Suche:suitcase

(Lost Desert remix) Lost Desert, one of the biggest names in the organic house/ downtempo scene is back to vinyl with an amazing remix of Suitcase Stories, a track build around the iconic synthriff from Duran Duran’s classic “Save a Prayer”.

The original extended version (B1) released in 2019, was played by Fatboy Slim, Paul Oakenfold, Tiësto, Armin, R3had, Hardwell, amongst others.

It’s 6am on Sunday the 24th of January and I’m driving vaguely towards the beach.

Suitcase in the water is a tapestry of musical vignettes, field recordings and fragmented anecdotes that blur diary and fiction. On Monday 23rd of March 2020, police in England dyed the ‘Buxton Blue Lagoon’ black to deter visitors from swimming in the former limestone quarry. Things now float in that water.

Created during the pandemic by Jacob Dwyer and Sam Purcell, Suitcase in the water is a personal snapshot in time, and an insight into the private worlds of two remote collaborators.

Gigs vor 60.000 Menschen, 2,5 Millionen verkaufte Singles, vier Mal für die 1LIVE Krone nominiert, drei Mal für den Echo, 2017 den Echo in der Kategorie Dance National gewonnen, dreimal am Stück die Pole-Position der Airplaycharts: Die Karriere des international erfolgreichen DJs Alle Farben hat ihren Zenit noch längst nicht erreicht. Doch wie legt man einen solchen Senkrechtstart hin und schafft es, dass die Flamme immer weiter brennt?

Alle Farben ist ein Künstler, der vielleicht in Farben denkt. Ganz sicher aber nicht in Grenzen. Verschiedene Genres, Live-Musiker, Sänger, Orte: es gibt nichts, dass er sich nicht vorstellen kann. Er hat Shows im Dschungel von Thailand gespielt oder im Flugzeug über den Wolken. Ebenso legendär sind seine 6 Stunden Sessions. Der Name ist ein Versprechen: 8000 Menschen tanzen, während Alle Farben sechs Stunden ohne Unterbrechung auflegt. Unterstützung bekommt er von verschiedenen Künstlern, die er sich stündlich auf die Bühne holt: ob Sänger, klassisch ausgebildete Musiker oder unerwartete Instrumente Alle Farben liebt es, sein Publikum zu überraschen. Alles kann, nichts muss, aber eines wird es sicher nie: langweilig.

Überraschen wird Alle Farben auch mit seinem dritten Studioalbum. Sticker On My Suitcase zeigt einen großen, und inzwischen auch wichtigen Aspekt in seinem Leben: das Reisen. In den letzten Jahren immer on tour hat er gelernt, dass nicht immer das Ziel das Ziel ist. Und Reisen mehr als nur Fortbewegung. Unterwegs zu sein, ist genauso mein Leben, wie irgendwo anzukommen. Das Video seiner neuesten Single Fading drehten Alle Farben und sein Team in einer aufwendigen Produktion in Los Angeles. Wieder ein Sticker mehr auf dem Koffer, wieder eine Reise, die zeigt: Das Ziel ist die Reise selbst auf der Route Richtung Erfolg.

Reissue Des Livealbums "the Sole Inhabitant" (2008) Von Thomas Dolby. Seine Größten Hits Live Aufgenommen In Chicago Im Mai 2006, Mit Ausnahme Der 5 Tracks Auf Seite D, Die Im März 2007 Live Beim Sxsw Festival In Austin, Texas Aufgenommen Wurden. Doppel-vinyl Im Gatefold.

2024 breakout superstar Teddy Swims announces the second part of his debut album, I’ve Tried Everything But Therapy (Part 2), arriving January 24, 2025. It follows the massive success of Part 1, which includes his global smash hits “Lose Control” and “The Door.” The news arrives on the heels of his acclaimed new single, “Bad Dreams.”

Swims recently released his new single “Bad Dreams” - watch the video HERE. The new track debuted on the Billboard Hot 100 this week, giving him three songs on the chart, in addition to hitting #1 on the UK airplay charts.

It builds on the momentum of his global smash hit "Lose Control,” which he performed last month on the MTV VMAs, along with his recent charting single “The Door” and a rendition of Rihanna’s “Stay.” He was nominated for four awards at the show, including Best New Artist, Song of the Year, Best Alternative, and PUSH Performance of the Year.

2024 has been a whirlwind for Swims, who celebrated the success of his multi-Platinum chart-conquering hit “Lose Control” from I’ve Tried Everything But Therapy (Part 1). In addition to claiming the #1 spot on the Billboard Hot 100 chart, #2 on the UK official chart, the song has amassed over 2.3 billion global streams, reached #1 on five radio formats (Top 40, Hot AC, AC, R&B, and Rhythm), and was recently inducted into Spotify’s “Billions Club.”

How time flies when we’re talking truly classic House Music.

Incredibly it is 35 years since the epic BREAK OF DAWN was released. Track creator Geoff Hibbert had released the much loved A PLACE CALLED BLISS by CYCLONE on Network before coming up with the stunning BOD.
It was decided that a change of artist I/D away from Techno/Bleep influenced Cyclone was required and RHYTHM ON THE LOOSE was born.

Network came up with an initial limited edition 12” press on their One After D label to tie in with the Rave zeitgeist of 1991, to help kickstart a buzz on the track. Once this was ignited the “ suitcase at the door “ gem was properly released on the main Network label.

Acclaimed as an instant classic both in the UK and USA - where Network label mate Kevin Saunderson was an enthusiastic early advocate - BREAK OF DAWN is one of the tracks that truly shaped and defined the House Music explosion. Since then it has matured like fine wine.

To celebrate the 35th anniversary Network invited M.A.S.C (Mark Archer and Shadow Child) to come up with a remix that befits the as good as it gets status of the mighty BOD. They duly obliged..it’s a gem.

First copies of the remix are on a unique ADVANCE DJ COPY label with the track on both a and b sides.

An instant do you know the score collectors item …1991 to 2026 35th Anniversary Remix 12.

Gabriele Santucci presents Impulso Elettromagnetico. A 4-track EP on vinyl that will take you through time in a hypnotic tunnel with industrial nuances. Without a doubt, an essential vinyl for your suitcase, you will play it on loop all the time!

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

Samosa Records roars into 2024 with a sublime four-tracker, the curiously titled ‘(Re)-Funk+Head EP'.

All four tracks have been carefully sized, selected and re-edited by De Gama himself. For those not in the know, Re-Funking is serious business and you can tell De Gama’s laboratory was in full flow in bringing these tracks even closer to the dance floor!

First up on the A-Side are Samosa favourites Dirtyelements & Drunkdrivers with the hypnotic, smokey dim lit club thumper ‘Keep It Coming’. Coming in at a deceptive 115bpm, the bass massages your brain whilst the keys, vocal sample and beats tickle your toes. A deliciously salty and sweet re-edit.

Sneaking up on you is A2 and a track from label boss De Gama himself – the flutey, tootie late night funk bomb that is ‘Some More’. Be warned - this dirty birdie stirs up primordial feelings that are probably illegal in some countries. It’s not an overstatement to say that ‘Some More’ is the definition of pure, adult-orientated funking. Saddle up, put out the camp fire and ride it into town.

A quick flip to the B-side and you’ll find Paul Older’s Sax Francisco (B1) parading down the street in all its splendid glory. Mr Older sure knows how to cook - and served on his sombrero-shaped sun terrace is this fantastic tropical sorbet of a tune. The production is assured and so warm that you lose yourself for the entire 6 mins and 26 seconds in its spell. Expect this to be packed in your summer 2024 suitcase with your Factor 50.

Closing the EP off is the super-talented MB Edit and his deadly groover ‘Got The Feeling’. The serious business of Re-Funking is on full display here – stompy, squeaky clean four-to-the-floor drumbeats, twisted riffs and subtle piano prepare you for the soaring horns, heavenly strings and disco-fied vocal breakdown that used to make lofts bounce and dark clubs heave. A dreamy, relentless journey into the disco ball for those lucky enough to jump in.

(Re)-Funk+Head is another exceptional EP from the Samosa stables and pushes the ever-expanding sonic boundaries with seriously solid production, stone cold grooves and a roster of amazing talent on one EP. A must, must, must have for the record box!!

Ste Hendry Black Light Disco

Two longstanding electronic legends, Steve Bug reunites with frequent collaborator Cle for the three-track ‘It Just Happened EP’ on Nu Groove.

The German tastemaker and Poker Flat label boss has helped define a plethora of electronic sub genres through his modern releases and expansive DJ sets. From early LPs ‘Volksworld’ and ‘Da Minimal Funk’, to later works ‘Traffic Signs’ and ‘Never Ending Winding Roads’, Bug’s futuristic vision is apparent throughout his experimental releases.

Joined once again by Cle, a fellow veteran of the German rave scene, the pair return to the cult NYC label with three striking originals following previous release ‘Let It Go / Suitcase In A Box’. The EP’s lead, ‘It Just Happened’ features breathy synths and acidic loops that harken back to an era of underground house, immediately nostalgic yet forward thinking in its technique.

‘Crew Thing’ and ‘House Music Transcends’ follow suit, both teeming with energy as the two producers show off their unique creative process through sound.

"Drums from heaven, keys from Mars, a bass made from mother earth's soil and guitars from a guy who's time-traveling from German Kraut in the last 60ies into the next 60ies and who happens to gift us today with this funky, dirty, pulsating, delicious music that's everything which music is supposed to be: ALIVE! (Note to self: Always keep a copy of this record in your suitcase!)." (Malakoff Kowalski)

"Afrokraut" is a stylistic expression of Krautrock, primarily associated with Can, and their creative use of time and space in music. "A Guide To Afrokraut III" is David Nesselhauf´s third and last contribution to the dusty shrine of this long forgotten style.

Next to "Afrokraut" (2016) and "Afrokraut II: The Lowbrow Manifesto" (2018), this album completes a humble sonic Trypticon in honour of David Nesselhauf's musical heroes. Experimentation was key in the immersive process of producing this album, which encompasses elements of Funk, Afrobeat and Krautrock as well as otherworldly Drones, early Elektronische Musik and even field recordings.

Inspired by the unfinished manuscript 'History Deletes Itself' by the late science fiction author Joseph Sabiers, Nesselhauf decided to produce a b-movie soundtrack to the original plot, ignoring the fact that there will likely never be a movie to this music.

In the original script, a virus has infected history, the resulting changes of historical facts leading to an unpredictable present and future for mankind. Every attempt to solve the problem – including time travelling – only worsens the situation. But three planets at the end of the known universe seem to be unaffected by the phenomenon, they become a sanctuary known as 'Afrokraut III'. Three brothers arrive there to start new lives. They are introduced to The Guide, their mysterious advisor...

The striking parallels to today's uncertainties, a strong feeling of hope and the idea to never stop exploring (come what may) certainly have encouraged the making of this album, which sees a belated release due to the obstacles everyone faces right now.

David Nesselhauf lives in Hamburg/Germany and appears as a bass player/songwriter in bands like Hamburg Spinners, The Drawbars, Diazpora, and Angels Of Libra.

Percussionist Jamie Muir was a member of King Crimson during the recording of Larks' Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey, whose eponymous 1970 album was one of the first releases on ECM. Muir and Bailey recorded Dart Drug eleven years later, in 1981.There's no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves a place at High Table. Unlike for example Han Bennink and John Stevens, though, you can't hear echoes of any particular jazz drummer in Muir's playing, even if he has expressed appreciation for Milford Graves (who himself sounded like nobody else who'd come before him).What on earth did Muir's kit consist of Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks); others could be... well, anything. Old suitcases thwacked with rolled up newspapers Tin cans and hubcaps inside a washing machine Who cares It sounds terrific - but if you're the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track.Dart Drug is consistently thrilling, and often very amusing - but it's certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too That's precisely what happens very often in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with a Muir in full flight Sometimes Bailey's content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir's junkyard, but elsewhere he sets off into uncharted territory himself.'The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) - which is to give music a future.' Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation.Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989. All the more reason for seeking out this magnificent, wild album.

The Chicago trio of Black Duck is a natural fit for collaboration with acclaimed Basque musician Elena Setién. Black Duck"s bassist/guitarist Douglas McCombs, guitarist Bill MacKay and drummer Charles Rumback have been lauded for their adaptability as live performers and collaborators for decades, performing in countless ensembles from Tortoise to Brokeback to collaborations with Ryley Walker, Bill Callahan, James Singleton and many more. Setién honed her improvisational skills in duo Little Red Suitcase before going on to collaborate with the likes of Steve Gunn, Mary Lattimore, and Glenn Kotche (Wilco) to name a few. Black Duck and Elena Setién"s combined preternatural ability to converse at the boundaries of improvisation and composition makes for fertile ground in which every subtle gesture carries weight. On their debut, self-titled collaborative release, Black Duck and Elena Setién alchemize the ease of their live chemistry and their wealth of experience into a refined menagerie.

Micke & Lefty feat Chef - Live On Air - Live On Airis a double live album from
Micke & Lefty feat Chef, recorded in collaboration with Deutschlandfunk radio
- Volume One, a studio live session for DLF Radio's On Stageprogram, was
recorded during the 2020 pandemic - Volume Two captures a dynamic 2023
performance at the Blues Baltica Festival in Eutin, Germany
This double live album captures the trio's electrifying and intimate performances,
showcasing their mastery of acoustic blues. Featuring 25 tracks, including originals
and blues classics, from the band's live repertoire over the years. The album also
celebrates the trio's 25th anniversary."Reaching this milestone is incredible, specially
when this all started as a spin off of my main band. We wanted to share these
recordings as a tribute to our long journey and audience. This live album is a real deal,
raw performance as live as it can be with no overdubs" says Bjorklof."Original! Lively!
Entertaining! The trio's performance is as unique as it is high-quality. Bjorklof stomps
on an old suitcase instead of a bass drum, Lefty Leppanen wields his vintage guitar
with effortless mastery, and Mr. Chef's semi-acoustic bass adds depth. This Finnish
acoustic blues is dynamic, original, and captivating." - Deutschlandfunk
RadioReflecting on this dual release, Bjorklof states: "Blues has always been my
foundation, but I've explored it's many shades over the years. WithOuttakesandLive On
Air, I want to celebrate both the electric and acoustic sides of my musical journey. I
couldn't think of a better way to markmy 60th birthday than by sharing these two very
special albums with our fans

Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.

Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

Erstes umfassendes Archivprojekt für The Police, welches erweiterte, mehrformatige Wiederveröffentlichungen enthält. Dazu enthält das Projekt bisher unveröffentlichtes Bonusmaterial, neue Linernotes und Interviews, sowie seltene Archiv-Memorabilien und Fotos.
Alle Tracks wurden direkt von den Originalbändern durch Audio-Remastering in den Abbey Road Studios neu bearbeitet.
Die Neufassung ist ab sofort als limitierte farbige 2LP Deluxe erhältlich.

Spotlight Records is proud to announce the release of the original soundtrack for Bruce LaBruce’s new film, The Visitor. Composed by the acclaimed UK-based DJ and producer Hannah Holland, the soundtrack presents an eclectic mix of cerebral soundscapes and pulsating dance floor anthems, a defiantly bold score for a truly provocative narrative. The deluxe limited edition double vinyl package comes with a guerilla sticker sheet.

The Visitor sees the legendary filmmaker and photographer continue his decades-long creative journey with a transgressive reimagining of Pier Paolo Pasolini’s 1968 classic Teorema, set against the dystopian backdrop of a paranoid, xenophobic post-Brexit London. Washed ashore from the sea in a suitcase, a mysterious refugee disrupts the lives of a privileged white family, leading them through a series of explicit and transformative encounters. The film, which features performance artist Bishop Black amid a series of explicit, hardcore sex scenes, premiered at the 2024 Berlinale Film Festival.

With reverence and reference to Ennio Morricone’s iconic score for Teorema, Hannah Holland has crafted a soundtrack that both honors the original and brings a contemporary twist. The album features collaborations with a stellar lineup of artists from both the queer and electronic music underground, including Ghost Culture, Jonjo Jury, Josh Caffé, Joy Joseph, ROY INC, and Ziah Ziah.

Thomas Dolby highlights his melodic tendencies on Astronauts & Heretics his 4th studio album.

Eddie Van Halen’s guitar skills can be heard on 2 tracks: “Eastern Bloc” & “Close But No Cigar.” Astronauts & Heretics is a Dolby at his finest and the

album is one of the more hidden gems of his catalogue. Astronauts & Heretics is available as a

limited numbered edition of 750 copies on gold coloured vinyl and comes with an insert.

For almost 10 years and with 3 albums on the clock, Voilaaa has established itself with a unique style, reviving African rhythms and atmospheres in the colors of Disco dancefloors and Funky arrangements, all often accompanied by lyrics and vocals tinged with humor and commitment.

As a result, the Afro-Tropical adventure launched by producer Bruno “Patchworks” Hovart today leaves behind a host of hits (“On te l’avait dit”, “Spies Are Watching Me”, “Ben Bene La”, …), as well as trips around the globe and as many gigs and festivals, but also and above all numerous and lasting collaborations with singers like Lass, Pat Kalla, Sir Jean, Ayuune Sule, Rama Traore, or Fouley Badiaga, the latter which also marks its great return on two tracks of the album.

With C'est tout, Voilaaa returns to us without revisiting this unstoppable recipe, while seasoning things with a more Latin and Caribbean inspiration, brought back in Bruno Hovart's suitcases after several stays in South America in recent years. Introduced last spring with the release of a first maxi single, this new opus once again delivers hit after hit.

As on the already famous “Faché” alongside Pat Kalla, which displays all the classic assets of Voilaaa’s sound: punchy Afrobeat horns, woozy chords and crunchy clavinet licks rising above a low-slung, hypnotic, dub disco-meets-Afro-boogie groove. The rest of the album is not to be outdone with a total of 14 wild tracks entirely composed by an unstoppable Bruno Hovart.

Two exceptions confirm the rule, a beautiful interpretation of the song "Love and Death" by Ebo Taylor, where Voilaaa's Afro skills perfectly melt with Angolan and Brazilian vapors, beamed by Joao Selva's lovely vocals; as well as a magical cover of “Too Young to Die”, transporting Jamiroquai to the crossroads of Africa and the Antilles, carried by the superb vocal performance of singer Olivya (Dowdelin) for a first collaboration.

Well, Voilaaa is back as its best, “that’s all” (C’est tout).

Queer Country-Rock. Der Highschool-Folkie Charles Brown aus Marlyand tat sich mit den regionalen Country-Rockern Sleepy Creek zusammen, was eine unerwiderte Liebesgeschichte und den melancholischen Titelsong des Albums zur Folge hatte. Diese 15-Song LP versammelt Browns Solo- und Bandarbeiten aus den Jahren 1976-'82, und Jon Freemans begleitender Essay seziert die Geschichte dieses Pioniers der amerikanischen LP-Privatpressungen.

Queer Country-Rock. Der Highschool-Folkie Charles Brown aus Marlyand tat sich mit den regionalen Country-Rockern Sleepy Creek zusammen, was eine unerwiderte Liebesgeschichte und den melancholischen Titelsong des Albums zur Folge hatte. Diese 15-Song LP versammelt Browns Solo- und Bandarbeiten aus den Jahren 1976-'82, und Jon Freemans begleitender Essay seziert die Geschichte dieses Pioniers der amerikanischen LP-Privatpressungen.

Erstes umfassendes Archivprojekt für The Police, welches erweiterte, mehrformatige Wiederveröffentlichungen enthält. Dazu enthält das Projekt bisher unveröffentlichtes Bonusmaterial, neue Linernotes und Interviews, sowie seltene Archiv-Memorabilien und Fotos.
Alle Tracks wurden direkt von den Originalbändern durch Audio-Remastering in den Abbey Road Studios
neu bearbeitet

Retina.it and Crisci come together again, after releasing a 12 inches on Semantica last year, they both have a long story in the techno scene. Retina.it are known for QMen project with Rino Cerrone they started the techno Napoli scene, and releases music on Marco Carola Design Music and on Gaetano Parisio Conform to name a few labels..
Domenico is continuing the authentic Napoli techno sound, he is know for the releases on L.I.E.S Records, Jealous God of Silent Servant, Semantica and many others..

Standing in a Greyhound Bus station, wearing a Sylvester t-shirt and huge duct-tape-covered glasses, Baltimore ’s Dan Deacon doesn't invoke the image of a composer to the other bus riders. The two suitcases he loads under the bus, which accompany him from city to city, hold the sweat-and-grime-soaked electronics that he uses to craft his raging, maxed-out party music and light show. After 12 tours and 300+ shows in little over 2 years, the gear is beaten and battered, but the show and the energy it produces is anything but.

Dan Deacon has garnered a reputation in the underground as an intense performer and classic showman. The table top full of pedals, a sine wave generator, vocoder and casio blasting through the PA, joined by a makeshift light board with various bulbs and green skull strobe light, make his all out dance-til-you-drop performance a complete experience.

But it isn't all fancy feet and bouncy beats. Deacon is a classically trained composer with a Masters degree in electro-acoustic composition. He has released 7 albums from 2003 to 2006, but those self-produced recordings do not contain the vocal-based experimental pop that he has fine-tuned in live performance. His latest full length, Spiderman of the Rings is the first album bridging the gap between party performer and genuine composer. A mixture of his live show dance anthems, intricate instrumentals and humorous monologues, Spiderman of the Rings establishes Dan Deacon as a new type of entertainer in the contemporary underground.

Beside Trawbreaga Bay, in Co Donegal, on the north coast of Ireland, in an old schoolhouse, with a suitcase full of hired recording gear, Oisin Leech strums gently on an acoustic guitar and watches the tide pull the water away from the ancient inlet - The thickness of Oisin's voice soothes the room as the sound waves bounce around in the land where his ancestors still live and still wander - With a musical history that led Leech from the street punk bands of yesteryear through an ongoing stint with folk duo The Lost Brothers, he found himself for the first time working on songs to sing alone. In his mind, the songs became imagined vignette films playing behind closed, guitar eyes. After writing nearly 40 new songs in this fashion, Leech wrote "October Sun" which would become the foundation for his debut solo record, Cold Sea.

Cold Sea was produced by guitarist/songwriter Steve Gunn. Leech dreamt of making the record in Donegal Ireland, a county significant to him because it is the home of his ancestors. Pitching this idea to Gunn sparked the first of several serendipities circling the Cold Sea sessions - Gunn had always wanted to visit Donegal to connect with his own familial roots in the region.

Cold Sea is perhaps most notable for its tremendous warmth. Each song was recorded in a few takes and adorned gently with synthesizers and guitar from Gunn. Several songs feature contributions on the upright bass by Bob Dylan band stalwart Tony Garnier. M. Ward plays guitar on October Sun and there are strings by Roisin McGrory and bouzouki by the legendary Donal Lunny throughout. It is a friendship record but even at its most collaborative, Cold Sea remains centered around the humble acoustic guitar and wool blanket vocals of Leech.

Lodged between a heartbreak and a smoke break, Kathy Heideman's Move With Love wandered off I-5 somewhere just south of Hungry Valley State Vehicular Recreation Area and broke down. At its dusty roadside, cheap truck-stop java flows over plaintive coffeehouse tunesconcerning "Bob" and "Need." Her session hand's lanky, echo-laden guitar might've twanged a bit strong for the typical sandal-shoed hitchhiker, who'd have fell harder for Dylanesque grandeur on "The Earth Won't Hold Me." More Bakersfield than Laurel Canyon, and set to walkingin 1976 by the one-off Dia imprint in a plain-Jane, black-on-white sleeve, Heideman's lone LP suffered the geographical misfortune of having ripened in the presilicon orchards of San Jose, California, far from more marketable realms_Emmylou's backyard, say, or Joni Mitchell's summery lawn. Heideman herself faded out thereafter, packing her shaken, singular voice into a rustic suitcase, moseying on, and leaping into the moving sun.

140 Gram White Vinyl Limited Edition Of 1500 worldwide. Includes full album download + 2 bonus download tracks from the out of print 1999 Suz EQ /to whom it may consume 7-inch. Originally released in 2000 as Enon burst on the scene to wide acclaim +++ Pitchfork called Enon lyricist / guitarist John Schmersal “one of indie rock’s most consistently compelling songwriters.” Long, long ago, at the beginning of the new millennium, the world begot Enon. It was before Willliamsburg was, like, totally over, before beards made you cool, and just at the cusp of all this modern computer recording tomfoolery. What a time, before innocence lost. From all this came a much beloved and oft-overlooked record – one Touch and go is damn proud to re-issue on vinyl today – Believo! This record makes a bridge between the 20th and 21st centuries – full of effects, samples, pop sensibilities, and a complete respect for and disregard of The Rules. In 2000, Enon was all Brooklyn style, comprised of John Schmersal of Brainiac and Rick Lee and Steve Calhoon of Skeleton Key. John and Rick bonded over a penchant for suitcases full of electronics and battery powered trickery – portable musical distractions capable of making tracks on the fly. That’s what this era was all about for Enon – the suitcases, and being in the moment wherever they were. Though the band would later evolve to 2007’s lineup of Schmersal, Toko Yasuda and Matt Schulz, you’ve got to know where you’re coming from to see how you got to where you are today. So, come along with us, please, to the re-birth of Believo!

Erlebe den hypnotisierenden Soul und Blues von Robert Finleys neuestem Album Black Bayou. Mit seiner reichen und kraftvollen Stimme nimmt Finley die Zuhörer mit auf eine Reise durch die eindringlichen, mystischen Bayou-Landschaften von Louisiana und erzählt dabei sehr persönliche Geschichten. Vom langsam brennenden Funk von ”Livin’ Out A Suitcase” bis zum beschwingten und groovigen ”Sneakin’ Around” zeigt jeder Titel auf diesem Album Finleys außergewöhnlichen Ton und stimmliche Vielseitigkeit. Die Kombination aus Soul, Rhythm and Blues und fachmännisch ausgearbeiteten Gitarrenriffs, jede Note auf diesem Album ist ein Zeugnis von Finleys musikalischem Können und seinem unerschütterlichen Engagement für diese Genres.

Aufgenommen in den Easy Eye Sound Studios in Nashville und produziert von Dan Auerbach, der Finley als ”den größten lebenden Soulsänger” bezeichnet, ist Black Bayou der Nachfolger seiner von der Kritik hochgelobten Alben Sharecropper’s Son und Goin’ Platinum! Neben Auftritten bei America’s Got Talent (2019) und America’s Got Talent (All-Stars 2023) war Finley Headliner bei Shows in ganz Nordamerika und Europa und tourte unter anderem mit The Black Keys, Greta Van Fleet, Lake Street Dive, Nathaniel Rateliff, Dan Auerbach und Low Cut Connie.

Featuring: Dan Auerbach, Kenny Brown, Eric Deaton, Patrick Carney, Jeffrey Clemens

The Spanish-Dominican label led by the Spanish Sergio Parrado and the Dominican Jee Bear presents its Lmtd series, where art, design and music go hand in hand. A collectible series where each reference is a piece of a mural by the Argentine designer Lucien Le Grub, this being the first of four.

This first reference is the work of Chilean Alejandro Vivanco (Cadenza, Melisma) who joins forces with fellow Chilean Dorian Chavez (8bit, Viva Music) to bring us this incredible “Dabtrack”.

The original cut (A1) is to go back in time, return to the essence of the mid-2000s where artists like Luciano or Ricardo Villalobos put the Andean country in the eyes of the world with their organic micro house. “Dabtrack” is about this, but with a renewed sound, where the organic and the digital embrace to create an intense track, with fat basses that will make the sound system rumble. Special synths that catch you to create a magnificent sound collage.

The A2 is for the master master and lord of the deep sound. We are talking about the Romanian Mihai Popoviciu, who brilliantly reinterprets the track and takes it to his own terrain, but without neglecting the essence of the original and giving it his particular groove that works so well late at night. The groove, together with the set of synths, which elaborates it magnificently, makes his remix of Dabtrack” an indispensable work in the DJ's suitcases.

Now it's time to close this incredible album. For this we have reserved the entire B-side for one of the Chilean artists who has left the most mark in the last two decades on the international electronic scene: Pier Bucci. He takes us on a 12-minute journey through his signature style where anything can happen. Little more to say, we invite you to discover it for yourself. Because it is a work of art.

Legendary 2010’s indie band Crocodiles’ guitarist Charles Rowell’s new synthpop-meets-gothic rock project. Think Nick Cave crooning over Martin Rev’s minimal electronics or The Lords of the New Church-era Stiv Bators jamming with Wayne Hussey and Douglas Pearce.

After relocating from New York to France, Charles Rowell began stuffing his suitcase with various synths and samplers while taking cheap bus rides to bordering countries.

While living out of a hotel in north east Paris, he played his demos for Third Coming Records who quickly released the Bad Trip EP in 2020. Concerts became more frequent after the pandemic, with the release of Spellwound and a few have become infamous with guitars smashed to pieces, broken glasses, unruly audience front flipping onto the stage.

With Paris providing the background and a scene of friends such as avant-garde drag artist Tuna Mess and industrial techno veteran Poison Point who pushed his creativity even further, Crush Of Souls constant spirit is that it remains unpredictable and thrives on collaboration.
This is even more true with his upcoming album (A)Void Love.

Written over a period of intense insomnia that coincided with a run of shows playing guitar for Australian legend Harry Howard, Crush Of Soul’s main man Charles Rowell finally found rest after writing and recording the last song entitled World of Fear. Six months prior he had quit his job as a chef, traveled east to Prague for inspiration and returned ragged and sleepless.
Rowell’s insistence on keeping the instrumentation simple and clean came from an arduous two years of literal blood, sweat and tears. Every bit of drama, eastern excursion and sleep psychosis can be found within the walls of (A)Void Love.

Acoustic guitars and dramatic synths provide a cold wilderness for the various rhythms to inhabit; touches of minimal electronics, cold wave and synth pop can be found while the song writing remains classic for lovers of Echo & the Bunnymen and Nick Cave & the Bad Seeds.

There’s always been a thread of synth-punk, death rock and DIY noise running through all of Charles’ projects (Crocodiles, ISSUE, Flowers of Evil), however Crush Of Souls pushes harder and further into the darkness with the new album ‘(A)Void Love’.

First appearing on TV screens in September 1968, Joe 90 was a unique nine year old boy with the ability to absorb the brain patterns of top experts

enabling him to become the most special agent of W.I.N. (World Intelligence Network).

Whilst there are arguably better-known scores amongst Barry Gray's sublime catalogue of work with the Andersons, the composer's work for Joe 90 is in many ways

the most consistent and inventive selection he ever wrote. Developing a theme for the new series was always the musician's starting point, and for Joe 90, the pop charts breezed into Gray's studio,

with an opening tune featuring a genuine groove. Mixing Gray's inventive electronics with 60s "surf rock" guitars was an inspired decision.

It is no wonder that this piece has gone on to enjoy a second life as a Northern Soul disco floor-filler.

For episodic incidentals, Gray was freed from the detached unearthly premise of Captain Scarlet and able to bring back a playful sensibility

and a more mature musical palette which are amply illustrated in this 24 track collection.