne isn’t just a label—it’s a sonic language carved somewhere between the imagined and the real. Born from the fusion of the Japanese words 夢 (yume, “dream”) and 音 (oto, “sound”), Müne exists as a liminal space where emotion, memory, and sound design blur into something that feels. Less about genre, more about atmosphere. Less formula, more intuition.

The debut release capture that vision into four tracks shaped by hardware grit, dusty grooves, and moods that shift between tension and warmth.

A-side
Jose Daguerre sets the tone with Barbaria, a hypnotic loop-based workout with gritty low-end, dry drums, and a subtly evolving structure. It’s meditative, but with weight. Electro Reunión leans into stripped-down electro mechanics—tight sequencing, foggy FX, and a lingering sense of space. With Patricio Felip collab on the keyboard, both tracks feel tactile, intentional, and refreshingly unpolished.

B-side
Dani Labb brings Resfr0m, a broken-beat track that feels like it’s breathing—loose and raw, wrapped in textures that drift between dreamy and distorted. Finally, Veloz y Raptor by Juan Proeliis & Cohema closes this first release with a bouncy, dark cut full of kinetic energy, tape color, and playful detail.

MÜNE 001 is a declaration of intent: warm, human, and left-of-center. Built for deep listening and late-night systems.

"I'm Ready" is the EP launched Kano in 1980. Produced by the Italian trio of Stefano Pulga, Luciano Ninza/,
and Ma0eo Bonsanto, it's considered one of the fundamental tracks that defined the Italo Disco genre and
brought it to interna4onal a0en4on.
In the early '80s, the track was incredibly innova4ve. It combined a massive use of synthesizers (like the
Korg MS-20), percussive rhythms, and a vocoder, crea4ng a mechanical, "robo4c" atmosphere that became
a hallmark of the genre.
The sound of "I'm Ready" was hugely influen4al. Ar4sts like Eurythmics and New Order have acknowledged
the impact of this track, and echoes of its style can be heard in many subsequent produc4ons, especially in
electronic music. Its groove and clean produc4on were a benchmark for the era. In short, "I'm Ready" is not
just a song, but a milestone that helped define the sound of an en4re musical era.
TRACKLIST:

After years of friendship and sound fragmentation, Felipe Valenzuela and Federico Molinari have succeeded in capturing and distilling their unique musical perspective into a single frame.Throughout this process, these two minds from across the Andes have developed numerous productions with a broad, multidirectional genre range.This release features four tracks, each with its own distinct identity. The A1 track, FORCED TO THE SCALES, which lends its name to the EP, blends elements of Spanish classical music with a futuristic edge, seamlessly adapting to various moments within a set.The second track on side A, RAPS TIGHT, is an experiment born from the same session, where a subtle sensitivity is expressed through a a slow beat, enveloped in a harmonious world.On side B, 503 emerges from a different creative process, combining two divergent paths that naturally intersect, resulting in a track full of energy and dynamism.The EP closes with DEAD MAN, a one-shot recording that, through its raw spontaneity, encapsulates the conclusion of a fragmented journey within a frame full of versatility.

Palham Music releast post mortem eine Zusammenstellung von Tracks des Künstlers Flavio Diners. Seine Sassy Bearbeitung versprüht leichten sommerlichen Vibe, auf Bubblejam freestylt er sich der untergehenden Sonne entgegen. Auf Ohhhs and Yeahs werden auf krautig transzendente Weise Körper und Geist getrennt. Auf der B-Seite werden 2 Bearbeitungen seines A Night at Finsbury Park angeboten, die uns gönnerhaft durch die Blackstock Road vorwärts schieben. Bei Some Deep Vibes halten wir dann nach durchtanzter Nacht unsere Beine ins Wasser und genießen diese. Pew pew.

Palham Music presents a posthumous collection of tracks by artist Flavio Diners. His Sassy rework exudes an easy, summery vibe, while on Bubblejam, he freestyles his way into the sunset. With Ohhhs and Yeahs, body and mind drift apart in a transcendent, kraut-inspired soundscape. On the B-side, two reinterpretations of A Night at Finsbury Park guide us graciously along Blackstock Road. And with Some Deep Vibes, after a night spent dancing, we cool our legs in the water and simply savor the moment. Pew pew.

Dario Bassolino is pianist, producer and composer born in Naples, where he currently resides. With an eclectic taste and an genre-defying musical ability, he has produced for and played alongside alt-R&B vocalist LNDFK, jazz-funk legend Nicola Conte, Early Sounds boss Pellegrino and has collaborated with Nu Genea, Kurtis Rosenwinkel and rapper Pink Siifu to name a few. Inspired by the Brazilian funk greats Hermeto Pascoal and Airto Moreira and their Italian counterparts such as Franco Califano, Lucio Battisti, Panella, Enzo di Domenico and Gennaro D'Auria. Bassolino’s live show has a very organic form and is inspired by jazz, funk and disco improvisation, having extensive experience playing to enthusiastic international audiences as a session musician at prestigious festivals Primavera Sound, Montreux Jazz festival, Dour Festival and We Out Here.

Bassolino's new release is located where the sea begins and the sky ends. Two tracks that carry the horizon drawing a straight line between Naples, Tunisi and Beirut. A thin but tangible line that unites the Mediterranean poles. Hence the concept of "Popoli del Mare", the multiform sound waves intertwine a composition with an incessant rhythm: the Afro contamination of Charif Megarbane finds a fit with the Italian and dreamy harmonies of Bassolino. Baid Alik is a song of love and hope. The sound, purely inspired by the research of Habibi Funk, evokes the memory of an ancestral past shared by Bassolino with the Tunisian singer Marzouk Mejri.
His voice, halfway between proto- rap and melodic, mix perfectly to the disco-cinematic instrumental.

Herb Rhythm has long been kicking out brilliantly garage and house sounds and now he is back with something a little deeper on GLBDOM Classic. 'True' is a smooth and soulful garage house sound, but it's not overly produced - there are still some nice frayed edges to the drums while the vocal is an r&b gem. It comes in various mixes from bumping for the club to more cut-up and 2-step from Ease Up George. On the flip is the fresh dub garage delight 'So Many' with plenty of nostalgic throwbacks and liquid chords, then 'You Can Do It' closes with a more direct sound but still plenty of warming pads. A mighty useful EP, for sure.

"Hyperglyph" is the first new album in 11 years from composer/trumpeter/synthesist Rob Mazurek and composer/percussionist Chad Taylor"s long-running Chicago Underground Duo project. Mazurek and Taylor have played music together in a multitude of formations over nearly three decades, including their ongoing partnership in Mazurek"s large-format-skyward-expressionism vehicle Exploding Star Orchestra, in the expanded Chicago Underground Trio, Quartet and Orchestra (all with guitarist Jeff Parker), as well as a plethora of other assemblages. The early albums by the Duo have proven to be embryonic blueprints for the avant-jazz / electronic / indie rock hybridizing of the time, making them majorly important moments in the articulation of the "jazz" dimensionality of the then-burgeoning "post rock" sound. That sound, of course, was being transmitted far and wide due to the success of these groups as well as the Mazurek/Parker project Isotope 217, and the Chicago Underground"s frequently-intersecting collaborators in Tortoise. Just as most of the still-working projects born of that era have evolved, reconfigured, and grown, the Chicago Underground Duo has undergone a number of musical moltings, with the project always in the background of disparate individual aural investigations. The concurrent personal evolutions of Mazurek and Taylor as the Duo project drops off and picks back up makes it a true reflection of their own lives and friendship.

When I played b2b with Sonar's Ghost on my radio show on NTS last year, he played a new tune entitled "Eggs2C" and it sounded really good, so I asked him what the deal with it was. He said that he was working on it with Outrage and that it was going to be part of an EP they were working on, with Future Retro London in mind for releasing it on. It was the first I'd heard of this EP being made for me haha, but I was curious about what the rest of the release sounded like. He sent me the rest of the tunes and I was into them, so here it is!

*Limited to 500 copies.*

For the first time ever, this incredible 1974 recording by Joe Truss and composer Michael Kamen (who would go on to score Hollywood blockbusters like Lethal Weapon, Die Hard, and Robin Hood) is getting the proper release it always deserved.

Nearly all original copies were destroyed by the pressing plant after being pressed at the wrong speed. A second run of just around 50 copies was quietly made — and then it vanished into obscurity. Until now.

Psychedelia collides with deep grooves in an explosion of creative madness.
One of the rarest records to come out of the Caribbean, finally reissued for the world to hear.

The B-side? An unreleased funk track, salvaged from a reel containing the soundtrack of a never-released film — a forgotten gem brought back to life.

To mark the occasion and do this release justice, Lava On Wax is proud to present this as a 7” with a full picture sleeve, featuring beautiful artwork by Hamraz Bayan.

Prepare to be blown away by this psychedelic funk trip — full of raw drum breaks and brain-melting synths.

Special thanks to Guts for the support, Joe Truss for believing in the project and granting the license, and to Hamraz Bayan for blessing the cover with her unique art.