Suche:touch of class

Young Croatian cellists Luka Sulic and Stjepan Hauser, together known as 2CELLOS, have achieved sensational success by taking the cello to a new level. Their playing style has broken down the boundaries between different genres of music, from classical and film music to Pop and Rock. 2CELLOS have no limits when it comes to performing live and are equally as impressive when playing Bach and Vivaldi as they are when rocking out AC/DC. Their debut album is a thrilling collection of chart-topping rock and pop songs performed in their signature style.

2CELLOS rose to fame in 2011 when their version of Michael Jackson’s “Smooth Criminal” took the world by storm. The YouTube video became a massive viral sensation leading to a record deal with Sony Masterworks and an invitation to join Sir Elton John on his worldwide tour. The song charted at No. 10 on the Billboard Hot 100 Digital Songs Chart and landed the 2CELLOS’ debut album in the Top 100.

In addition to many sold out solo tours (US, Japan, Europe) and collaborations with the Red Hot Chili Peppers, Queens of the Stone Age and George Michael, the duo have also appeared on major TV shows such as The Tonight Show with Jay Leno, The Ellen DeGeneres Show, The Bachelor and many others. Together with the Chinese classical superstar pianist Lang Lang, they appeared at the CCTV New Year’s Gala for more than 1 billion viewers.

2CELLOS features the duo’s renditions of popular songs such as “Use Somebody”, “Smooth Criminal”, “Fragile”, “Hurt”, “Smells Like Teen Spirit” and more. It is released as a 10th anniversary edition of 1500 numbered copies on white coloured vinyl. It is housed in a heavyweight jacket with soft touch laminate and includes an insert.

Welcome into the world of scarse music for the ultimate connoisseurs, fine taste beatmakers and holy grails collectors.
You made a step close to The Edge.
From cult Italian soundtrack and 80's iconic anime, English and French library music, to tunes that made Hip Hop iconic anthem, Medline picked 10 compositions to cover, among his favorite crate diggers treasures.

With a 30 years Dj's culture, he unite on vinyl a collection of underground classics.
When other musicians sample, as former beatmaker, he found his fulfillment by playing the entire tracks, as homage to these composers.

In 2018 Solstice has set the corner stone of this unique artwork at the cross road of Jazz, Funk, Soul and Hip Hop worldwide culture.
With The Edge, the out of boundaries producer, placed the level even more higher.
The whole work is incredible, for a man alone, without music theory knowledge but playing flutes, horns, keyboard, guitar and many more instruments... creating in his little home studio the sound of a 70's orchestra.

Challenging and epic:
Epic for covers like A Day In The Life, Beatles cover by Les Demerle, took by Buck Wild for O.C. Time's Up and of course the eponym David Axelrod's The Edge on David McCallum album.

Challenging, for library anthem like Hot Dog, Ghetto or Keep Quiet by Jacky Giordano, sharp and definitely audacious.
Despite the variety of the ten themes, the man's touch is present each time, into the texture, sound taste and balance. Like a chef bringing up to date magical recipes.

The archetypal type of records My Bags loves to release, "The Edge" is built as a crate digger paradise, a timeless record linking past and present into a highly concentrate of divine grooves.

'Unreleased Stuff Part 'I dives into the rich vault of Charles Webster, a revered name in UK house with a career spanning over three decades. This release brings out three hidden gems from his archives that capture the depth of his skill in minimal and tech house production. Side-1 kicks off with 'The Same Thing (instrumental mix)', a refined deep house track with a tasteful nod to 90s acid influences. Over on Side-2, 'Halftoo' delivers a melodic deep house vibe that feels fresh despite its 1997 origins. Rounding out the collection, 'FYU' combines smooth, classy production with that unmistakable 90s touch, creating a sound that feels timeless yet distinctly of its era.

Stone Foundation's latest 7" single, 'Reach Out', featuring Laville, delivers an uplifting soul anthem. The track blends soulful grooves with a danceable rhythm, carrying a powerful message of unity and positivity. Laville's expressive vocals are complemented by a classy keyboard solo, adding an elegant touch to the overall vibe. On Side-2, 'The Beat I Know' brings Carmy Love and Sheree DuBois on board, offering a smooth, laid-back counterpoint to the energetic A-side. This track maintains the band's signature soul style, providing the perfect balance. Both songs are part of their forthcoming album, The Revival of Survival, continuing Stone Foundation's legacy within the UK soul scene.

Securing his place in the scene as a mainstay after consecutively acclaimed releases on his own record label and beyond as well as lengthy touring around the globe's best venues, Altinbas returns to Token the only way he knows how. The Fuse resident's ethereal mark on driven techno comes this time with an aquatic touch, diving further into his bubbly architecture and melodic intrigue.

'Voyage' can mean many things; the past few years have been an incessant trip across the world's greatest sound systems and most dedicated audiences for the Belgian producer, or then perhaps it's a reference to the climactic and emotional nature of his productions. In any case, it's also the title track for his third EP on Token Records. Balancing warmth and anticipation, Altinbas is able pack in all the elements of a timeless record while still providing the space to breathe. Smooth and introspective, 'Voyage' kicks off the EP on a cloud of a club roller. 'Stygious Night' shares the first side with a more minimal but nonetheless effective approach. The tonal synth work on this record begs for a powerfully round system worthy of only the best dancefloors, and the space that washes around in the background gives it true dimension. Maintaining minimalism with structure through drum arrangement, 'Stygious Night' is reminiscent of a not so distant past in Berlin crafted with a clearly modern approach. As the record flips, 'Venus Ballroom' takes us by surprise with an uncommonly resonant sound at the forefront. This stylistic switch blends perfectly with historic tracks on the label that have come to define its sound since 2007. Hypnotic, psychotic, quirky, and mental - 'Venus Ballroom' proves a deep understanding of the music and appreciation of versatility. 'Psychosphere' closes down the EP with a classic sound of dissonant stabs to resonate through a foggy room. Altinbas highlights his sound with frantic clap sequences and short rides to keep his percussion rolling but dry while his synths create the acoustic he's been known to craft for the past few years. To have everyone agree on level of taste and technical capability is tough, which is why this certainly won't be the last time Altinbas will team up with Token to roll out his cutting-edge work.

Sir James and King Johnny are the leading figures of the mysterious crew: L'ENTOURLOOP. These elders, fed on the sound of sound systems, vinyl culture and lulled by the epic dialogues of classic cinema, concoct a fine fusion of Reggae and Hip Hop. These beatmakers like to use scratches and samples, all blended with a vintage French touch that takes us from France to Kingston, London and New York! Originally released in 2019, "Golden Nuggets" is an EP in collaboration with the Jamaican Skarra Mucci aka the "Dancehall President". Here we find all the ingredients that make the magic of the sound of L’Entourloop and Skarra Mucci.

"Fastway's self-titled debut album, Fastway, released in 1983, is a hard-hitting blend of heavy metal and hard rock that made a significant impact in the early '80s metal scene. Formed by ""Fast"" Eddie Clarke (formerly of Motörhead) and Pete Way (formerly of UFO), the band delivered a raw, energetic sound driven by powerful guitar riffs and melodic hooks. With standout tracks like ""Say What You Will"" and ""Easy Livin',"" Fastway received praise for its straightforward rock appeal and infectious energy. Lead vocalist Dave King’s dynamic voice adds a gritty edge to the album’s heavy rhythms and bluesy influences. Fastway was a commercial success, helping the band gain a strong following and cementing their place in the hard rock and metal landscape. For fans of classic rock and early heavy metal, Fastway is a must-listen, delivering a high-energy experience from start to finish. Fastway is a limited edition of 750 individually numbered copies on white coloured vinyl."

Analog cut from "Lovers Covers J-Pop 2", a reggae cover compilation of J-Pop hits.

Side A is a reggae cover of Judy and Mary's "Sobakasu,"(1996) which was used as the first opening theme for the anime Rurouni Kenshin and reached number one on the Oricon Singles Chart, sung with an ennui voice. Side B features R-Crown's smooth and touching R&B rendition of Every Little Thing's classic song "fragile" (2001), which was the theme song for the romantic variety TV show Ainori.

Detroit's stalwart Kyle Hall is back on Apnea Records with "Crimson Clouds," his second release for the label following the acclaimed "Cosmic Touch." This acid-infused record is a tribute to Detroit's electronic legacy, drawing inspiration from the 90s sound of labels like Matrix and Underground Resistance, all while injecting Hall's unmistakable modern flair. Tracks like "Acid Tea" showcase Hall's acid-driven approach, delivering a dancefloor twister that's pure bliss. Meanwhile, "Nimbus" stands out with its syncopated rhythms and soulful synth lines, and "Told Them Before" brings raw, head-spinning techno energy to the forefront. With "Crimson Clouds," Kyle Hall delivers another essential record that bridges classic Detroit sounds with his unique modern twist. A must.

Mount Jacinto is the creative vision of Costa Rican artist Sonya Carmona, formerly a member of Colornoise and Las Robertas. Inspired by the majestic Mount San Jacinto in Palm Springs and the expansive landscapes of Northern California, Sonya sought to embody a sense of freedom and openness in her new musical project.

The band lineup includes Gini Jungi of Annie Taylor on guitar, drummer Adrian Oesch, and a touch of Latin American flair with Peruvian Joel Morales on bass and Mexican Yan-Cey on synthesizer.

In their music, chamber music elements intertwine with gentle bass lines reminiscent of Air’s Moon Safari and melodic compositions rooted in raw alternative rock. Their debut EP, Outward Signs, released in March 2023, explores modern pop-rock psychedelia with a groovy touch of twang.

The album was recorded with JooJoo Ashworth from Froth and mixed by Alex Newport (Bloc Party etc.).
The title track, Silver Lining, is a standout on the album, showcasing the evolution of Mount Jacinto's sound over recent years. Sonya explains:
"This song is my favorite at the moment from the album. I think it kind of represents it well and reflects that there is always a 'Silver Lining' in everything, where something good can come from a difficult or bad situation. It’s very exciting to play it live and marks the evolution of our sound through this last year. It has its own character and creates its own sonic universe. It’s a homage to the synth wave era, a mix between Depeche Mode, Eurythmics, and Lebanon Hanover."

The debut album Silver Lining is more than a collection of songs—it’s a deeply personal journey through love, loss, and self-discovery. Created during a period of transformation in Sonya Carmona's life, it captures raw emotions and the resilience required to find one’s true self. Tracks like Forest delve into the path to self-acceptance and the importance of confronting inner struggles, whileThe Reason explores the inner dialogues we have during pivotal moments. The album blends heartfelt, intimate lyrics with lush, soulful soundscapes.
Musically, Silver Lining combines classic 60s and 70s influences with a modern indie vibe. It reflects the profound changes Carmona has experienced, offering listeners a moving musical journey.

Soul Crooner David A. Tobin is no stranger to the game. The singer, songwriter and one of the Cool Million vocalists was born and raised in the NYC neighbor state New Jersey aka Brick City, which ever since had a massive influence on the US music scene. “Fallin’ in Love” already became a global pushed radio banger and features a classic Soul vibe that elaborates the strong connection of David A. Tobin and Rob Hardt as a songwriting team. Deep and truthful vocals embedded in a grooving and shiny production that will warm hearts and touch souls. The double AA-side “Turnin’ Me On” complements this release and is no less a radio smash and is a smooth up-tempo dancefloor compatible classic Soul tune. This new release on SEDSOULCIETY RECORDINGS is an unreleased exclusive full cover vinyl 45!

Following his recent EP, The Circle of Life, on Pushmaster Discs, Milan's rising techno star Maike Depas returns with a brand-new release on his renowned The Innovation Studio Records. Titled “Sexy Devil Horse”, it is a powerful 10-track collection, featuring many iconic international artists from the Hard Techno space such as Etruria Beat’s headmaster Luca Agnelli, Dutch-based sensation OGUZ and the “Demon of hard techno” also known as Michael Katana, as well as Southern Italian talents CHRS and Gianni Di Bernardo.
This release marks a pivotal moment in Maike Depas’ journey to become one of the highest rated talents in the Hard Techno scene. It will also be followed by a key paradigm shift his label’s business model in 2025. For this occasion, Maike has lined up an amazing group of artists to celebrate those who have shared his musical vision along the way.

The title is meant to be provocative and captivating, just like its content: catchy and fresh enough to attract ravers and clubbers from around the world. Its artwork was created by the master Luden Works. It features a plastic female figure with an undefined appearance, yet with sensual curves and a powerful surge of energy, like a wave enclosed in a sphere, representing Maike’s and The Innovation Studio Records’ logos.
From the galloping rhythm of “Sexy Devil Horse” and “Hear The Sound” to the groovy and elegant “Ce Soir” there is an immediate feel about the artist’s singular touch and eclecticism. Same goes for the tangible contrasts which make a key element of this release, where the minimalistic mood of “StarKiller” and its maximalist counterpart “Dark Serenade” carry the listener through a full-spectrum emotional rollercoaster.
Hard Techno and Psy Trance vibes go hand in hand with ‘90s Trance and Rave echoes, creating a blend of recognisable and innovative samples that can resonate with many different types of audience and like-minded artists. This aspect is fundamental in the direction Maike and his team have decided to take.

It all comes from afar: starting with a classical musical background – playing the piano at Conservatory level for many years, including Berlin’s own Funkhaus. This theoretical and practical knowledge, mixed with a long-time passion for electronic music, made it easier for Maike to shape and cultivate his authentic sound since a very young age.

As part of its evolution, The Innovation Studio Records will officially open its doors to new talent and renowned artists starting in 2025. The team’s vision is to create an international reference point for quality and innovation, shaping a brand-new artistic movement based on combining the modern vision of our generation with our cultural heritage from the past, thanks to the team that we put together, both in terms of approach and technique.
It'll be a structure built from the ground up, combining the best of analogue technology in a modern workflow with the highest level of music hardware, audio monitoring and studio design. In their view, there are two types of productions: those that stay ‘inside the box’ and those that get into your heart.

The desire to unite instead of dividing, to join forces instead of competing, is the key to Maike’s success and a real drive to turn the studio lights on every single day. Despite playing a lot with dystopic, cyberpunk-like atmospheres throughout his artistic journey, music doesn’t feel like a means to escape reality for Maike. In fact, it’s quite the opposite.

The definition Maike uses the most to describe what The Innovation Studio Records wants to become is “a mysterious display cabinet”: a place where an artists will never know what emotion will arise or what direction will be taken next. Although hard work, professionalism and common inspiration will ultimately still be its main fuel, a true sense of community and empathy will be crucial to shape the future Maike and his team have in mind for it.
In a very romantic way, the idea is to re-create the same atmosphere from the Italian Renaissance masters’ workshops. Places where different artists - with opposite backgrounds and styles - could all mingle and inspire each other, in order to foster the creation of something unique. A collective effort for a greater good.

About MAIKE DEPAS
Young hard techno DJ-producer Maike Depas (born Michelangelo De Pasquale) has seen the future of music and it’s called metaverse: “In the future it will blow up,” he predicts. “And it’s going to revolutionize the way we experience music.” Bowled over by Skrillex and Martin Garrix by the age of eight, and DJing at smaller Milan clubs by the time he was eleven, Depas went on to study composition and piano at the prestigious

Milan Conservatory before learning ‘life- changing” lessons from the best in the business at Catalyst’s 4-week Advanced Sound Design course in Berlin’s Funkhaus . His production gets inspired by huge 90s trance synths as much as pounding hard techno from artists such as Kobosil, In Verruf and Amelie Lens.
2024 marked the launch of MAIKE DEPAS 2.0, a tectonic audio-visual shift that entails a wide array of content from DJ sets livestreamed from Berlin’s Teufelsberg and other dystopic locations around Europe to cyberpunk-inspired outfits designed by Demobaza, a cyberpunk-inspired casual couture brand best known for their sustainable Dune X Demobaza collection. Over the course of a developing metamorphosis from a flesh-and-bone individual to a mysterious CGI character, Depas is another step closer to revolutionize the dance music scene through the metaverse.

Recorded in the 1980's and snapped up upon arrival in Europe by the Soho Boho's, Acid Jazzuals,Cuboppers, Jazz Massivists and Mojo Jazzmuziker, "Le-Le" by The Arpeggio Jazz Ensemble is a unique one off Spiritual Soul-Jazz outing with Avant Garde touches and more than a hint of Afro-Cuban Orientalism.

The percussion drenched title track has that special Worldwide Sound and the Cool Jazz Get Down Groove of "Wet Walnuts and Whipped Cream" is a DJ's delight, whether played over the Airwaves or to a crowded Dancefloor.

An adventurous jazz outfit that has been playing around Philadelphia since its formation in 1979. The Ensemble was founded by Warren Oree, an acoustic bassist, producer and composer who continues to lead the band. Eclectic and far from predictable, on this album the Ensemble has embraced a variety of acoustic and electric jazz styles combining them with African and Middle Eastern influences and mixed together with the "New Thing" have managed to make a timeless underground classic.

Music To Varnish Owls By. Does Geoff Bastow have a claim for the best album title of all time? It's certainly up there. It's also one of the hardest to find library funk records. But don't let the eye-catching name fool you into thinking this isn't serious business.

As a key member of Giorgio Moroder's team, the legendary Geoff Bastow shouldn't need any introduction. You'll be familiar with his singular brilliance as the brains behind the much-sampled boogie/disco classics "You Don't Like My Music (Hupendi Muziki Wangu?!)" and "Don't Stop", released by his group, K.I.D.

But 1975's Music To Varnish Owls By is where it all began for our hero.

It's packed with incredibly soulful, soothing music that - despite being utilised a few times by Knxwledge - remains still largely un-mined. So, beat-makers, get cracking. And instead of that hyper-rare original, spend that £300 on something else.

Born in 1949, Bastow was a Munich-based English songwriter and record producer. Originally working as a guitarist and pianist in dance bands around his home county of Yorkshire, he moved to London in the early 1970s and then Munich in around 1976. He was one of the main architects of the Munich disco sound of electronic innovator Giorgio Moroder and also released heaps of killer library records for legendary labels like Bruton (with brother Trevor), Impress, JW Music Library and the Munich-based Sonoton between the 1970s-2000s. Bastow died tragically young, in Berlin, Germany on 16 March 2007, at the age of just 57. But he left behind a truly incredible electronic music legacy. He deserves to be much better known and this reissue should bring him to a fair few more ears. Let's see why...

Light-hearted opener "The Rough With The Smooth" contains a killer open drum break and is basically guitar-drenched flute-laced piano-funk. However, the first genuine highlight, "Beautiful People", is just majestic. Reflective, pastoral and silky smooth - as the title suggests, it's just straight beautiful; a chiming, deeply soulful instrumental that has to be heard to be believed. Sampled by Knxwledge but nobody else of note, which is crazy. Slo-mo soul beat "Tumbleweed" is another stone cold track just desperate to be laced by a skilled MC. Laconic, lysergic funk with nostalgic overtones, the guitar is prominent but the flute and glock really elevate it to perfection.

"Bits And Bats" is clav-enhanced Blaxploitation-esque street-funk with tough bass and crunchy drums that, despite its hardness, manages to flirt with breeziness. All in all, sumptuous, pounding wah-wah brilliance. Another huge one, up next. The insistent piano-funk head-nodder "A Change Of Pace" is a total sleuth-funk jammer, with a wonderfully soft snare and more hypnotic, melancholic flute lines. Man, we'd love to hear Alchemist chop this up. It even sounds a bit like Bastow was keeping things thoro with this one. Closing out Side A, the bright and breezy Bossa of "Janelle" makes it a perfect run of six untouchable gems. As elegant as it is sleazy, it sounds like it could've been on the classic KPM greensleeve, Piano Viberations.

Side B opens with the Ramsey Lewis-inspired "Time And A Half", a deceptively simple bass, drums and piano workout, decorated with stylish percussion with some great chord changes and hints of drama via a great bass solo. The heavy "Supersplash" is a doped-out drama suite with fuzzy wah-wah guitars, electric piano and glock. "Fillet Of Soul" is a catchy wah-wah propelled shuffle with piano and vibes, super dynamic but also incredibly chill.

"Well Above Average" is exactly that, a funky instrumental that serves as a straight ahead guitar-soul workout. Oozing bass-driven class, it gets better with every listen. Some open drums for your delectation, too. The fuzzy clav-and-vibes funk of "The Clan" - also understandably sampled by Knxwledge - is a monster head-nod slow jam whilst, seeing us out, the uber-relaxed "Sing Song" rounds things off in bright fashion with its slow but insistent clav, electric piano and glock greatness. Swoon.

As ever, the audio for Music To Varnish Owls By has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

"Because it's the passion for music that drives the person behind the decks, a dj's debut is bound to exude authenticity. It's often themselves they're recounting in music, posing on the slip mats their DNA and what makes them who they are.

When you're just starting out, you're faced with a multitude of routes to take and styles to play. When you know just how devastating it can be to step out of line and empty the dance floor even faster than it filled up, it often takes a lot of audacity to break the unity of a funk evening with a punk track.

Over time, to evolve is to find oneself facing only two roads.

On the first one, to satisfy the greatest number of people and not lose the credit for his fees, the dj adapts to the trend. Whether he likes what he's playing or not, the road has become a freeway and, indeed, a very comfortable one. The audience already knows everything there is to hear and doesn't come to hear anything else. Thirty seconds, or even a minute of each track, is more than enough. Everything has to flow quickly. Everything is marked out and secured. Those who respect the regulations will (normally) make the journey without accident. Several times a week, several times a month, several times a year. Curiosity disappears altogether.

And then there's the other road. Where nothing is expected nor sometimes even ever heard. The road of an unquenchable passion for diggin' and the desire to always know more and more. A passion billed at the price of hours of research-finding spent in the discomfort and possible disappointment of never coming across anything exciting, as well as nights exploring platforms and multiplying clicks resulting in a good old headache. Until that moment of grace happens when, after thousands of fruitless shakes, the nugget stands alone in the sieve, without the slightest doubt as to its quality.

Coming from places never mentioned for their music, sometimes classics of their genre, they are also rarities miraculously saved from total disappearance, as much as current marvels, but threatened to never leave the immensity of the web. Even if the possibility of a text with substance is never excluded, they can tell long stories or be destined solely to make you dance till you're dehydrated. Scintillating with spirituality, some can also vaporize energy and replace it with a pure emotion capable of touching hearts in the bareness of simple percussions.

This road is marked by sincerity, singularity and surprises, but always in a communion between the dj and the audience, who embark on it together, with mutual confidence in the promise of hours of sharing and discovering. "

Following a period of five years establishing himself and blossoming into an innovative and in in-demand creative force on the New York jazz scene, 26 year old Danish pianist/composer Rasmus Sorensen returns to his home country to present his third accomplished piano trio record in two years. Combining musicianship far beyond his years with a distinctive contemporary voice, At The Right Time is set to release on November 15th on April Records. The record follows his 2022 debut Traits " which showcased his capabilities as a modern jazz composer and instrumentalist and 2024" s Balancing Act "", which saw the rising star stretch out on American Songbook classics alongside New York bassist Alexander Claffy and celebrated drummer Kendrick Scott. Now, in 2024, At the Right Time cements Sorensen s position as a trailblazing voice on his instrument whilst providing subtle nods to modern jazz piano greats of the 21st Century: there"s some Fred Hersch counterpoint, Brad Mehldau Mehldau-esque improvisational elasticity, Vijay Iyer influenced rhythmic cycles, a touch of Robert Glasper"s acoustic hiphip-hop inflection, and hints of Craig Taborn s polytonality. Featuring 12 diverse original compositions, the focus of this trio is on togetherness, with which the three formidable players bring the music to life. Jon Henrikssons bass sound holds the trio in an enveloping warmth that seems destined to become well known to European audiences. At the drums, Francesco Ciniglio, most recently heard by those audiences as a member of Wynton Marsali"s quartet, brings out the color, energy and movement sewn into the writing. The trio juxtaposes the feelings of being tightly locked locked-in and suspended in free free-floating time, and spends most of its time in the best of both rhythmic worlds.

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo "exploration of visionary California."

Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band's lushest and most elevated creations to date: Time Enough For Love. Inspired by the "groove and mood" of Harry Nilsson demos, as well as its wider 70's wavelength - Rhodes, Wurlitzer, wood paneling - Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo's smoothest and most multi-sensory voyages. "Sail Across The Moon" delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. "Messengers" echoes the cosmic lounge of Air's Moon Safari, shuffling, weightless, and ethereal, while "Falling Deep" reaches for the stars, pure cascading bliss, the ecstatic moment writ large.

The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. "Like A Grain Of Sand" opens with a spoken sample by the celebrated late American poet Rachel Sherwood ("The children watch, breathless / with the birds / They feel an emanation / from this shuddering place"), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the "life enhancing" nature of the band's time in Los Angeles - sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city's mystic sprawl glittering beneath purple dusk.

Habibi Funk is excited to announce the release of Samh Almea'ad, a new 7" record by Libyan artist Cheb Bakr, hitting the shelves on December 6, 2024. Recorded in the early 2000s, Bakr’s music fuses the pulse of Libyan pop with R&B and hip-hop influences, bringing the energy of Benghazi to the dance floors of New York in the early 2000s. Cheb Bakr’s sound is a unique blend of styles that captures the essence of two worlds and includes production and vocals by Ahmed Ben Ali.

Our journey with Cheb Bakr’s music began when Yousef Alhoush, whose father Najib Alhoush led The Free Music from Libya, generously lent us boxes of cassettes to digitize. With the help of a journalist traveling from Tripoli to Cairo, we brought the tapes and a high-quality deck to Egypt. For three days in a hotel room on Zamalek island in Cairo, we sifted through nearly 100 tapes, finally landing on several from Cheb Bakr that dated back to the late 1990s and early 2000s. His albums stood out for their fresh, genre-defying sound—Bakr’s vocals flowed effortlessly over R&B and hip-hop beats with touches of jungle and drum and bass percussion, creating a fusion that crossed cultural and musical boundaries.

Returning to Berlin, we took a deeper dive into the digitized tapes, identifying bands, singers, and producers that excited us. In the process, we noticed familiar rap verses on a few of Bakr’s tracks—verses by none other than Ahmed Ben Ali, who was about to release an album with Habibi Funk. When we asked Ahmed about his connection with Bakr, he explained that they’d collaborated closely at Jamaica Studios in Benghazi, with Ahmed even producing some of Bakr’s songs.

Despite having lost touch for years, Ahmed helped us reconnect with Cheb Bakr through mutual friends. Their reunion took place in Bakr’s living room, where we joined them on a video call to discuss Bakr’s career and his influences. He explained how he sought to reinterpret eastern Libyan folk sounds for a new generation, blending them with contemporary genres.

This 45 marks the beginning of our work with Cheb Bakr, offering a glimpse into his unique musical style, with a full album to follow at a later date. The release includes two standout tracks that showcase Bakr’s dynamic range. Side A features “Samh Almea'ad,” a reinterpretation of a 2003 New York classic with Bakr’s signature spin. Since our first listen in that Cairo hotel room, it’s been played at every Habibi Funk set without exception. Side B, produced by Ahmed Ben Ali, features “Rjana Lamta,” a track that hints at American influences alongside a nod to Ahmed’s “Dameek Majeb.” Bakr’s artistry ties these contrasting elements into an original, dancefloor-ready track that remains as captivating today as it was two decades ago. As always, this 7" release comes with a booklet detailing some of the Cheb Bakr story. Samh Almea'ad will be out on vinyl December 6th.

Licensing info: These songs were licensed from Cheb Bakr. We pay the licensing partner 50% of the profits of this release. Only project related costs are deductible from the gross income, research and travel costs come out of our own share. Publishing was not included in our agreement (We feel it’s important to be transparent about these deals, therefore we will include these infos in all future releases).

Phonogramme Is Super Happy to Announce the Repress of “Holding On" by Dj Steaw, Featuring the Original Plus an Exceptional Remix by the Legendary Ron Trent. Originally Released in 2012, "Holding On" From Dj Steaw's Debut Ep Was Instrumental in Launching Both the Label and Dj Steaw's Production Career. Now, With Ron Trent's Masterful Touch, This Remix Ep Offers a Fresh Perspective While Honoring the Original's Essence. Complemented by Two Additional Tracks From Dj Steaw, This Release Is Set to Make Waves Once Again. Don't Miss Out on This Timeless Classic, Revived for a New Generation of Listeners....

Blue and orange Stardust vinyl, limited to 500 copies. Since 2016, Indiana's Wraith have been emitting their incendiary brand of blackened thrash and speed metal into the world. Summer 2024 will see them release their debut full length under the Prosthetic Records label banner; prepare for Fueled By Fear. What started as a one-man band many moons ago has evolved into a propulsive beast of a band. Channeling a reverence to classic metal from a bygone era, Wraith incorporate their distinctively blistering sonic signature to create something urgent and contemporary. The band have previously described their collective mission as follows: a war of aggression on the dour confines of the modern metal scene and total sonic annihilation. Fueled By Fear captures the raw punk edge of their previous releases; a sound that will already be familiar to converts who have caught the band live in all their full-throttled abrasive glory. The album was self-produced by the band in Griffith, Indiana -, with engineering, mixing and mastering handled by CJ Rayson. Each member brings their own influences and stylistic flourishes to the table, combining to create a tightly wound, cohesive collection of scorching tracks that reflect their individual personalities and tastes.

Tenderlonious follows up his essential 'Tek-88' EP with three deep, dream house tracks that nod to mid-90s Larry Heard and smudged, jazzy beatdown vibes in a Theo Parrish/Rick Wilhite/KDJ style - only 200 copies available on 12" vinyl, in a hand-stamped sleeve 'Underworld' kicks things off on side A with a ten-minute deep house journey filled with classic sounding synth leads and sweeping strings, held together by rolling 808 drums. This one is a sure-shot winner for the dancefloor. Side B starts with 'Wild Horses', with clapping 808s, a smooth bass line and lush analogue pads that clear the decks for a touching piano solo. Side B finishes up with 'Ur Love', influenced by the noughties London club scene. Rolling drums intertwine with an arpeggiated piano line, which builds to a slick lead solo.

"Long sought-after by those in know, this essential Irish jazz album finally gets a vinyl reissue on Outernational Sounds! Fully licensed from producer John D’Ardis, remastered at Abbey Road from the original tapes, and with lacquers cut at Dubplates and Mastering, the Noel Kelehan Quintet’s stunning 1979 Ozone is presented with unseen photographs of the band and commentary from original band members.

Featuring moody, modal jazz of the first order, subtle and original composing and world- class playing, Ozone was the creation of Ireland’s most respected jazz composer and musician, pianist Noel Kelehan (1935-2012). The only small-group album under his name, and arguably the first ever Irish jazz LP, Ozone was a landmark recording, but it was far from Kelehan’s only achievement. Born in Dublin, Kelehan had studied music from an early age. From the mid-1950s he worked at state-broadcaster Radio Éireann (RÉ, later RTÉ – Radio Telefis Éireann), and from the early 1960s he fronted Dublin’s first be-bop unit, the Jazz Heralds. A busy professional career saw him compose for numerous Irish pop stars, arrange and conduct many of Ireland’s Eurovision entries, and even contribute string arrangements to U2’s Unforgettable Fire LP.

But jazz was Kelehan’s first passion, and he never stopped playing in both small modernist units and composing for his own big band. The late 1970s saw him fronting the Noel Kelehan Quintet, alongside drummer John Wadham, saxophonist Keith Donald, bassist Frank Hess and trumpeter Mick Nolan. Playing weekly in Dublin for several years, they opened for visiting stars including Dollar Brand and the Ronnie Scott Orchestra, and eventually played a two-week residency at Ronnie Scotts in London. Though Kelehan had recorded a big-band LP of traditional Irish songs arranged as easy jazz in 1970, Ozone was his first album of modern jazz. Released on John D’Ardis’s independent Cargo imprint and press on blue vinyl, it featured original compositions such as the deep collectors cut ‘Spon Song’, subtle Latin flavours on ‘Spacer’s Delight’ and a beautiful modal arrangement of the traditional Irish air ‘Castle of Dromore’. A legendary recording in Ireland, Ozone reflected Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely."

A next salvo of big people dubwise out of the ITAL COUNSELOR stable comes on this, the label’s first foray into the 7” format.

This relick of the legendary Black Brothers 1970s dub plate is perfectly crafted for dropping at the deepest of sound system sessions or right on your home hi-fi for some front room skanking. This is in no small part due to the pedigree of artists who contributed to its creation.

Hughie Izachaar first started in the reggae business as part of obscure UK band, Black Brothers, during the heady days of the late 70s and early 80s. Only known to have recorded two legendary dub plates, the band never committed their music to plastic. A multi-instrumentalist versed in the art of playing the melodica and guitar as well as singing, Izachaar went on to join the band, The Original Rockers, with whom he recorded the underground classic, “Mountain Rock.” Into the 90s and through the 2000s he has been heard across a number of 7”, 10”s, 12”s, and LPs on labels such as Reggae on Top, Jah Warrior, Inner Sanctuary, and King Earthquake.

On this release, he is reunited with the equally esteemed Jah Warrior who was responsible for Hughie’s high water mark showcase, “Can’t Take the Pressure” in 1998. Jah Warrior’s usual hard and strident steppers vibrations are in attendance here.

Uniquely, this 7” represents the first time Hughie and Jah Warrior have been combined with the third ingredient in this musical stew. Another long-time music industry journey man, Gil “Tuff Scout” Cang, augments the sound with additional production and remixing. A veteran of Studio One, Riz Records, and Tuff Scout, not to mention innumerable soul, acid jazz, and pop productions, Gil adds that “little way different” touch that has become a defining character of ITAL COUNSELOR productions.

As the saying goes: If you don’t know, get to know. Neither your ears, your skanking feet, or your soul will be disappointed!

Vibes Addikt is excited to announce the release of "Midnight In New York - 2024 Remixes," a project that highlights the iconic track by Michael Sanctorum, which has long captivated the Belgian audience and has become a staple in the history of dance music.

The label, led by French producer N.O.B.A—who has received support from influential artists such as Charlotte de Witte, Klaudia Gawlas, Yves Deruyter, Thomas Schumacher, and Amelie Lens—presents four original remixes by renowned talents: N.O.B.A, Manu Kenton, DJ HS, and Samuel Sanders. Each artist brings their unique touch while paying tribute to the captivating melodies and atmosphere of the original.

These remixes, rooted in the techno universe, promise to take you on a sonic journey that harmoniously blends modernity and nostalgia. The vinyl itself showcases a stunning bluish hue adorned with stars, evoking the enchanting essence of the track and the vibrant nightlife of New York.

Don’t miss this chance to rediscover a reimagined classic for today’s dance floors!

Vibes Addikt est ravi d’annoncer la sortie de "Midnight In New York - 2024 Remixes", un projet qui met en lumière le titre emblématique de Michael Sanctorum, qui a longtemps captivé le public belge et est devenu un incontournable de l’histoire de la musique dance.

Le label, dirigé par le producteur français N.O.B.A—qui a reçu le soutien d’artistes influents comme Charlotte de Witte, Klaudia Gawlas, Yves Deruyter, Thomas Schumacher ou encore Amelie Lens —présente quatre remixes originaux signés par des talents renommés : N.O.B.A, Manu Kenton, DJ HS, et Samuel Sanders. Chaque artiste apporte sa touche unique tout en rendant hommage aux mélodies envoûtantes et à l’atmosphère de l’original.

Ces remixes ancrés dans l’univers techno promettent de vous emmener dans un voyage sonore qui allie harmonieusement modernité et nostalgie. Le vinyle lui-même arbore une teinte bleutée saisissante ornée d’étoiles, évoquant l’essence enchanteresse du titre et la vie nocturne vibrante de New York.

Ne manquez pas cette chance de redécouvrir un classique réimaginé pour les pistes de danse d’aujourd’hui !

Originally released in 2017, Beast Epic, Iron & Wine’s fourth album for Sub Pop, recasts soft power as a series of vignettes, observations and regular old songs that redeem through joy and a certain expectation of grace. Even the instant classic, “Bitter Truth, with a lyric as pained and direct as any I've heard from Iron & Wine, is leavened with background vocals recalling The Jordanaires. The album brims with surprise flourishes, classic touches and an appealing confidence that is evident on songs like “Call It Dreaming,” “Thomas County Law,” “About A Bruise” to the almost croony “Last Night.” Iron & Wine’s Beast Epic was written and produced by Sam Beam, and recorded and engineered by Tom Schick at the Loft in Chicago in July 2016 and January 2017. The musicians who played on Beast Epic include longtime Iron & Wine collaborators Robert Burger (keys), Joe Adamik (percussion), and Jim Becker (guitar, banjo, violin, mandolin), along with bassist Sebastian Steinberg (Soul Coughing and Fiona Apple), and Chicagoan Teddy Rankin Parker (cello). Beast Epic was mastered by Richard Dodd in Nashville, Tennessee. *The term "soft power" was cribbed from author and Harvard professor Joseph Nye, but used in a different context.

The work of GMM carries the echo of folk wedding melodies inspired by Oskar Kolberg's collections, interpreted in modern arrangements with electrifying sound.The trio, consisting of Michał Górczyński, Michał Marecki and Patryk "TikTak" Matela, explores the roots of the Mazovian tradition, translating them into the language of contemporary music. Oskar Kolberg's descriptions and a collection of melodies specific to the Polish region of Mazovia give the GMM band a foundation for creative existence in this old world and transferring it to the modern world.The freshly recorded album opens the traditional wedding gates in an unexpected way, where folk nostalgia meets contemporary avant-garde. The contrabass clarinet weaves deep, warm sounds into the compositions, adding them mystery, while the spinet boldly carries a note of baroque sophistication, creating a pleasantly contrasting texture. The modernity of synthesizers and dynamic beatbox balancing between stillness and dense, dirty tones, gives the whole mix a modern touch.In this characteristic journey full of rhythmic complexity and harmonic discoveries, you will find depth, a cynical smile and plenty of room for your own reflections.Michał Górczyński - specializes in playing the double bass clarinet, in 2004 he graduated from the clarinet class at the Fryderyk Chopin University of Music in Warsaw. Composer, soloist and chamber musician. Co-founder of Kwartludium - a band specializing in performing contemporary music. Member of the band Bastarda. Author of music for theatre performances.Michał Marecki - instrumentalist, producer, composer. Collector of electronic and electroacoustic instruments. Associated with the bands Warsaw Village Band & Bassałyki, Mamadou & Sama Yoon, T.Love, Sidney Polak, among others. He is interested in creativity in artistic processes. Master of social sciences.Patryk TikTak Matela - beatboxer and beatbox activist. For over 20 years he has been giving concerts and teaching the art of vocal percussion. He conducts workshops for preschoolers, students, young people from orphanages and community centers. Author of the first book in Poland about beatbox (Human Beatbox -Personal Instrument!), organizer of the Polish Beatbox Championships, promoter and musician in film and theater. Creator of advertising and reportage films, megafan of Lego Technic.

With "Ululo", pianist and composer Koki Nakano immerses us in the depths of his emotions, carried by the striking voices of Jordy, WAYNE SNOW and Yael Naim. For his fourth album, Japanese pianist and composer Koki Nakano moves beyond the conceptual to reveal an intimate and visceral musical expression, a reflection of his deep emotions. Each piece conveys the desire and passion of a cry. The title "Ululo" (which translates to "Howl" or "Cry" in Latin) echoes a childhood memory of being in his father"s arms, yearning to touch the moon. This unfulfilled desire, reminiscent of a famous haiku by famous poet Issa Kobayashi, symbolizes his early realization of his limitations in the face of the vastness of the world and the seemingly unattainable. Koki reinvents himself with a unique fusion of piano and modern vocal collaborations. He is joined by UK rap sensation Jordy and the captivating voices of WAYNE SNOW and Yael Naim. He offers an avant-garde music style distinguished by its emotional simplicity and sonic depth. Beyond virtuosity, Koki explores his classical sensibilities by blending subtle ambient textures with his poignant and sophisticated melodies. While "Ululo" is a cry of frustration with melancholic tones, it is also romantic, filled with beauty, humor, and light.

Jan Anderzén - living in Tampere, Finland - is a collage artist making music, quilts, drawings, mosaics, videos and other things. From him, among a few others, sprang the The River of Finland. A stream that shook the European underground for infinity, back from the years 2005 and up. Jan is/was involved in acts like Kemialliset Ystävät, Avarus, Tomutonttu and The Anaksimandros. When in the past some of that River of Finland tasted like a fermented ocean of mycelia - today it tastes different, like sparkling water.

Halki pilvien - transl. Trough the clouds - brings exactly what one expects from the clouds. It is a collection of soft and gentle movements, as playful as a ‘Jan Anderzén type of music’ is always. A collection of patterns that solidify for just a brief moment in time, before sublimating in the back of the mind. This album is in constant motion.

Push play. A warped piano and cartoonish SFX’s might foretell a hyperreal approach to music. Yet while the champion of hyperrealism, Noah Creshevsky, describes his music as being written in a language we already understand (realism) yet in an exaggerated manner (hyper) - I have to add that things on this album do not sound exaggerated at all. Moreover, i have the feeling that somehow on this work, Jan is trying to underwhelm us. In the best possible way. Because clouds float trough and dissolve. Thus instead of hyperrealism, is Jan maybe speaking to us in a certain Serenerealism? Or Mildrealism?

What Jan’s music does have in common with Creshevsky’s is the no rush part. Listening to Halki pilvien makes time non-directional. The music seems to be designed to be played over and over again. This music has no direct impact like one can experience at a punk show, or at a classical music concert. This music is not that one gigantic raincloud covering the world dark. Quite the opposite, it is a pattern of clouds and clearings, floating over the lands. Trough this music a shadow play appears. This music is durable.

And it is when the sounds are at its faintest, that Jan touches the core: in the smallest detail, we find the fullest musical information.

If Katsuhiro Otomo’s Akira were a utopia instead of its opposite, this EP could be a possible sound track. Using the ingredients of classic house as a platform (pianos anyone?), Nick Nikolov‘s imagination as a producer for his new new NKLV project is far too vivid to stay on the beaten track.

The sound design and nerdy attention of IDM and ambient (Clusters) connects with the brazen boogie approach of the French touch, micro-sampling manifestos have to stand up to the weirder moments of signature sounds like Basement Jaxx or KiNK‘s musical side (Heartbeat). Not too far off from his peer‘s early approach, the Bulgarian‘s take is emotionally charged, play- and powerful.

For instance, Speak to Me and No More hit their respective topical nails on the head and the EPs title track Inbetween is sultry serotonin soul. If you are looking for plain and pure euphoria in between all the hardships, happiness is just around the bend.

Volume 4 of the Make Up series is another doozy and this one brings together accomplished house heads Camille, Chez Damier, and Nico Lahs in a celebration of underground disco classic "through the lens of 60's and 70's underground comix." Similar to these rebellious reads, the tracks on this release carved their niche with purists seeking distinct and thrilling sounds. Across the double album, Camille's contributions include Mystic Pleasure's 'Back Door (Getting Down)' and Cold Fire's 'Badder Than Bad' which both bring soulful melodies and infectious rhythms, Chez Damier adds Fascination's 'Shine My Love' and Bileo's 'You Can Win' with shimmering vocals and funky basslines and together, they make for an exhilarating mix of disco brilliance.

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

Underground house heavyweight **Enzo Siragusa** is back with a fresh offering, his highly anticipated new EP *Odyssey*, set to drop on **fabric Originals** this month. This marks another standout release for Siragusa, coming hot on the heels of his recent contribution, "Last E," to the *fabric Selects V* compilation, which landed earlier in October.

*Odyssey* features three meticulously crafted tracks that showcase Siragusa’s signature fusion of classic rave elements, deep grooves, and stripped-back house aesthetics. The title track "Odyssey" is a masterclass in his deep production style, while "95 Variant" leans into the artists UK influences. Perhaps the standout cut is "Listen," a nod to the golden era of speed garage, effortlessly blending bass-driven energy with Siragusa’s refined touch.

The EP is a natural evolution of Siragusa’s sound, one that continues to command respect across the underground scene. Known for his ability to channel a range of UK rave influences while remaining firmly forward-thinking, Siragusa’s work is consistently pushing the boundaries of what modern house music can achieve.

In support of the release, Siragusa will be returning to fabric with Enzo Siragusa Invites, where he’ll take control of the decks alongside a curated selection of top-tier talent. The event is set to be a fitting celebration of the new EP and promises to be an essential date in the London clubbing calendar.

Real people music recorded at a Quaker Boarding school in the mid- '70s. Mixing soft psych, vocal jazz, and sunshine soul, Shira Small and her high school music teacher Lars Clutterham created a peerless artifact of outsider magic. Imagination, wonder, the existential dread of Vietnam and math class and getting caught smoking weed in Nixon's America_ it's all here. Is your life alright?

One of the funkiest records ever from Brazilian soul legend Tim Maia - and a set that also has him singing a bit of English language lyrics too! The groove here is that classic Maia blend of Brazilian roots with American funk and soul - echoes of forro or samba in some of the rhythms, mixed with psychedelic touches, and some harder-hitting funky lines too - all in a mindblowing blend that's perfectly topped with Maia's vocals - which are every bit as large and powerful as the man on the cover himself! Tim shifts effortlessly between Portuguese lyrics and American English - the latter of which really showcases his love of American soul on the titles"I Don't Know What To Do With Myself", "Broken Heart", and "I Don't Care". The album also features a version of Marcos Valle's "Preciso Aprender A Ser So", plus the cuts "Meu Pais", "A Festa Do Santo Reis", "Nao Vou Ficar", and "Salve Nossa Senhora" - all wonderful, all the way through!

Souls Of Mischief, the Oakland, CA quartet and members of the mighty Hieroglyphics Crew, are proud to announce the first-ever vinyl release of their fifth album "Montezuma's Revenge." Notably, the album’s striking cover featured a fifth member of the group: the legendarily innovative producer Prince Paul, who executive produced the LP, handling most of the beats and overseeing the musical direction of the album from start to finish.

Emcees A-Plus, Opio, Phesto, and Tajai take turns showing off the multisyllabic flows, witty similes, and smooth lyrics that have made the crew a household name in rap for over 30 years. Souls' trademark juxtaposition of complex, multi-syllabic lyricism against laid-back Cali flow remained as strong as it was in 1993 on “Montezuma’s Revenge,” and Paul’s magic touch on production took the Souls’ sound to a new level.

While the aforementioned and unmistakable SOM sound remains very much intact, Paul's vision and risk-taking come through on the finished product. Tajai was comfortable from the start in working with the visionary producer: ”Paul is a perfectionist and so are we so we took time with the beats and subject matter. This album to me is a great insight into who we are as people and how important it is to progress stylistically, yet it retains a classic, timeless feel."

"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco's second full-length LP `Salad Days,' the follow up to 2012's lauded `Mac DeMarco 2.' Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), `Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now. "Brother," a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. "Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity. We're only at Part 2 and 1/2 (one EP and two LP's in) into Mac's career. As you read this and as you hear the album on April Fool's Day of this year, he'll probably be on tour, or preparing for one... or maybe already writing new music. A relentless work ethic is something to be admired in today's indie music scene, but when it's of the quality Mac is giving us time and time again, it starts to turn from admiration to awe.

Ltd White Vinyl, DL card. 1992's 'Untitled' brought the band's third album that re-cemented the duo once again as the progenitors of the "lo-fi" genre. This breakthrough set transitioned "The Trux" into a never ending all-inclusive rotating cast of musicians. Continuing Fire Records' series of classic remastered albums from Royal Trux, 'Untitled' is released on white vinyl and features updated monochrome and silver artwork. As unpredictable as ever, Neil Hagerty and Jennifer Herrema shook off the next level layering and noise of 'Twin Infinitives' to embrace the history of rock 'n' roll in all its deformed grandeur. Utilizing their ever present mind set of macro-inclusivity, they allowed the subconscious "radio stations" of their lives to infiltrate, lead, and dictate. Culling from their collective minds and memories twisted tunes that touched them. After the blood rush of their much-hailed avant-garde masterpiece 'Twin Infinitives' (1988), this eight-song opus added to the lo-fi genre that originated on 'Twin Infinitives'. On 'Untitled' Hagerty uses his 5-string blues roots and hails rock's twisted potential, while Herrema slurs and snarls in ecstasy. They sound like they're locked in a fourth-floor boudoir at the Chelsea Hotel; bottles clink, an album clicks on its run-out groove, the band plays on. In the mix are the characters and casualties of the 90s, a roll call of swaggering misfits. These aren't superficial sketches, the Trux cut much deeper than that_ "'Junkie Nurse' isn't just about addiction; it's about the twisted hope that even the most broken people can somehow mend others, even when they're falling apart themselves." Jennifer Herrema, Royal Trux. With 'Untitled' Royal Trux justifiably increased their coterie of convicted followers, becoming the cult heroes for a transgressive generation, and the Rosetta Stone for male/female duos (ie:The White Stripes, The Kills etc... ) over the years inspiring everyone from The Silver Jews (David Berman) & Sonic Youth through to melodic blue-eyed soulsters like Hot Chip - "I urge and encourage you to enter the harmolodic multiverse of their music." Alexis Taylor, Hot Chip. "Royal Trux were nothing if not fearless." Pitchfork.

Amandra, half head honcho behind Ahrpe Records, goes for subtly evolving and droning atmospheres. With releases spanning electronic genres and record labels: Nous klaer Audio, AD 93, Tikita or Semantica, just to name a few; the French producer ba with coherence his own vision of acid and tribal rhythms that can be presented with either bright and soft feelings or through a
Brera Som Som EP

As always with Amandra, there is a blend of poetic and soft hidden touch given to the music through carefully crafted personal Som is a 4 tracker EP, recorded back when he lived in Warsaw Poland, showcasing the artists ability to navigate through nich double 12 package cherry topped with four intelligent and eclectic remixes from artists with their own unique identity: Shieldin Brainwaltzera.

Amandra on disc 1
Brera Som Som
I want my music to breathe dirty so its alive to my ears, trying to stay away from surgical, clean, electronic music. The Prophet recorded by hand, with assumed offbeat imperfections, as always. I wanted to get a naive Asian mood out of it, just to try and c track. I tend to think a lot about my tracks and their meaning more in terms of feelings, art and techniques than in terms of dee
dance floors or whatever. Brera Som Som is a try at using the chiaroscuro technique depicted in classical paintings for instance interesting focus on some very specific elements.

Cyborg Pelikana
Recorded out of a jam on a Soma Pulsar 23 and some heavy distorted synths, it ended up sounding like no other recordings bit different as I wanted to have a more composed like approach here.

Fanfaron
Here is a try at going jungle... with a Moog DFAM and a 303 processed through a Sherman Filterbank.

Prorokini
This one belongs to a phase where I was exploring the sampling side of electronic music. Until that moment I was building 100 based on raw drum machines and some processing, then started feeling how it would feel to sample some raw external beats and process them my way. I didnt pursue that sampling lead much afterward because it felt like a boring approach to me that
stood out anyway, like this one, which Im very proud of. The synths are clearly programmed on the Prophet 08, it cant go any Instruments than that, if you like them, go grab that synth

Remixers on disc 2
Cyborg Pelikana Shielding Remix
I liked the dry and direct qualities of the original track and wanted to maintain that feeling while collaging it using my own proc Recorded in my old home studio in Stockholm.

Brera Som Som Brainwaltzera Remix
no comment.
Fanfaron Whylie Remix
The remix was made using resampling techniques, the rhythmic noises were transformed into driving percussive layers pushi character. A more emotional overlay was added to the track based on the sentimental and personal approach I built through.

Brera Som Som Martinou Remix
Interpreting Amandras work has been on my bucket list for a while. Theres something in it that is innately humanizing and raw capture in my remix. The melody line from the remix is just a snapshot of a small part of the full original track, but it stuck with my improvisation to what you see before you today. With this remix I wanted to make something that would swell slowly and ring o
All original tracks written and produced by Amandra.
Remixes written and produced by Brainwaltzera, Whylie, Martinou and Shielding.
Mastered by Amandra.
Artwork by Neurotypique.

Pique is the sensational debut solo album from Dora Morelenbaum, one of the key talents spearheading Brazil’s new musical wave. A member of the Latin Grammy award-winning band, Bala Desejo, Dora showcases a new side to her solo productions on this special LP. Whereas Dora’s first solo EP, Vento de Beirada, was a leap of faith, Pique sees her soaring as one of Brazil’s standout stars, emboldened, emphatic but ever elegant. Building bridges between past and present, it’s a funkier, more groove-based affair, weaved together with those signature, slower, celestial tracks. Touching on disco, MPB, soul, R&B and jazz, the album is enriched with an indie pop aesthetic courtesy of fellow Brazilian star and co-producer, Ana Frango Elétrico.

With an ethereal, enveloping air few can match, Dora’s gift shines through both the serene and the spirited songs contained within. The blissful, sun-soaked ‘Não Vou Te Esquecer’ opens, before the funk-fuelled, feel-good ‘Venha Comigo’ and ‘Sim, Não.’ give a glimpse of the creativity bursting from the production partnership between Dora and Ana Frango Elétrico. Elsewhere, the album reclines into hazy lean-back realms via ‘A Melhor Saída’ and ‘Petricor’, virtuoso jazz funk in the form of ‘VW Blue’ and radiant MPB through the album’s title track ‘Pique’.

The drumming is tight, fresh and swung, the horns and strings deftly arranged, as funk-driven basslines and strutting guitars mesh with playful production touches that give an added vibrancy to the record. It is an album that exhibits every side of Dora and one she has been involved in from the ground up, from the songwriting, singing, arrangement and production to booking the studio time and sourcing the artwork designer, Maria Cau Levy.

An exchange of musical ideas powers every great scene and Rio’s contemporary landscape is no different - a family of interconnected musicians and friends that collaborate on each other’s productions. Pique is graced by a wealth of these leading Brazilian lights including her Bala Desejo bandmates Lucas Nunes, Julia Mestre and Zé Ibarra, as well as Guilherme Lirio, Alberto Continentino and Tom Veloso to name just a handful. This exchange crosses generations merging tradition with modernity. In a full circle moment, Dora’s parents Paula and Jaques Morelenbaum, who featured in countless recordings from Tom Jobim's Nova Banda and Ryuichi Sakamoto to Gal Costa and Gilberto Gil, join on the album through backing vocals and arrangement.

Pique sees Dora embrace a freedom through fresh forms, showcasing the depth and diversity of her creative artistry. An infinitely listenable release that nods to Brazilian greats like Gal Costa, Banda Black Rio and Lincoln Olivetti, fused with the indie pop edge of Ana’s production. The result is truly unique and sure to be a future Brazilian classic.