quête:tailor

repress soon !

Alex Kassian's extended rendition of E2–E4 promises a 12-minute electronic odyssey, tailor-made for diverse dancefloors from it’s spiritual home Ibiza and beyond. On the flip side, Mad Professor embarks on a club-oriented version excursion, a rare gem in its own right. This reimagining breathes new life into the classic, offering fresh perspectives for music aficionados everywhere. Hot tip for release of the Summer!

Antoni Maiovvi Has Established a Distinguished Career Spanning 15 Years, Boasting an Extensive Discography Featured on Labels Including Tusk Wax, Vivod, Omnidisc, Giallo Disco, Italo Moderni, and Bordello a Parigi. Profoundly Experienced in Music Production, He Channels the Enigmatic Facets of Disco, Synthesizer-Driven Beats, and the Captivating Allure of Italo Disco, Creating a Sound Steeped in Vintage Analog Essence. His Latest Ep Represents a Masterful Fusion of Diverse Influences. We Extend a Warm Welcome as He Returns to Our Specialized Sub-Label, Cosmic Club, Tailored for This Genre. His Work Is Undeniably Destined to Become a Future Classic, a Testament to His Auditory Craftsmanship. the Tracks on This Ep Offer a Captivating Journey Through a Diverse Spectrum of Electronic Music Styles. on the A-Side, "Lucidario" Introduces Us to a Meticulously Crafted Blend of Moroder-Esque Soundscapes, Offering a Profoundly Cinematic Experience. Following This, "Cenotaph" Presents a Beguiling Mix of Pop Sensibilities, Echoing the Spirit of Legowelt. Closing the A-Side, "Cyberia" Enigmatically Concludes This Part of the Record With Its Electronic Allure and Sonic Intrigue. on the B-Side, We're Met With the Remarkable "Ghosted Again," an Explosive Dark Italo-Disco Gem With Undeniable Dancefloor Appeal. "Levitation Technique" Continues the Sonic Journey, Delving Into Ethereal Realms of Electronic Music, and "Today Is Yes" Provides a Fulfilling Conclusion to the Ep. Each Track Is a Unique Sonic Exploration, Showcasing the Artist's Ability to Weave Diverse Influences Into a Coherent and Engaging Musical Journey. Antoni Maiovvi's Musical Universe Harmoniously Resonates With the Enigmatic Gesloten Cirkel and the Enchanting "Gesamtkunstwerk" by Dopplereffekt, Solidifying His Status as a Future Classic in the Making....

Circling guitar lines; the rise of fall of delicate bass; deep, breathy horns: sonic elements that exist in a state of slow, perpetual motion, like ideas sprouting from some kind of cognitive compost. With wonder and charm, G. S. Schray's new solo album, Whispered Something Good, evokes a realm of new growth while offering a fitting soundtrack for its exploration, as if tailor made for both the daydreamer and silly adventurer.


We start in the darkness of "Unlit Center" with elliptical phrases of jazz guitar. A conversation between double bass, synthesiser, and piano plays out on "In Tears Twice A Page" before we're ushered into the reflective zone of "Another Haunted Mirror." There is synth mist which trumpet cuts through decisively like a shaft of light from the sun: warm and clear. As the album proceeds, firmer rhythms coalesce. On "Prelude for Probably," clattering drums lock into a triumphant groove with horns. And then, to close, the instrumental art-pop of "Gone in Amber," probing not necessarily towards a final destination but another stop-off, one of distant birdsong and the faintest flicker of synth. Intimate and inviting, the act of listening to Whispered Something Good is akin to digging through an imagination. It's a place of subliminal melodies blooming into rhizomatic musical shapes, stray musings coalescing as bolts of inspiration — change fostering yet more change.

FTB’s 1971 ‘Satori’ reissue: white vinyl edition, get it now!

Originally released in 1971, this album marked a significant milestone as the first Japanese artist's work intentionally tailored for international audiences. It made waves not only in Japan but also in the United States and Canada, where the single "SATORI PART 2" climbed to number 8 on the charts. The album's distinctiveness lies in its infusion of Eastern and Japanese musical elements, a reflection of the growing interest in Oriental philosophy across Europe and America during that time.

In the early '70s, Japan was transitioning from the pop-centric GS genre to a more folk-influenced sound, with rock still finding its niche. Despite this, FLOWER TRAVELLIN' BAND garnered support for their pioneering sound, both at home and abroad, maintaining their popularity over the years.

We're excited to unveil our inaugural vinyl release, introducing the first Neptune ‘Disc’ to the world. Trance-inducing progressive genres, which dive into the magnetic allure of '90s progressive sounds with a distinct tilt towards the club scene. Four tracks resonating through the depths of a festival ambiance, enveloped in an enigmatic mist and bathed under shimmering purple strobes.

A1 introduces Cybernet, an emerging force hailing from the vibrant scene of Aus. Delving beyond the sounds of the '90s Cybernet brings forth a distinctive sonic narrative, intertwining intricate vocal hooks before unleashing the pulsating acid-line. An instant classic unfolds, resonating with the essence of the dance-floor.

Glen S swiftly becomes a Neptune Disc regular with "Uh!" on A2. Tailored for the club, he infuses his signature alien scattered pulses and a rolling bassline. With a deft touch, he creates a surge of energy by cutting off all elements on the drop, leaving only the bass and kicks. Expertly crafted.
Aiden's "Fanks" on the B-side boasts a mesmerising appeal, again reminiscent of the 90s-2000s era, with its pulsating bassline and entrancing soundscape. It delves into the realm of trance, offering a hypnotic journey that echoes the allure of that bygone era. With its captivating blend of trippy elements, the track creates a nostalgic yet timeless vortex of sound, drawing listeners into an otherworldly experience that resonates with the spirit of classic electronic music.

B2 showcases Tourman's prowess as a versatile producer, seamlessly delving into different genres. Overflowing with progressive energy and adorned with scattered UFO sounds, this track stands as a testament to Tourman's evolving artistry—a dynamic force ready to command diverse sonic landscapes. An ideal opener for peak-time set.

Gottwood Festival's imprint Gottwax returns for its eighth installment. At the controls of this release is the London-based duo 'Make A Dance,' whose playful, party-driven sound has been making waves in the underground since their inception. Delivering a lively four-track EP, which includes two originals and two reworks, all of which are club-ready and certainly have 'The dance in mind.' This is going to make it into a lot of DJs' bags this summer and is not one to be missed."

Kicking things off on the A-side is 'Pocket Beagle,' a playful track that exudes energy with its infectious bassline groove and unforgettable vocal. Make A Dance showcases their slick production abilities and sense of humour with this track, which is sure to be a staple at many parties this summer. Moving to the A2, 'Pocket Beagle (Acid Dub)' is the duo's club-ready reimagining of the A1, injecting some serious attitude and character with its acid-infused bassline and metallic top line.

Onto the B-side, we've got 'Woof Doof.' This track is a real groover, with a lively bass and catchy melody. It's a solid addition to any DJ's arsenal and one you can expect to hear at many parties this year.Closing out the EP is 'Woof Doof (Hardcore Labrador Mix),' the duo's haunting rework that cleverly rethinks the B1 but takes you on a deeper journey. With its heavy drum groove, swelling sound effects, and that catchy top line, this track is tailor-made for those late-night dance floors.

We're excited to welcome Make A Dance to the Gottwax family and share the 'Woof Doof' EP with you.

For the first time on 7'', the two grooviest tracks from the soundtrack composed by Riz Ortolani for "Confessione di un commissario di polizia al procuratore della Repubblica" (aka, "Confessions of a Police Captain"), the renowned 1971 crime drama by Damiano Damiani, starring Franco Nero at the peak of his career.

On Side A, "Serena e Lomunno" is a jazzy spell performed by an exceptional quartet - unfortunately uncredited - consisting of bass, electric guitar, drums, and piano. On Side B, the quartet reduces to a trio (sacrificing the piano) to give life to "Il ricordo di Serena," without losing any of the rhythmic essence infused in the previous track.

In both cases, the pieces' structure is entirely supported by the perfect interplay of bass and drums, with particularly striking and sharp timbres, complemented by electric guitar and piano with their refined phrasings.

The result? A succession of irresistible and elegant jazz-funk breaks, practically tailor-made for sampling.

This is an essential addition to the series of 45s that Four Flies is dedicating to the best Italian golden age soundtrack and library productions. A must-have for any serious Italian sound digger!

Favorite Recordings presents Faché, a new long awaited EP by Voilaaa, including 3 brand new tracks from the Afro-Disco maestro, and tasty exclusive versions. This is also a first taste of the upcoming 4th album, which is planned to be released in September this year. The EP opens with “Faché”, and it includes all the elements of Voilaaa’s famous style and skills: killer Afro-Disco production with heavy bass, hot percussions and playful horns and keyboards, coming with French spicy vocals by longtime partner Pat Kalla. A dub version is provided then. Next track is “Trouble Travel”, which is displayed in a “Garage Version” fully exclusive to this release and perfectly tailored to kill any dancefloor. It features upraising singer Nai-Jah collaborating for the first time with Voilaaa. On the B-side, you’ll find a surprising and blowing version of Jamiroquai’s “Too Young to Die”. The classic hit taking a new life in a Tropical perfect suit, with stunning Creole vocals by Olivya (Dowdelin). Voilaaa is back and ready to delight your summer!!



c A3. Trouble Travel (Garage version) feat. Nai-Jah

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.

The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

The only proved efficient time traveling method to date is through listening to music, particularly evident when indulging in Jona Jefferies' latest EP released by Spanish house specialists Apersonal Music. It's a refreshing nod to the golden era of 90s electronic music. Across its three tracks, Jefferies masterfully blends elements of ambient, downtempo, and electronica, evoking a sense of nostalgia as if plucked from a bygone era. In contrast to today's TikTok-dominated landscape of short, immediate singles, this EP harkens back to a time when music was crafted with depth and complexity. Drawing inspiration from legendary acts like Boards of Canada and Underworld, it seamlessly transports listeners to the Gen-X decade, when acts like Daft Punk, Orbital and The Chemical Brothers reign supreme and exploited the electronic scene during the MTV era.

On the A side, "Es Camp" embodies the seamless influence of British electronic music on the Balearic scene of the 90s, and viceversa. Feels like Moby’s “Porcelain” if the film "The Beach" had been set in Ibiza. Max Essa's "Romantic Breaks Mix" elevates the track to pure Balearic bliss, setting the perfect mood for any sunset terrace around the globe.

Side B, tailored for the dance floor, runs through “Lost in Paradise”, a track that channels euphoria reminiscent of the underground rave culture during the final years of the 20th century. Apersonal's trusted remixer, Eddie C, delivers an extended rendition of the track that continually evolves, echoing Jim Morrison’s words: 'the music was new, black polished chrome, and came over the summer like liquid night.'

Introducing the much anticipated 7"" vinyl featuring two standout tracks from Sami Galbi. Face A is "Dakchi Hani," a poignant post-breakup anthem blending raï influences with contemporary rhythms, offering a humorous take on navigating emotions. Face B showcases "Rruina," a powerful follow-up track that delves deeper into darker, club-oriented sounds, pushing the boundaries of Swiss-Moroccan raï-chaabi fusion. Seamlessly transitioning from the raw synths and bouncing rhythms of "Dakchi Hani" to the tension-filled atmosphere of "Rruina," this vinyl promises a captivating journey through Sami Galbi"s musical evolution. With each track tailored for the dancefloors, this vinyl release is poised to explode with energy wherever it goes.

HARMONY014 is a four-track VA compilation that blends warm rhythm into dreamy groove.

Club-oriented A-side opens with “It’s me bb” tailored by Alfred Czital, setting an intimate, yet vibrant tone of the compilation, followed by Jamida's melodic “Lots Of Love” infused in harmonic vocals.

Side B navigates through deeper-end density fields, suitable on or off the dance floor. Poygonia's “Akkala” encompasses tribal traditions and pulsing beats, while Andy Garvey's Euphorique is finding balance between divine pads and collapsing percussion, wrapping up the compilation.

Join Us on a Journey Through Hedonistic Disco Escapades With Our 7th Label Release by HOLDTight. For This Release, HOLDTight Delved Deep Into His Vinyl Treasure Trove, Unearthing Disco Funk, Folk, and Soul Gems, Which He Has Breathed New Life into.
On Side A1, We Present "Disco Ladies," a Mellifluous Disco Track Overflowing With Positive Vibes That will Enrapture Your Very Soul. on A2, Prepare for "Everytime," a Slow-Burning Soul Rework Infused With an Irresistible Swing. on Side B1, We Invite You to "Reach Out" to a Disco Funk Sensation Tailor-Made for Dance Floors and Sheer Pleasure. Lastly, on B2, "Cool Lady" Awaits, a Hypnotic Folk Masterpiece destined to Transport You to Uncharted Musical horizons.
This Release, as Always, Is a True Gem for Collectors and Avid Vinyl Enthusiasts. Dig Deep and Embrace the Allure of HOLDTight's Sonic Treasures....

1000 copies worldwide. Deluxe 30th anniversary re-issue of cult Boston band's 1992 debut. Featuring the intense guitar interplay of Thalia Zedek and Chris Brokaw. Acclaimed by Dinosaur Jr's J Mascis, Husker Du's Bob Mould and Kurt Cobain. An awe-inspiring collision of noise via American blues-rock with thunderous rhythms holding together every six-string duel. A cathartic and euphoric hail of noise that's succinctly tailored for maximum effect. An album that defined Zadek and Brokaw's songwriting partnerships as one of the most original bands of the 90s, tirelessly meshing their blues-infected ballads with feedback and epic instrumental breakdowns. "A uniquely sludgy, electric, and strong fusion of sounds and styles, combining extreme angst and commanding power." AllMusic // In addition, the nine original tracks are extended with the 'Fast Piss Blues' single and its flipside, a cover of The Rolling Stones' 'I Got the Blues'. The re-issue package also includes a download link to 'Live At Vermonstress Festival' recorded on the 10th on November 1992. "Like watching someone howl into a rainstorm."" Entertainment Weekly // "A suitably visceral live recording." Record Collector

It takes a certain special kind of band to make a perfect indie-pop song, and Kindsight are exactly that kind of band. The Danish four-piece have mastered the craft of distilling their artistic identity into sweet and scrappy songs, every note and detail carefully tailored so it all falls into place, for music that wakes warm memories and shines with daydreams about tomorrow. Kindsight (Nina Hyldgaard Rasmussen, Søren Svensson, Anders Prip and Johannes Jacobsen) announced themselves properly in 2022 with their debut LP Swedish Punk, and promptly headed out on the road to introduce that record to the world, setting off for shows including slots at SXSW and Roskilde Festival’s emerging talent stage. Always unwilling to rest on their laurels, the band have kept moving forward, and are now back with a new album, No Shame No Fame, out on Rama Lama Records this April.

"No Shame No Fame" by Kindsight includes the following tracks: "Love You Baby All the Time", "Killing Eye", "Terracotta Team Song", "Easter and the Boys" and more.

On "The Best EP", Chengdu-based artist B.AI shows she can not only write memorable hooks but can do so while covering a broad array of registers. One of her most enticing feats is her ability to make the minimal, electro and tech house genres she navigates her own by injecting them with a unique sense of melody. "Nightdreaming" is a moody builder: although new, sturdily patched layers keep being introduced and the pace never slows down, a sense of restraint remains. This atmosphere quickly changes on "Satisfy", which, with its tapestry of indeterminate arpeggios and EBM-evoking vocals, takes a nervous turn. "The Best" on the B-side is a slab of vigor tailored for the peak time. Set to an effective bass groove, modulated chords, white noise sweeps, delicately mixed moans and bright pads nearly trip one over another. On "Crash Landing On Nimas" B.AI , together with Diego Santana, unleashes a batch of detuned and portamento heavy square wave patterns. The EP, diverse yet balanced, ends on a note so ominous...

The visionary electronic music producer team Arnau Obiols and KAYYAK, known for blending cultural influences into captivating soundscapes, present two new tracks seamlessly fusing afro-inspired rhythms with groovy organic beats. Splendid remix works by the masterminds Prins Thomas, Medlar & Dele Sosimi and Rahaan are the icing on the cake.

Arnau Obiols and KAYYAK return to Compost Records with their third release for the esteemed German label. Following their debut EP, 'Chang'an', and the single 'Tunacheza', which was also featured in the compilation 'Future Sounds of Jazz Vol. 15', the duo presents their latest offerings: "Faith" and "San Diago". Recorded between Zurich and Barcelona, these tracks embody a fusion of disco, funk, and jazz infused with a strong West African influence drawn from genres such as highlife, afrobeat, and juju. Their passion for psychedelia and krautrock is evident in the recordings, characterized by raw tape echoes, primitive drum machines, heavily processed analog synthesizers and dream-like atmospheres. While the original tracks maintain an organic vibe, the remixes offer club-ready versions tailored for the dance floor. Featuring outstanding remixes by the Norwegian space disco pioneer Prins Thomas, the Chicago legend Rahaan, and the British house producer Medlar, along with Nigerian musician Dele Sosimi, renowned for his work as a keyboard player for Fela Kuti in the late 70s and early 80s. Don't miss your chance to experience these captivating tracks. Grab it while you can, as this release is expected to go fast!

Introducing the forthcoming vinyl single from FJAAK's highly anticipated album, "FJAAK THE SYSTEM." Featuring three electrifying stompers and an exclusive acapella track tailored for DJ tool usage, this release promises to captivate techno enthusiasts and vinyl aficionados alike. First up, "A1 - Redemption" unleashes an ancient acid-techno anthem, pulsating with acidic elements and an unmistakable old-school vibe. Its hard-hitting beats and minimalist structure reflect the chaotic state of our world's system, while sporadic vocal shots weave a narrative of societal disarray, urging listeners to delve into the madness. Next, "A2 - Hustle" encapsulates the relentless journey of artists striving to leave their mark in the world of music. With pulsating futuristic breakbeats and driving rhythms, the track embodies the dedication and passion fueling their creative pursuits, amidst the challenges of the road and the vibrant energy of the techno scene. Then, "B1 - Mechanic Love" delves into the intricate dynamics of relationships in a technologically infused world. Exploring the blurred boundaries between humans, machines, and cyborgs, the track navigates themes of love, intimacy, and companionship within a futuristic realm where humanity's evolution converges with technological innovation. It's a symphony of emotion and machinery, inviting listeners to ponder the complexities of existence. Lastly "B2 - Unity" featuring US artist Red Eye, the vinyl single includes an exclusive acapella version of a track featured on the upcoming album, providing DJs with a versatile tool for creative mixing and experimentation.

2024 repress !

Chicago Proto House Re-issue with Gerd Janson & Enzo Elia Edit

Master Plan was the Chicago based dance music project of Pepper Gomez and Tom O’Callahan. Spanning from 1984 to 1986, the groups development is in sync with the dance music scene of Chicago during that era. While their first record „Pushin’ Too Hard“ is a Windy City version of the NYC club music of the time and its European cross-pollination, „Electric Baile“ from two years later down the line is almost a quantum jump into house music. With the engineering help of Matt Warren, it bears the marks of Ron Hardy, Chip E, Farley Jackmaster Funk or the WBMX dance party craze, if you will. Here you have remastered and updated versions by Enzo Elia and Gerd Janson. The first ones’ edit attempt of „Electric Baile“ ignited this edition. A custom-tailored main mix is completed by a dub and useful bonus beat version to do, what DJs used to do. Concluded by two edits of „Pushin’ Too Hard“ by GJ, you get two great slices of yesterday that are still major dance music blue prints today.

Mood II Swing are giants of NY metro area club culture. On calibre with heavy-hitters like Masters At Work and Blaze, Lem Springsteen and John Ciafone's output boasts the bejeweled crown of deep house supremacy, spanning from the early 1990's to the latter part of the decade, molding and modeling a sound painstakingly tailored to the vanguard of minority and transgendered club scenes, pre-purge New York. One of their first and most explosive claims to the throne was 1992's "Wall of Sound" EP, a no-prisoners-taken masterpiece with the confidence and cockiness of two producers just out the gate and fully assured of their total domination of the craft. "I Need Your Luv" is, to this day, the indisputable measuring stick of cunty club tracks, opening as the curtain lifts with the outpouring of one fierce ruling diva, quickly picking up force in a storm of wide swinging-drum programs, punching bass drives and sparse, splitting synth stabs, all punctuated with unyielding vocal cut-ups and yearning cries. On the flip, "Penetration" delivers the same expert method, albeit with a more abstract, dreamy air about it, a bumping, endlessly ascending standard of the vocal-sample driven deep house track of the early 1990's, constantly building and morphing in its deceptive complexity. Brilliant, timeless and time-defying, "I Need Your Luv" & "Penetration" have finally been reissued for the first time since their original debut 21 years ago, the latest feature in Slow to Speak's ongoing CORE series, a testament to the formative years of NY house lore.

London polymath producer Josh Ludlow, co-founder of the already seminal MAD Records and one half of the dynamic Make a Dance Duo, explores new sonic territories with his inaugural solo EP release on Belfast imprint Nocturne. Embracing his passion for eclectic disco, hypnotic chug, and music tailored for those transcendent nocturnal hours, Ludlow showcases his versatility and distinctive flair on his debut outing.

Leading the charge on Josh Ludlow's debut solo EP is the bass-led 80's influenced odyssey of 'MindwayS.' A sonic journey through contemporary psychedelia, inviting audiences to lose themselves in the sweet spot where boundaries between reality and imagination blur. In 'Touch,' Ludlow ventures into seductive sonic territory, delving into a world of cowbell-laden, slo-mo erotic disco. Live guitar licks sit comfortably shoulder to shoulder with low slung hypnotic grooves and alluring vocals in "Little Love" - perfect for the more discerning european dancefloors.

'Diska Tek!' delivers a fusion of playful cosmic energy, sitting comfortably between Cowley-esque hedonism and the contemporary Scandinavian greats. The track pulsates with infectious rhythms evoking the carefree spirit of the dancefloor while showcasing Ludlow's ability to blend nostalgic influences with modern sensibilities. With its vibrant energy and irresistible grooves, 'Diska Tek' is a testament to Ludlow's prowess in bridging the gap between disco's golden age and contemporary dance music."

Through MindwayS, Josh Ludlow not only introduces his solo endeavors but also marks the resurgence of Nocturne after a short hiatus. This statement intent by the imprint positions it as a platform to continue to champion forward-thinking sounds.

Lisbet Fritze and Louise Foo have shared artistic trajectories for half of their lives, having been two thirds of pop noir purveyors Giana Factory. As Glas, the duo reveals a patchwork of everyday observations rooted in significant life changes: moving countries, becoming a mother, keeping sane with and without a significant other. The music conveys a quest for balance, riding the line between doomy drama and playing it cool.

Their 10 song, self-produced debut, Kisses Like Feathers, will be released, worldwide in March 2023, through Hamburg’s hfn music. All lyrics, vocals and instruments were performed by Glas, and recorded in their studio. The album was mixed by Anders Trentemøller, with artwork by Brunswicker studio The Copenhagen-based duo have never been short on inspiration. Lisbet has lent her vocal and guitar talents to Trentemøller, in both the studio and on stage. Louise has explored immersive music with avant-pop project SØSTR, along with her sister, Sharin Foo of The Raveonettes. Lisbet’s other life involves architectural design. Louise works with sound installations in a visual arts context. The musical ideas of these two polymaths find coherence in the newly-formed Glas.

Kisses Like Feathers embody Nordic duality. Dark at times, it also presents with an open ethereality. Some songs feel tailor-made for a club’s sound system. Others lend themselves to intimate, headphone moments. While Lisbet and Louise’s harmonious vocal stack is the common thread throughout the album, the musical fabric is interlaced with acoustic, electric, and electronic instruments. Lo-fi piano and acoustic guitars share a reciprocal space with rich, synthetic orchestration. Galloping, modern rhythms and folk arrangements are often featured in the same song. These elements, and so many others, buttress the pair’s hymns.

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

The Trip is the first solo album by N'Zeng, better known as Sébastien Blanchon. It has to be said that he hid behind his (hollow) nose to sniff out the right projects (ex Le Peuple de l'Herbe, member of Entourloop). His nose is hollow, but not for the trumpet, and yet it's with this instrument that he started out. And he reinvents it, giving it a subtle place on this musical road trip we call The Trip.
A journey open to all, with no tolls and no filters, apart from the cinematic filter of this lover of original soundtracks and trip hop. Beautiful images flash before our eyes, and in our ears, the smooth voice of Charlotte Savary (Wax Tailor). An album, a very good trip for lovers of Portishead, Gorillaz, and well-felt scratches in the form of controlled skids.
He's making a name for himself as N'Zeng, with his smooth arrangements.

N'Zeng's father played trumpet with his grandfather in the Feurs brass band in the Loire department. When he arrived in Saint Etienne, young Sébastien started out with a cornet à pistons at the Conservatoire. His teacher at the time, Marcel Heyte, had won a prize in Paris at the same time as a certain Maurice André.

His father took lessons in orchestral conducting, accompanying the offspring's budding musical career, which included a course at the Festival de Cuivre in Monastier-sur-Gazeille, where he met the soloists of the Radio France orchestra. A new awareness, a new confidence: off to Lyon, not for a soccer derby, but to "beef up his game". In 1997, he was awarded a gold medal for trumpet by a unanimous jury at the Conservatoire National de Lyon.

Lyon, capital of the Gauls, was the starting point for N'Zeng, who went on to become a member of the group Le Peuple de l'Herbe. 15 years later, with several successful records to his credit, a concert in 2003 at the Transmusicales with Beth Gibbons (Portishead), and a Victoire de la Musique award, it was time for N'Zeng to move on to other things.

Arrival in the City of Light, the place where dreams come true. Nzeng's dreams are not only sonic, but also visual, for Sébastien is not only a friendly presence and a talented musician, but also a cinephile. His knowledge of music theory, acquired during his years at the conservatory, enables him to tackle music for pictures.

He created a soundtrack for the cult film Alien - The 8th Passenger, and worked with musician Rone (collaborating with Baxter Dury) and his bandmates from Le Peuple de l'Herbe, composing 2 tracks for the soundtrack of Virginie Despentes's hard-hitting film "Baise-moi". On the album "Hollywood Hustlers", with the group "Mustang Force", he pays tribute to the soundtracks of Lalo Shiffrin, Ennio Morricone... The album is also well received by the critics. He conducts the arrangements and orchestrations for the Degiheuga Orchestra, and composes the original music for the Hôtel Bellevue dance show, another success!

2019 sees the birth of "The Trip" project. On this record, no masks, but a female voice, that of Charlotte Savary (Wax Taylor), laid on a carpet of strings. With this musical voyage, trip hop takes pride of place, with a balance between the body of the instruments and the mechanics of beatmaking.

There's no getting off track on this well-balanced record, with its silky orchestrations. N'Zeng accompanies us elegantly, with his trusty trumpet as GPS, here used subtly. The album cover is a photograph taken by Sébastien Blanchon's mother, in 1973, a year when Saint Etienne was about to become French champion for the 7th time.

Following a first iteration which set the tone for our newly-minted Heimat series in explosive fashion, here comes the much anticipated second batch of our zeitgeistian take on today's scene's, its current potential and destination. Showcasing productions from artists keen to roll up their sleeves and sail into the impassible status quo, this new number packs the kind of red-hot hammering and cutting-edge punch we've been so adamant to push and defend over the past decade. Berlin-based French producer Arkan steps in first with a proper magnetic depth charge. Dwelling the darker layers of our ocean floor as its name suggests, 'Submarine' is pure hypnotic material geared up for heavy-duty boogie in the warehouse. Filling its ballast tanks with a hefty deluge of muscular bass onslaughts, sonar-like bleeps and untamed cascades of loopy arps, this one rolls and pitches like a haunted ship on predator mode. Adding his dynamic pulse and mind-bending spin to the A-side, Frameworks & Untertwegs bossman Decka cuts a path of straight mental obliteration as he smashes the doors of the club wide open and parades all guns blazing with the unapologetic crusher that is 'Circumvent'. A no-holds-barred workout for the strong stomachs, churning out fiery bars of kick-drum/squelchy bass contrast with in-your-face swagger. Switching on to the flip side, there's Manchester's Yant cruising with the ebulliently dynamic (no shit, Sherlock) tune, 'Moving'. A multidirectional concerto of pong-like modularity and racing synth arpeggios flying off like coloured bricks in a Tetris game gone absolute batshit. The kind of hi-intensity burner that'll awaken any lukewarm mid-set flow with its bouncy unpredictability and ruthless forward-pushing thrust. Rounding it off on a further minimal note, Amsterdam up-and-comer Hitam treats us to an inch-perfectly engineered finale with a stripped-back - yet, absolutely not hollow - bomb, 'Venusian Winds'. Gutsy that one sure is, with its metronomic step ticking at near-cyclonic speed and cleverly arranged, subtly FX-coated funk keeping things both suspenseful and focussed thru and thru. A sleek combo of pared-down brutalism and masterly executed analogue tailoring altogether. All dressed in clear purple marbled wax for the occasion, "Heimat II" shall please both the techno purist and visual aesthete in you with its velvet touch and effortless chic.

For the five members of Punchlove - multi-instrumentalists Jillian Olesen, Ethan Williams, Joey Machina, Ian Lange-McPherson, and visual artist Viz Wel - moving into a maze of a house in Brooklyn together was the transition that created the album they had been writing their whole lives. Quietly evolving from a bedroom project to a headlining live phenom, Punchlove has geared up a densely layered bed of emotionally serrated pain-pop songs that coalesce around a digitally-stimulated, emotional brand of modern neoshoegaze. Channels, out March 1st on Kanine Records, is an album of deeply prepared sounds, sharply honed instrumentals, and a band performing them that knows each other all the way through. Having met studying music technology in college, multiple members of Punchlove work mixing live bands at prominent NYC venues and in the studio. Using that expertise, the inhouse production, mixing, and recording is a palpable highlight; mastered by 2000s shoegaze stalwart Kurt Feldman (The Depreciation Guild), the record melds DIY recording and experimental sonic visions with studio quality. Punchlove is dedicated to pushing the envelope of experimental sonic practices in live performances, where they can be seen performing with real-time audio reactive analog visuals, executing real-time sampling and looping, self-mixing onstage, running radios and tape loops through effects, improvising, and playing guitar with everything from double bass bows to vibrators. In their home recording environment, experimentation is at the core of their creative process, where they integrate self-programmed digital signal processing systems, psychoacoustic phenomena, tailored feedback, elements of 3D audio, immersive field recording soundscapes, early electronic instruments, and experimental recording and mixing techniques into the greater backdrop of pop songwriting. FOR FANS OF: Radiohead, Wednesday, Hum, DIIV, my bloody valentine, The Smashing Pumpkins, bdrmm, A Place to Bury Strangers

The WYLDE TRYFLES from Bordeaux sound wild and out of control, playing their modern take on ultra-fuzzed female-fronted 60s garage-punk, full of snotty garage vocals, screams, back from the grave vibes and hypnotic dangerous dancing beat! So, what do they serve on their third Soundflat Records-release 'Outta Tyme'? It's a brand-new killer 60's-garage-mayhem-punk-LP with 10 astounding tunes in the tradition of US-garage and British R&B/Freakbeat with an amazing vintage studio sound. You can expect the obvious classic fuzzy 60's garage-punk influence by the likes of LITTLE PHIL AND THE NIGHT SHADOWS, THE FIVE CANADIAN, THE OMENS, THE MUSIC MACHINE and THE YARDBIRDS; at the same time a great portion of 80's garage-revival-legends inspiration like THE PANDORAS or THE CYNICS, and of course the WYLDE TRYFLES' unique approach to their signature sound. You get nine smashing melodic TRYFLES-originals like the breathtaking 'Don't Leave Me This Way' or the catchy 'Don't Press Your Luck', plus one wylde coverversion of THE SAVOY's 'Can It Be', which seems to be tailormade for the band and will keep you dancing all night long. This LP is definitely among the top 60's garage revival records. 'Outta Tyme' is a fantastic new album by French garagepunkers THE WYLDE TRYFLES - don't miss out on this wylde nugget! Ready, steady, go and get it!

#40 ON ROLLING STONE'S 500 GREATEST ALBUMS OF ALL TIME: ANTICIPATES LATE 1960S TURBULENCE VIA PROPHETIC SONGS AND DARK THEMES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, its magnitude and magnificence need to be heard again and again. For here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback.

Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. Turn it up as loud as you want; the sole limitation will be your system's potential.

Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.

The seemingly opposing combination – ominous, dark reflections situated amidst lush, light melodic beds – affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.

Alternatively sad and beautiful, the album-opening and flamenco-inspired "Alone Again Or" establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality.Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. Its ambitious construction almost forced the already fractured band to cede responsibilities to session musicians, which appear on two tracks. The quintet's resolve to not only complete the album, but to do so with such poignancy and curiosity, further enhances Forever Changes' standing.

No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim. It was, and will always be, a personal manifesto of timeless relevance and appeal.

Part two of our various artists series is a well narrated intergalactic journey that teleports listeners to different spheres whilst remaining in the same galaxy. The curation of forward thinking techno is tailored to those who strive transcending planet earth.

Tracks by Chlar, Holden Federico, Julian Muller and VNNN. make this release not only a unique piece of music but an energizing big room filler - acceleration and drive guaranteed. T3R VA Series 02 convinces with four euphoric and bright sound comets that claim ultimate presence and eliminate gravity. Out on December 1st - Make sure to grab your limited copy and be ready for the
next one!

New York's Cleopatra label gets the Numero treatment. Hailing from Tommy Falcones swarm, Beehive lead Vickie & The Van Dykes were the sound of the coming youth revolt_Vickie had rock `n' roll in her bones and rawhide in her voice. "I Wanna To Be a Winner," and "Outcast." were songs tailored to her rebellious personality.

New York's Cleopatra label gets the Numero treatment. Hailing from Tommy Falcones swarm, Beehive lead Vickie & The Van Dykes were the sound of the coming youth revolt_Vickie had rock `n' roll in her bones and rawhide in her voice. "I Wanna To Be a Winner," and "Outcast." were songs tailored to her rebellious personality.

Danny Daze presents a brand new alias for Slacker 85 first solo artist EP - D33 is a long-gestating alter-ego through which the Miami DJ & producer plans to explore a more house-leaning output.

The Operator EP sees the Omnidisc label owner channeling his multi-genre, Miami bass-infused sound into a quartet of stripped-down machine jams tailored for house DJ sets, with the fidgety title track issued in two flavors, the D33 ‘Wet Mix’ and Danny Daze ‘Dry Mix’, while on the B-side the heavy kick and evil bassline of ‘Azuca’ is offset by the hypnotic Jonny From Space collab ‘C’mon’.

“D33 is an alias I’ve had floating around in my head for years. It leans more towards my house music side and allows my head to dig into simpler production of dance music. My D33 production and DJ sets purposely feel a bit more laid back. Now I have the time to give out a crazy amount of hugs in between tracks while DJing… :) ” - Danny Daze aka D33

It is our pleasure to announce an exciting collaboration born out of the resounding success of UMAY and BASHKKA's iconic EP, "Maktub." Together, we are thrilled to unveil the culmination of BASHKKA's initial vision: the release of a meticulously crafted vinyl edition, complete with fresh and iconic remixes courtesy of some of her closest comrades and confidants. Ever since its electrifying debut in February, "Maktub'' and its mesmerizing title track, 'Act Bad,' have set dance floors ablaze across the globe. This explosive track earned the esteemed title of Top Summer Hit from Germany's venerable Groove Magazine, leaving us with no choice but to bestow upon it the grand physical manifestation it so rightly deserves. This offering is tailor-made for the discerning vinyl aficionados, dedicated collectors, and music connoisseurs who have fervently championed both this release and the incomparable talent of BASHKKA throughout the year. Graciously funded by the generous support of Initiative Musik, we have not only breathed life into this iconic release but have also empowered BASHKKA to co-direct her very first music video, in collaboration with the visionary director Valentin Noujaim, based in Copenhagen. Within the grooves of this vinyl masterpiece, you will discover four exquisite remixes thoughtfully crafted by BASHKKA's esteemed friends: Roza Terenzi, Hyperaktivist, Sedef Adasi, and AKUA. This illustrious ensemble perfectly encapsulates the essence of the project--an impassioned homage to the tight-knit community of allies and pioneering femme leaders who remain steadfast in their mission to challenge prevailing industry norms and dismantle the barriers that have long hindered marginalized communities' path to success. As each contributor works tirelessly on their own endeavors, they collectively construct vital support systems that foster sustainable growth and uplift those in need within our midst. With an exceptional team standing firmly in our corner, we eagerly anticipate unveiling a treasure trove of delightful surprises that this release promises to deliver. Stay tuned for tantalizing hints and immerse yourself in the tangible embodiment of BASHKKA's iconic creation.

There's no denying Marcel Fengler's profound impact on the ever-changing techno landscape. A pioneer in his own right, Fengler's works have flooded dancefloors and set lists worldwide for decades, and that shows no sign of changing anytime soon. His latest work is an all-encompassing four-track EP titled "Unleashed", including a remix from sought-after Stuttgart duo SHDW & Obscure Shape.

Kicking off with the title track, "Unleashed" introduces the EP with high-octane rhythms, pulsating low frequency sonics and rave like harmonic layers. An unrelenting onslaught of fast paced thumping techno, built around long, sweeping notes, vocal injections and a piston-like bassline, this one was made for the height of the party. "Caution" is next to feature, presenting itself as a robust industrial number with harsh percussive drive and endless layers of cadence throughout the mix. Weighty yet groovy in a unique up-tempo way, its robotic vocal splashes make the perfect accomplice for its potent warehouse vibes.

"Cypher" pulls you into the second half of the EP with rattling rhythms and more gritty sweeping musicality. Exhibiting the depth in his production skills, Fengler loads up the mix with a kaleidoscope of percussive elements alongside thumping kicks, surging synths, and another haunting robotic vox before SHDW & Obscure Shape get their teeth into a signature remix. Taking it deeper and darker, the duo's emphasis on subtle progressions and increasing intensity throughout the mix with offbeat trickery and creative unpredictability make their remix of "Cypher" a certified peak-time bomb.

"It has been quite a journey with this EP, as I've been exceptionally discerning about the sound and the entire production process. My goal was to create a release tailored for the dance floor, with the right amount of energy for peak-time moments, while also ensuring a profound and well-structured sonic experience. After testing potential tracks in my DJ sets, I distilled what I believe captures the essence I want to share with the audience. Furthermore, I'm thrilled to have SHDW & Obscure Shape on board for a formidable remix. Their work carries echoes of the raw and forceful sonic textures from earlier times, which I hold in high regard. I'm genuinely delighted with how everything has come together, and I hope you enjoy it!" - Marcel Fengler
Order IMF012 now

Stix Records, a sub-label of Favorite Recordings, proudly presents Disco Reggae Vol. 5, pursuing the highly acclaimed series started 10 years ago.

Birth land of the Reggae music, Jamaica has also always been fed by Soul, Funk, R&B and Pop music from the US scene, delivering some of the best covers anyone could think of. With it’s Disco Reggae series, Stix Records therefore simply carried on this tradition, offering new versions of classic songs from a wide spectrum of musical styles.

On this 5th edition, the list extend to famous name such as The Undertones, Bobby Caldwell, Cerrone, Patti LaBelle, or Ray Parker Jr. to name a few. At the control to tailor these hits with new and exclusive Reggae suits, you’ll find the best producers from the Stix’ roster like Soul Sugar aka Booker Gee, Taggy Matcher, Simon Nyabinghi, or Mato.

Together they signed again a perfect soundtrack to extend your summer and fill your playlists, whether to light the dancefloors or just sip a nice cocktail facing the Negril’s sunset!

Celebrating his 70th year in show business, Pat Boone, legendary singer, actor, songwriter, and author is reconnecting with his Nashville roots with a milestone country music project, Country Jubilee

Included in the 25 tracks are 5 Pat Boone Top 100 Country recordings, Boone's recordings of classic hits by Country legends, plus a new recording of the classic duet and Billboard #1 'You and I' (with featured guest artist Crystal Gayle), and Pat's new song, 'Grits' (with featured guest artists Ray Stevens, The Gatlin Brothers, Lorrie Morgan, Deborah Allen and Dean Miller), tailor-made for the line dancing crowd.

The Commemorative Edition 2CD format includes a 56- page booklet with 'The Story Behind the Song' (compiled by hit Country songwriter Frank Myers), 'I Remember Red' (influence of father-in-law and Country music pioneer and Grand Ole Opry co- founder Red Foley), lyrics, and archival and behind- the- scenes photographs.

Original soundtrack from the animated TV series 'Professor Balthazar' (1967 - 1978) by Tomislav Simovic.

Gatefold LP, cut from the original master tapes, liner notes by Zeljko Luketic and exclusive graphics by Boris Stapic.

Master tapes were considered lost; now found and restored for this unique release celebrating Yugoslavia's biggest cartoon export of the times.

Professor Balthazar was filmed from 1967 to 1978 in Zagreb. It was a huge international success: from large fan base in Scandinavia to broadcasting on USA television and countries like Germany, Italy, UK, France and even Iran. It's still aired on various TV programs and video platforms.

Animation style and content is widely praised for being one of the rare cartoons that does not feature any kind of violence or aggression. The character of Professor Balthazar solves problems in a peaceful way. He uses his inventions and science to help his friends. Distinctive visual influence is a crossover of bright, psychedelic colors, weird shapes and naive art, typical for Zagreb School of Animated Film. This soundtrack is mastered from original tapes, composed and conducted by Tomislav Simovic.

The music is busy, playful and mixes influences of jazz, modern classical and even electronica. Fox & His Friends Records, also the curators of the largest ever multimedia exhibition on Professor Balthazar series in Museum of Modern and Contemporary Art in Rijeka as a part of the European Capital of Culture program in 2020, present the masters without any interventions in sound. This album cut includes longer rare version of main credits, made exclusively for Zagrebfilmijada, an event of public screenings of Professor Balthazar and other cartoons in cinemas in 1970's Yugoslavia.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Le Magnifique is a cult film. Many a viewer has memorized the lines of this character, whose role was tailor-made for Jean-Paul Belmondo. In the year of our Lord 1973, Belmondo reunited with director Philippe de Broca, a pair who, decades before the Jean Dujardin version of OSS 117, were unknowingly making meta cinema. The film's soundtrack, by Claude Bolling, successfully navigates between the first and second degree, without ever sinking into the clumsiness of "fantasy music". For the record, Claude Bolling is none other than the chief composer of the all-female group Les Parisiennes and of some 100 film scores, including Borsalino, which is certainly the best-known. Above all, he is a genius of French jazz, whose talent makes his music sound relaxed and familiar, even when you're listening to it for the first Tme. From the very first track on the album, "TaQana", postcard images of Mexico spring to mind. Claude Bolling plays with the codes of film music without ever losing a certain communicaTve jubilaTon. With the soundtrack to Le Magnifique, Claude Bolling equals the Anglo-Saxon masters of the easy-jazz pop genre, such as Henri Mancini. Fans of jerks to dance to at the ambassador's parTes will be delighted by the composiTon "Pop Mod". Even today, those who invented the term "lounge core" would go out of their way to own an original Claude Bolling vinyl. Thanks to Claude Bolling and his original French Touch, before thedays of Dimitri From Paris and Bob Sinclar who, if they hadn't been able to take advantage of this musical and cinema to graphic heritage, wouldn't have had anything to sample.