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180-gram 45 RPM double LP
Mastered by Ryan K. Smith at Sterling Sound from the original analogue master tape
Pressed at Quality Record Pressings and RTI
Gatefold old-style "tip-on" jacket by Stoughton Printing

In The Right Place is the sixth, and biggest-selling album of the late iconic music legend, six-time Grammy-winner, and Rock And Roll Hall of Fame inductee, Dr. John. Dr. John, the stage name of Malcolm John Rebennack, Jr., was one of the most original, distinctive and influential voices to ever come out of New Orleans. His career spanned six decades as a songwriter, composer, producer and performer. His unique blend of music carried his hometown of New Orleans at its heart.

His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex, Frankie Ford and Allen Toussaint. Dr. John headed west in the 1960s, where he continued to be in demand as a session musician, playing keyboards on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones' Exile On Main St. During that time he launched his solo career, developing the charismatic persona of Dr. John The Nite Tripper. A legend was born with his breakthrough 1968 album Gris-Gris, which introduced to the world his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots.

1973's In The Right Place contained the chart hits "Right Place Wrong Time" and "Such A Night." In addition to his six Grammy wins (1989, 1992, 1996, 2000, 2008 and 2013), he has received six other Grammy nominations over the years. In 2007 he was nominated for "Sippiana Hericane," his Hurricane Katrina benefit disc.

AllMusic says that with In The Right Place, Dr. John struck mainstream paydirt, especially with his hit single "Right Place Wrong Time" bounding up the charts and initiating listeners into New Orleans-style rock (the song hit No. 9 in 1973 on the Billboard Hot 100 songs chart).

Also including Allen Toussaint's "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctor's fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own.

With mastering by Sterling Sound's Ryan K. Smith direct from the original tape, and two sides of premium 180-gram vinyl (pressed by the best — Quality Record Pressings and RTI), our 45 RPM edition of In The Right Place emphasizes Dr. John's gravelly bayou drawl and sonically creates the hoodoo-infused stage persona he brought to his performances.

After Hurricane Katrina Dr. John immediately stepped up to the plate with generous relief fund-raising concerts and recordings. In 2007 he was inducted into the Louisiana Music Hall of Fame and Blues Hall of Fame. In 2008 he released City That Care Forgot, winning him a Grammy for Best Contemporary Blues Album.

His numerous other awards included the Louie Award from the Louis Armstrong House Museum and the Jazz Foundation of America's Hank Jones Award, presented in October 2016 at "A Great Night in Harlem" which pleged $1 million to help musicians recovering from the 2016 Louisiana flood.

We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of the timeless Dr. John classic In The Right Place. Cue it up and prepare to be transported.

An EP based on nostalgic feelings of bygone days. Deep electronic grooves and melodies are mixed with intense emotional musicality that transports you to the past… Resulting in a 'hands up in the air' feeling, where the rush of music bathes you in warmth and remembrance, showcasing Wink’s diverse range of production and artistry on each cut.

"12 months of Longing" begins with a pounding 909 kick that soon gets flooded with funky percussion building up to the 1st break of lush keys and swirling beats. The production continues leading into bouncing bass and a serious groove, that evolves into a rhythmic pause where soaring strings, and melodies build and build leading to an intense crescendo that will blow the roof off.

"Sexy Bot” is a title which suits this sexy tune. It’s journey begins with latin rhythms and is quickly joined with repetitive stabs and ascending pads, that spirals around you, directing the path of music that unfolds into a Detroit inspired musical progression. Symphonic string plucks leads you into a break of serious sexy melodies that explodes into a rolling bassline that will elevate any listener into another sexy feel good echelon.

“Used to Be” quickly guides you to a signature wink acid bassline, that writhes its way to an infectious groove that is soon complimented by a hauntingly smooth analog synth, advancing into a sensual musical progression. Wink then adds his voice to the song, with simple and effective contemplative words “The way I used to be”, endorsing the overall nostalgic feeling of this unique and diverse EP.

If there’s a secret to time travel, Kool Keith owns the patent. Even a flying DeLorean seems too
conventional for the Bronx legend. He’d more logically orbit throughout the galaxy in a gleaming
chrome spaceship, teaching the stars and aliens new forms of originality. He is too weird to live, too
rare to die, too uniquely ultra-magnetic to be accurately mimicked. Released on Mello Music Group,
Time? Astonishing! is the latest dimensional warp from hip-hop’s premiere astral traveler. His union
with MMG producer L’ Orange finds him exploring uncharted terrain: choppy volcanic rock planets, ice
glacier moons, new surgical procedures, and fresh rappers to toss into the ether. The scalpel remains
eternally sharp. The beats glow with radioactive grit. Hard enough to knock from your car speakers,
cinematic and plutonium-propelled enough to transport you to strange terra firma. Buck Rodgers
movie serials meet boom-bap. And along for the odyssey are a cast of the best underground MC’s of
the last decade: Blu, Open Mike Eagle, Mr. Lif, J-Live, and more. These are space symphonies and
occult odysseys, fuel for wanderers, wonderers, and all the a-likes. Welcome to the new world, even
more sinister and suspenseful than the last one. We live in astonishing times: abstract, absurd, and
indelibly Kool.

"There could barely be a better figurehead for Belgrade's simmering multi-limbed music scene than Jan Nemeèek" The Quietus `Dissolved', a new album by Serbian synthesist and sound designer Jan Nemeèek, began its life cycle in a studio live room. It unpacks the paradigm of the individualistic act of computer music creation, transporting it into the communal setting of a band, its performers contributing elements ranging from prepared piano to Turkish lyre. The album opens with an unexpected falter, a false start that imbues the album with a sense of vulnerability. It's as if the album itself is finding its footing, mirroring the dissonance of an orchestra tuning. This digital ensemble, an assembly of electronic voices, seems to search for its harmony, its discord, its pitch, its timbre - much like a traditional counterpart would. As it unfolds, `Dissolved' further taps into the raw tonalities of partially defunct digital synthesizers, ranging from early 2000s' attempts at neural networks to precursors of oscillator-laden software synthesizers, in order to build its cloud of suspended tension and alternate histories. Through this clash of wistful piano and biting frost of digital pads with the iridescent hum of tube amps, the album reflects New Age tropes through the prism of metal (machine) music. Hailing from Belgrade, Serbia, Jan Nemeèek has been releasing electronic music since 2005, with a particular focus on ambient and bass-heavy electronic compositions. Nemeèek's music is characterized by his use of a wide range of sound generating tools, including neural networks, analog synthesizers, and granular synthesis. His approach to music production allows his work to unfold with patience, influenced by borderline dub sub-bass movements and heavily based on deconstructed recordings. Jan has released several albums, most notably 2014's Fragmented and later Recurrences. Prior to that, he co-founded the Creative Commons-based net label Norbu. `Dissolved' is set to be released on vinyl and digital on 10th November 2023 via Refractions, a new imprint founded by Nemeèek.

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"Fast Rate" blends echoes of nostalgia with futuristic innovation, crafting a sonic landscape. In the relentless rush of life's high-speed journey, it invites introspection, courageously urging listeners to delve into the intricate web of contemporary life.
This EP is inspired by deep reflections on the meaning of life in a fast-paced world filled with thoughts and emotions. It symbolizes a futuristic journey, mirroring the human struggle to gain an external perspective in our busy lives. Random Alias prompts users to contemplate their existence, offering a musical experience that transcends mere dance rhythms.
The 5 tracker showcases a wide array of sounds, from aggressive tones to captivating and atmospheric elements unveiling a new face of the label that keeps exploring the interconnection between human and technology.
The A side roars with high bpm and furious rhythms."Keep me high" express the need of escaping ordinary life, seeking something that keeps us "high" and allows to escape and reset.
Following up "Fast Rate" spans a variety of influences, blending the allure of old-school Detroit electro with futuristic sounds achieved through bold experimentation and advanced wave modeling. This fusion results in a diverse and innovative sonic aesthetic, ranging from nostalgic '80s/'90s vibes to experimental dimensions where tones morph and evolve.
"Solo in Space" and "Restless" on the filp side deliver direct, pulsating sounds and rhythms, embracing an impactful electro-techno vision. These tracks merge both worlds, combining the energy and drive of electro with the power and tension typical of techno, resulting in a sonic journey that blurs genre boundaries.
Completing the collection is a digital bonus track, "Galactic Power," which serves as a soulful embodiment of the EP's essence. With its otherworldly alien-style pitched vocals,The track intricately crafts a cosmic palette of bright pulses and ethereal FM synthesis.
This release represents a bold and progressive vision of electro, confirming and solidifying the eclectic direction and the concept of inter genre flexibility. Music can be an ever-evolving form of art, blending elements that transport listeners to distant cosmic realms.
Time shapes people, people shape technology, technology shapes music, music shapes time.

New Zealand indie trifecta Mermaidens, are set to make a resounding splash in the music scene yet again with the announcement of their fourth self-titled album and release of the project's first single ‘I like to be alone’. The trio, comprising of Gussie Larkin (guitar/vocals), Lily West (bass/vocals), and Abe Hollingsworth (drums), has been on an impressive journey of musical excellence, boasting three critically acclaimed albums, international tours, and a slew of accolades to their name. With a sound that is both bold and adventurous, Mermaidens' music is a testament to their unwavering creativity and relentless work ethic. Their upcoming self-titled album, a product of the band's tireless efforts between 2019 - 2022, promises to be a captivating sonic journey, delving into themes of self-awareness, introspection, long-term love, and even channelling political anger and frustration. Recorded mainly at Surgery Studios in Wellington, with the engineering prowess of Lee Prebble and produced by Samuel Flynn-Scott of The Phoenix Foundation fame, the album also saw the band stepping up their production game with Gussie and Lily working their magic with Protools in their DIY home studios, showcasing their growth and versatility as artists. “Working with Sam has really been a round-trip in our creativity,” as Lily explains, “we grew up listening to Sam’s early records and here we are getting the inside scoop on how to make that kind of magic. Listening to Pegasus today still transports me to a time when I listened to music on a Walkman. In the best possible way - sometimes it felt like we’d added an evil genius to the mix, we’d be working on a song and he’d come in like a mad scientist with fresh ideas to try.” To give fans a taste of the upcoming album's brilliance, Mermaidens have released new single 'I like to be alone.' The song has been part of the band's live repertoire for a while and explores the fulfilling contentment of being alone and the struggle to convey this sentiment to a partner. Its relatable lyrics capture the essence of cherishing solitude while navigating the complexities of human connections. Gussie's candid and honest approach to self-discovery is complemented by the song's, Michel Gondry inspired video, as Gussie explains: “The giant jean pocket and denim world were created by Hannah Webster, a textile designer and illustrator based in Wellington. Hannah took all the wild ideas for props and made them come true! I’m still in awe of how she managed to sew a 6x6 metre backdrop for the denim world out of whatever scraps she could find. The video captures our playfulness and sense of humour, and is a hint of what’s to come for the rest of the music videos. I love the way the story wraps up with the three of us together, literally playing “in the pocket”. Mermaidens' self-titled album will be released on Friday 3 November 2023 and is available for pre-order now. UK listeners will be able to pick up an exclusive Rough Trade vinyl pressing in transparent red, along with an A3 poster and jumbo bumper sticker. Having released their last two albums through iconic local label Flying Nun, Mermaidens will be released independently. Creative control is an important pillar for the band, who are hands on in every facet of their projects. Mermaidens gather their community close via their hugely popular multi-city boutique festival Mermgrown, hosting peers including Womb, Hans Pucket, Vera Ellen (Girl Friday) and Kōtiro from 2021 onwards. They've been invited to share the stage with Death Cab For Cutie, Sleater-Kinney, Gang of Four, Parquet Courts, Lorde and The Veils, and have toured extensively in Europe, the UK, and Australia.

In ¿Quién?, Sylvia Meyer combines music, image, sound and poetry. Her lyrics, so subtle, acquire a singular dimension. They grow and become an essential lyricism that vindicates art and music. Almost 30 years after her last album release, Sylvia Meyer released ¿Quién?, an album where everything happens between his piano and his voice. Its exquisiteness, sensitivity, luminosity, and refinement coexist with arranging complexity and virtuosic, achieving a unique texture and a voice that penetrates souls to nest there, and grow beauty. The musical atmospheres and the universes of beauty to which the songs that make up this album transport us rescue that sound so complete and, at the same time, so inevitably montevidean, which travels absolutely free. Meyer is one of the most important Uruguayan artists of the last four decades. Composer and owner of a unique and special voice. Everything that sighs fills it with beauty and mystery. His music manages to transcend the borders of cinema, theater, concerts and art. "Because a the music, the only thing that interests is music" repeats Sylvia Meyer

Malian and French pair Siraba unveil their much-anticipated self-titled debut LP on Damian Lazarus’ Secret Teachings label, a 10-track odyssey fusing Mali’s rich musical traditions with cutting-edge electronic music.

Malian hunter Boubacar Samake and Damien Vandesande, one half of the French electronic band dOP, have won plenty of plaudits for the early singles taken from their debut album as duo Siraba. Those singles, spanning across the summer months, have found the pair bring the traditional sound of the Wassoulou - a river valley of West Africa - to the electronic world after 20 years of friendship. The music comes with an important underlying message of love and respect and results in spellbinding tracks that move heart, body and soul, finding a perfect home on Secret Teachings - a left-of-centre alternative label to Lazarus’ celebrated and often more club- focused Crosstown Rebels. With the arrival of the full album, the pair exhibit and showcase the emotional breadth and depth of their music, with detailed explorations of organic textures and native sounds merged with future-focused ideas and concepts.

The title track opens with an atmospheric mix of spoken words and spine-tingling chords that bring rich Afro flavours, while ‘Dounoiia’ is a languid groove made from hand drums and pixelated synth leads that cast a fine spell. The slow-blooming ‘Bani’ brings rich Malian blues and melancholic horns, while ‘Komafly’ is a rich mix of acoustic strings and broken beats that transports you to a hot and dusty landscape. A vital component of the sounds of the Wassoulou, the indigenous stringed instrument the Ngoni features again on the rousing ‘Nanse’ as spiritual vocals sung in Bambara rouse the soul.

‘Djandjo’ is another rich infusion of Malian culture with simmering electronics to make for something both ancient sounding yet futuristic, and the hypnotic ‘Ngana Fôlly’ with its rich bass is a song ‘dedicated to those who fight for the well-being of their families, for unity... a song for the people who also fight a great disease, between life and death’. The sublime ‘Toro’ is a wavy groove perfect for sundown - a deep and inviting sound rich in soulful vocals and dreamy melodies, while ‘Tolonawoulile’ is driven by the intense strumming of the Ngoni with busy hand claps and hurried drums and last of all ‘Fo Te Mokobana’ sinks into a heart-warming slow groove with sweeping strings and Malian percussion all overlaid with impassioned vocals.

A rich listening experience, Siraba’s debut album is an immersive journey and absorbing dive into the minds of two artists breaking new grounds while spotlighting native traditions and musical techniques spanning hundreds of years.

Drivetrain
Music Got Me - The quintessential blend of retro sophistication with ultramodern late night chic. A rolling bass transports a melodious string accompaniment through an arresting vocal hook.
Afterhours Mix - Following the same path with a slightly different spin, incorporating an electronic touch on the retro syncopation.

Melodymann
Keep It Movin - Intelligently enriched with uplifting vocal drops complementing spicy horn fills, funk bass and electrifying beat oscillation.
Up & Down - Maintaining the energy but substituting the horn fills with jazzy keyboard riffs while the vocal slices continue to drop over bouncing subfrequencies.

Prisoners Of Love And Hate' is an offering to community, to desires that imprison and liberate, to people in all their divinity and ugliness. Apostille - aka Night School Records’ captain Michael Kasparis - presents is third album with a bang, a bursting ball of NRG, empathy and bristling living.
Like its predecessor 'Choose Life', 'Prisoners…' was recorded at Full Ashram Celestial Garden in Glasgow with Lewis Cook (Free Love) through 2022. A nine song treatise on pop music, trauma, ecstasy and the mundanities between the extremes, Kasparis takes on classic 80s synth pop, 90s house music, 00s trance, wistful balladry, 70s power pop. The thread that runs through the album is a boundless energy, an openness to the moment, to living
the pains and joys equally, open armed.

This is a place of no judgement, of possibility, challenge and comfort. The nine songs on 'Prisoners…' can be read as separate ruminations on the feelings and desires that imprison our experience. Through it all the narrator struggles against them, transported and fooled by love and longing, peering through the bars of anguish, flailing in a cell of emotions. 'Saturday Night, Still Breathing' breaks the album open with an invigorating scream and pounds into the night with a nod to Whigfield, Kasparis’ punk roots and house music. Over a thumping 909 kick and bassline, Kasparis pens a love letter to being with people, the collective energy of hearts in a room, thrumming together, making it through together. Written as private ritual magic, manifesting community during a time of isolation, it’s as if the party is the most important thing in the world. 'Rely On Me' imagines 80s Mute synth pop, Erasure fronted by Bruce Springsteen, romance doomed and forever perfect in the mind. 'Spit Pit' completes the opening triptych of fast paced rollercoasters, an ode to childhood forged out of change and discomfort told with a bold, epic production by Lewis Cook, AFX breakbeats, 160BPM kicks and a commanding vocal performance.

On 'People Make This City', Kasparis eases off the gas, lets the mist blowing in from the Clyde River blow over his version of Glasgow. A wistful ballad about small town gossip and coming through anger to leaving it all behind, it provides some shadow to the bright light of the vibrancy of the album. 'Natural Angel' owes much to 70s and 80s power pop, guitar melodrama, Thin Lizzy and Rick Springfield through the prism of co-dependence in relationships. It’s a theme that’s picked up in slow burner 'Nothing But Perfect', a hazy synth soul-inflected song about building your own mythology, constructing a dream to hide in, to hold on to. The most surprising track of the album, 'Summer of ’03' re-imagines the trance music of early noughties Europe into a lament for an eternal summer or as a fan once put it, “Meat Loaf with a donk on it.” A recognition that all ecstasy has tragedy laced within it, it’s a theme that is sewn throughout the LP and continued on the final song 'Feel Good (You Can Make Me)'. Referencing Shalamar’s 1982 mega hit by way of N-Trance’s piano riffs, the epic closer is riddled with heartbreak, vulnerability and power. It’s a testament to the new confidence in Kasparis’s songwriting, sure, but also to the enduring power of people to come together in mutual dependence and love. If ecstasy is always laced with tragedy, then 'Prisoners of Love and Hate' can always reach out between the bars to meet in the middle, the eternal now.

2lanes is proud to announce the next single, TINCTURE/ MY SIMULACRA, from his recently minted label AUTO SHOP. The two-tracker finds the artist both deepening his expansive sound and honing it to weave seamlessly into any DJ set. “TINCTURE / MY SIMULACRA” solidifies the cinematic textures and rusty low-end percussive drive of 2lanes’ earlier releases this year, “Diamond Rain EP'' & “Sid Ranger Redux EP.” Spending much of this past year on the road, 2lanes dove headfirst into the contemporary electronic music world, meeting an array of new and exciting producers, some of which are featured remixers on this release.

On the A side, take a dose of TINCTURE and see just how far the rabbit hole goes. Inspired by raving all night with friends, 2lanes linked with Detroit-based singer AKILLACO for a wild talking track like none other. We all know those moments at the party when both nothing and everything makes sense. You want to be prophetic but you just make everyone laugh. You think about the past, future, & present all at once. This is the ultimate message of TINCTURE, which AKILLACO emphatically points out. The long-winded musing is underlined by a heavy swung style beat that 2lanes fans have come to know well. Frequent 2lanes collaborator Salar Ansari joins the fun for the steamy, guitar-laden Howling Diablo remix that could as easily be played at a forest rave as a sleazy dive bar a la Coyote Ugly. Purelink’s MILLIA reduces the solution to an even dubbier chill out mix that begs to be played in the early mornings.

On the B side, we have the bass-heavy vision quest MY SIMULACRA. Ancient percussion meets modern sub bass–and together, they transport you to a new plane of being. This track also features performances from a few regular 2lanes sonic cohorts. Detroit keyboard prodigy Ian Fink (Scott Grooves Ensemble, Omar S) evokes celestial moments with a memotron solo, and Jonah Baseball (Overtone Series) provides a stargate-sounding break beat. MY SIMULACRA features two amazing remixes. The First is from Baltimore-based club aficionado JIALING and the second is a prime cut of rough and ready machine phunk from Los Angele’s 1morning.

Initially recorded at 2lanes’ home studio over Halloween in 2021, TINCTURE has since evolved to its final form that we see now. The tune has even shown up in sets from electric selectors like Scott Zacharias and Livwutang. The record label features beautiful artistic renditions by Norway-based Sverre Brand, whose work can be found on releases by Priori and Dust E-1.

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's `Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term `regret pop' to describe the music they made on the `Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach.Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here."Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

Naarm/Melbourne-based soul artist and proud Noongar woman Bumpy presents her new single, ‘Return Home’, it illuminates the transportive nature of BUMPY, guiding the listener through a world in which vulnerability is strength and power is quiet but self-assured.

Described by Bumpy as an ode to home and “the people, places and connections that make us feel grounded and at ease”, ‘Return Home’ is propelled by stirring strings arranged by Aaron Wyatt, who recently marked history as the first Indigenous conductor of an Australian state orchestra.

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

“Azazel” is the second vinyl release of this year and the EP debut from Priorato (MX), with some interesting and outstanding remixes by Colossio, Ludviq, and Chinosynth. This vinyl release will offer a diverse range of remixes, each bringing its own interpretation and style to the original track "Azazel".

A1. Led by Rubén Torres, a DJ and producer from Ciudad Juárez, Chihuahua, focusing on indie dance and techno, the original track for "Azazel" is characterized by a solid bass sequence, hypnotic vocals, and a blend of electronic and organic elements.

The song creates an enigmatic and immersive atmosphere, gradually building a powerful and addictive groove, it offers a musical experience that transports listeners to a trance-like state, inducing feelings of euphoria and escapism.

A2. For the first remix we have the honor to have again on board Colossio, he’s also known as one of Mexico's most talented producers, with previous releases on labels like Duro, Calypso, and Exit Strategy. His remix of "Azazel" is expected to bring a mix of high energy and darkness to the track, showcasing his signature style.

B1. Originally from Guadalajara, Mexico but now based in Barcelona, Spain, Head honcho Ludviq, delivers a remix that promises to be energetic, groovy and psychedelic, incorporating unconventional percussions and sounds recorded from the city chaos and nature calmness environments.

B2. Based in Culiacán, Mexico, Chinosynth's remix aims to infuse a human touch into the track by incorporating analog sounds from studio instruments such as guitars, bass, and synths, while maintaining a dance floor-oriented vibe.

LTD Repress!

1982 Album from Japan's visionary saxophonist Yasuaki Shimizu, the man behind Mariah "Utakata Ho Hibi".
Through it's 8 suite like tracks, Kakashi transports the listener into Yasuaki's colourful sound-world, a fusion of outre jazz, new wave, ambient, and dub practices. Another high water mark in the 80's Japanese underground which has gathered cult status in recent years, and considered to be a highlight of Yasuaki's solo career.

Multi-instrumentalist Oscar Browne's roots lie in the foundational intricacy of golden-age songwriting A founding member of the London based folk- collective Broadside Hacks (amongst other banded- ventures), Oscar Browne's debut solo endeavour 'Never Quite Right' was released in 2022 to critical acclaim; an established inauguration which saw him eventually signing to So Young Records in the spring of 2023. Following a six-month spree in which Browne found himself tirelessly writing in order to process the changes taking place around him, the five songs which would eventually go on to form his debut EP 'If Only', are a deep- dive into the heart and soul of an artist who masterfully captures all the joys and heartaches of life in your early-twenties. Recorded over one week at Bristol's The Playpen, home to producer Ali Chant (Aldous Harding, Katy J Pearson), 'If Only' was all-in-all, a long time coming. Selfaccustomed to doubling things up and hiding imperfections, it was through the art of collaboration, and Ali's teachings in the power of emotional transparency that the pairing of Browne and Chant really shined. "Ali was a massive part in keeping the recordings minimal" notes Browne "he kept the rawness". Oscar Browne's creative- capability is a limitless array of captivating delights. These aren't simply re-interpretations of eras gone by. Browne channels as much Ben Howard or Kurt Vile as he does Nick Drake and John Martyn. Rather, it's through his ear for musical- lucidity, highlighted throughout the course of these selected songs, that enables Browne to transport his love of traditional folk and folklore, into a uniquely contemporary realm. His fearlessness in baring- all to those who'll listen creates an artistic magnitude will only keep growing with fine prowess, as Browne continues to cut his teeth as a beguiling 'one to watch'

10 years anniversary edition /RM,Bon.Trk,COL,LTD Deluxe split cristal & curacao vinyl

The highly acclaimed and most influential album in the mallsoft subgenre of vaporwave. Released almost 10 years ago by

Lien de téléchargement12 fichiers - 512.4 Mo - valide jusqu'au 16 sept. 2023

the mysterious artist Disconscious, it continues to captivate listeners with its haunting and relaxing soundscapes, creating a vivid atmosphere of abandoned malls, combining elements of nostalgia, emptiness, and a touch of sinister undertones. Tracks like "Enter Through the Lobby" and "Lunar Food Court" stand out as fan favorites, transporting listeners to a bygone era of ultra consumerism, offering a unique and immersive experience that has stood the test of time.

Official vinyl edition of the classic album
Remastered including 3 bonus tracks,
Limited to 500 split cristal & curacao vinyl.

Auf Tour in heimatlichen Gefilden, ausverkaufte Shows und das unvergleichliche Gefühl unter Freunden zu sein: So sieht es aus, das perfekte Setting für ein gelungenes Livealbum. Und wenn dann jedes Rädchen ineinandergreift, wie es soll, dann entsteht eine Platte die reine Emotion und Freude am Sein transportiert. Mit dem neuen Album stellt Hannes Ringlstetter zusammen mit seiner Band wieder einmal eindrucksvoll unter Beweis, dass Wunderbares entstehen kann, wenn man sich blind versteht und gemeinsam die beste Zeit hat. Mit dabei auf der neuen "live Ringlstetter & Band" sind Klassiker wie "Niederbayern" und "Heller Schein" die immer wieder euphorisch vom Publikum gefeiert werden und einem die Gänsehaut über den Rücken jagen. Aber auch neue Songs kann man in einer Liveversion hören. Unter anderem die im April 2023 erschienene Single "Gardasee", die Hannes zusammen mit dem Oimara und Max Kronseder von DeSchoWieda aufgenommen hat und die auch beide bei der Liveaufnahme vertreten waren. Man merkt bei jedem Song, dass der Kabarettist, Schauspieler, TV-Moderator und Buchautor für die Musik brennt und das in perfektem Einklang mit seiner Band, dieses Livealbum ist der Beleg dafür.

Mike Salta & Mortale release their debut album ‘Moloko Island’ on Music For Dreams label. Moloko Island is a getaway where good vibes can float freely. An island where only fantasy set the limits.

It is a collection of tracks, some of which have already been buzzing around the balearic / downtempo scene for a while now. The Album includes the infectious ‘Hey Moloko’ which was picked up by Hot Chip for their splendid Late Night Tales compilation, and the gamers amongst you may have noticed it in the most recent Playstation – Gran Turismo 7 soundtrack. Outro track ‘Bye Moloko’ is a brand new Re-edit of this classic.

The music of Mike Salta aka Gert Nygaard flaunts an eclectic palette, collecting strands from New Orleans funk, 80’s italo disco or Brazilian tropicalia and transforming them into rich and sun-drenched dance music.

The album is produced in collaboration with long-time studio partner Mortale, and is a sumptuous piece of chillout to call on the summer. A full-bodied groove of an album to transport you and soundtrack those sunny days & balmy evenings. Moloko Island concludes a voyage and reconcile an era where electronics and acoustics have been explored and united in the unique sound and vibe Mike Salta and Mortale has strived to unfold

Known for being part of the INNA DE YARD family for almost 20 years, Jamaican singer extraordinaire DERAJAH is a major figure in Kingston music scene. He is the bridge between the old and new generations, passing the knowledge from the elders to the youths. We are delighted to present his latest effort in collaboration with A-class studio band The 18th Parallel: ‘PROSPERITY’. A showcase album of 6 songs with dub versions produced between Geneva, Switzerland and Kingston, Jamaica. With the expert touch of mixing maestro Westfinga, the 11 tracks of ‘Prosperity’ are sonic masterpieces, timeless and innovative.

In between the raw and brutal sound of 80’s Jamaican rub a dub and today’s sophisticated and polished modern sound. Derajah's raw and emotive vocals paint vivid pictures of struggle and resilience, carrying a profound message of social consciousness and resistance against oppressive forces, while The 18th Parallel's ultra-solid riddims create a rich tapestry of sound that will transport you to the heart of roots reggae. With its impeccable production quality, ‘Prosperity’ captures the essence of reggae's golden era.

This groundbreaking album is a testament to the enduring power of music to inspire, uplift, and ignite change.

The story towards the creation of this album also needs to be shared. As Fruits Records members were in Jamaica on tour and to record their first projects, they crossed Derajah paths a couple times without getting a chance to work together. But this was enough to set a strong foundation to a relationship that goes way beyond the musical side only. A few years after this meeting, one phone call only was enough to start the process. The rest is pure magic! Spontaneity, trust and loyalty became the guidelines for the creation of this gem, which stand out of time and space, and aim to carry on its path anyone seeking for knowledge, love and prosperity.

After releasing their debut album Red Forest in 2022, a stint at the Trans Musicales in Rennes and on legendary American radio station

KEXP confirmed the delicious identity of a corrosive sound that has hypnotised many. Sarakiniko is his name. It's both the name of a lunar-like beach in Greece and, without realising it, the translation of buckwheat, the emblematic plant of Brittany, where he comes from. Sarakiniko is a man, Yann Canevet (Venera 4, Future, Maria False), who writes, composes and records the music that comes from his dreams and his aesthetic vision of a magnificent world in disuse. Having first transported us into the deep forests of her heart-rending, sentimental music, Sarakiniko now unfurls her roots in an even more personal soundscape. Sophisticated, demanding music carved out of a tree trunk with chisels and chisels. A slightly grimy, slightly disturbing pop that he himself describes as "mud-pop", but which ultimately comes across as fearsomely massive shoegaze, with delightful echoes of Andrew Weatherall's productions. His second album, Dehors, takes us back to an inner child overwhelmed by his own élan vital. A naïve child who justly cries out upon his arrival on Earth. Tender, luminous and terribly fatalistic, this new stage in Sarakiniko's journey leaves us hanging in poetic and abrupt lyrics inherchildhoodlanguage,toresonateevenmoreprimal.Powerfulwords,headyrefrainstobesunguntiltheendoftime.

Nachdem VARG mit ihrem letzten und bis dato erfolgreichsten Album Zeichen (2020, Platz #16 der Deutschen Albumcharts) den thematischen sowie musikalischen Fokus komplett auf ihre Pagan Wurzeln gelegt haben, gehen die Wölfe diesen Pfad mit ihrem neuesten Werk unbeirrt weiter und manifestieren ihre Reinkarnation eindrucksvoll.

Ehrlich, authentisch und roh – das neue Album Ewige Wacht erscheint am 13.10.2023 via Napalm Records. Neben elf brandneuen Songs enthält das 2-CD Digipac eine spannende Bonus-CD, auf der alle Songs von verschiedensten, namenhaften Gästen dargeboten werden – darunter etwa Rotting Christ, Kanonenfieber, Alestorm, Nachtblut, Korpiklaani, Obscurity, Tyr, Forndom, Harpyie und Robse.

Das achte Studioalbum transportiert nordische Mythologie, sowie Werte wie Ehrlichkeit und Loyalität. VARG zeigen sich einmal mehr als unbesiegbare Einheit, – davon zeugt bereits der Opening-Track „Immer Treu“.

Schon hier zeichnet sich ab, wie verstärkt Sängerin Fylgja diesmal in die einzelnen Songs einbezogen wurde.

„Schildmaid“, „Fylgja“ und „Eisenseite“ stehen als Sinnbild für dieses Zusammenspiel und den Weg, den VARG seit Zeichen beschreiten.

Die folkigen Melodien in „Morgenrot“ führen zum epischen „Siegreiches Heer“, das noch mal den Einheitsgedanken schärft, der sich wie ein roter Faden durch Ewige Wacht zieht.

Der Titeltrack bildet den finalen Höhepunkt und vereint heidnische Thematik, eindringliche Melodien und die einnehmende Kraft der Wölfe.

Auf den Golden Records, die die Voyager-Missionen 1977 ins All transportierten, um außerirdischen Lebewesen unter anderem ein musikalisches Bild der Erdenbewohner zu vermitteln, waren zum Beispiel Werke von Johann Sebastian, Ludwig van, Wolfgang Amadeus, Chuck und Louis verewigt.

Mission Not Accomplished, …. yet, we lost control! Zeit für einen neuen Anlauf mit Space-Jazz von Sebastian Gramss’ STATES OF PLAY: METEORS - message to outer space. Ein vielschichtiger Bericht von der Erde in Ton & Text 45 Jahre nach den ersten NASA-Missionen als Doppel-Vinyl in 180 gr. auf clear orange & clear blue vinyl im Klapp-Cover mit bedruckten Inner Sleeves.

Shannon Barnett - trombone; Hayden Chisholm - saxophone; Philip Zoubek - piano, synthesizer; Christian Lorenzen - e-piano, synthesizer; Sebastian Gramss - double bass; Dominik Mahnig - drums plus guests (2022 wurde das Ensemble mit dem Deutschen Jazzpreis ausgezeichnet) A recording that will last!

Kraut synth funk explosion from the sci-fi, library & soundtrack specialists.

DIY funksters break into museum, steal modular moog and record proto-electro-punk with dusty live drums, wild percussion and out-of-control analog synth sequencing onto Tascam 8-track tape.

Following their debut 'Space Voyage' for Warner Chappell's music library and the outernational soundtrack LP 'Occhio Occhio', the U.K. based trio return with a darker, heavier edge on their new full-length 'Synchronization'.

The soundtrack to a strange and mysterious dystopian future Immersed in the sounds of arpeggiated vintage synths, full fat drum breaks and fuzz guitars. At times the album is reminiscent of post punk with hints of boom bap hip hop and as the album progresses the listener is transported to the dance floors of Berlin's underground raves. In an age that sees AI increasingly omnipresent, Eleven76 take control of the technology, creating a hybrid, genre spanning, production style that could only come from their hive mind.

The trio surrounded themselves with an enviable array of vintage synths and modern classic studio toys, with Paul Elliott and Anthony Donje at the helm of patching, connecting and bringing these analog beasts to life, while Timmy Rickard continued to lay down the grooves as the heart of the rhythm section. The result is SYNCHRONIZATION, of synth and drums, pictures and sounds, man and machine – and of your heart and brain if you're ready to get synchronized.

STONEMILLER INC. spielen ehrlichen und kompromisslosen Hard Rock!

Freut euch auf ein Feuerwerk an mächtigen Gitarrenriffs, eingängigen und stadiontauglichen Melodien mit hohem Wiedererkennungswert, einer donnernden Rhythmusfraktion, sowie der einzigartigen und unverwechselbaren Stimme von Sänger Francis Soto!
STONEMILLER INC. transportieren den Hard-Rock-Sound der 80er Jahre mit ihrem eigenen, unverwechselbaren Stil in das neue Jahrtausend: Ehrlich, bodenständig und kompromisslos.
Diese Songs haben ihren ganz eigenen Charme und werden euch mit Sicherheit in ihren Bann ziehen!

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

Through evocative, emotionally resonant music, Goodbye, Hotel Arkada , the new LP from American harpist and composer Mary Lattimore , speaks not just for its beloved namesake _ a hotel in Croatia facing renovation _ but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephem - eral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore's decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slow - ing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements . "When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency." For the title and inspiration, Lattimore's mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water's edge. "There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to `say goodbye to Hotel Arkada, it might not be here when you get back' and I heard soon after that it was actually going to be renovated in a very crisp, modern way." Lattimore became fixated on the ingredients that make a place special _ for Hotel Arkada, the patinaed chandeliers, the patterned bedspreads, the echoes of its intangible charm _ and how when those leave this world, as they inevitably always will, it feels import - ant to memorialize them, "to bottle it for a brief second.

For this album Ghetto Kumbé has enlisted an all-star roster of artists from four different continents, they’ve put together a fresh version of their debut album that’s been specifically geared to the world’s diverse slate of dancefloors, whether at home or in the club, this double 12” 45 RPM is the perfect format to experience this music. There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé who were already one of Colombia's most prominent alternative acts have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooka a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of soundsystems around the globe.a

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Rudi Zygadlo returns with his third album ‘Doggerland’, his first in ten years and most expressive yet. A bubble of hope in a sea of doom, saluting the oncoming tides with big hooks and a wry sense of humour.

Subotage Records is proud to present Teffa's release, the "Periodic Wave EP." Taffa, an emerging Dubstep artist, has crafted a collection of four deep Dubstep tracks that will captivate listeners and transport them into a realm of hypnotic sounds. With his unique style and passion for electronic music, Teffa pays homage to the genre's roots while exploring innovative directions of his own.

Each meticulously composed song on the "Periodic Wave EP" showcases Teffa's ability to experiment with various sonic elements, resulting in mesmerizing soundscapes that push boundaries. This EP promises an exceptional listening experience for both Dubstep enthusiasts and electronic music lovers. Immerse yourself in the infectious beats and distinctive melodic arrangements of Teffa's "Periodic Wave EP" and discover the future of Dubstep. Subotage Records is honored to be a part of Teffa's musical journey.

There are as many flavours of Jazz as there are pebbles on a
beach, but the majority combine rhythmic invention with
instrumental virtuosity to create a sound that can transport the
listener to a different plane. Our compilation features duos,
trios, bands and orchestras playing music inspired by Africa,
Brazil and all points in-between. Film themes, standards, charttoppers and relative obscurities have been carefully assembled
to provide a wide-ranging picture of the Jazz instrumental.

It"s a wild ride, but then life with Jeffrey Lee Pierce always was"- Kris Needs

Das Jeffrey Lee Pierce Sessions Project hatte immer das Ziel Jeffrey Lee Pierce als einen der einflussreichsten, aber auch meist unterschätzten US Singer-Songwriter hervorzuheben und seine Kunst in die heutige Zeit zu transportieren, indem Wegbegleiter:innen und Bewunderer:innen die Musik des 1996 viel zu früh verstorbenen The Gun Club Sängers neu interpretieren. Nach "We Are Only Riders" (2009), "The Journey Is Long" (2012) und "Axels and Sockets" (2014) präsentiert "The Task Has Overwhelmed Us" Songs aus Pierce"s The Gun Club- und Solo-Zeiten. Außerdem gänzlich neue Tracks, entstanden aus Song- und Textskizzen sowie Live-Demos, die der 1958 in Kalifornien geborene Pierce vor seinem Tod aufgenommen und niedergeschrieben hatte. Fast zehn Jahre nachdem das Vorgänger Album "Axels and Sockets" veröffentlicht wurde, erscheint mit "The Task Has Overwhelmed Us" endlich das finale Kapitel mit Künstler:innen wie u.a. Dave Gahan, Debbie Harry im Duett mit Nick Cave oder Peter Hayes von The Black Rebel Motorcycle Club als LP, limitierte col. LP & CD.

It"s a wild ride, but then life with Jeffrey Lee Pierce always was"- Kris Needs

Das Jeffrey Lee Pierce Sessions Project hatte immer das Ziel Jeffrey Lee Pierce als einen der einflussreichsten, aber auch meist unterschätzten US Singer-Songwriter hervorzuheben und seine Kunst in die heutige Zeit zu transportieren, indem Wegbegleiter:innen und Bewunderer:innen die Musik des 1996 viel zu früh verstorbenen The Gun Club Sängers neu interpretieren. Nach "We Are Only Riders" (2009), "The Journey Is Long" (2012) und "Axels and Sockets" (2014) präsentiert "The Task Has Overwhelmed Us" Songs aus Pierce"s The Gun Club- und Solo-Zeiten. Außerdem gänzlich neue Tracks, entstanden aus Song- und Textskizzen sowie Live-Demos, die der 1958 in Kalifornien geborene Pierce vor seinem Tod aufgenommen und niedergeschrieben hatte. Fast zehn Jahre nachdem das Vorgänger Album "Axels and Sockets" veröffentlicht wurde, erscheint mit "The Task Has Overwhelmed Us" endlich das finale Kapitel mit Künstler:innen wie u.a. Dave Gahan, Debbie Harry im Duett mit Nick Cave oder Peter Hayes von The Black Rebel Motorcycle Club als LP, limitierte col. LP & CD.

Es beherrscht ein grauer, stimmungsvoller und dichter Spätherbst-Tag das Geschehen. Viel zu früh hat der Himmel sich verdunkelt. Jetzt plätschert gleichförmig und regelmäßig Regen auf die Straßen, auf die Erde, auf die griesgrämig wirkenden Menschen herab. So stellt man sich die Atmosphäre vor, in welcher das sechste Subsignal-Studioalbum "A Poetry of Rain" entstanden ist.
Fünf endlos wirkende Jahre ließen Subsignal ihre Anhänger auf neue akustische Klang-Abenteuer warten. "Und auch das hatte wieder mit der Pandemie zu tun", offenbart Markus Steffen den Grund für die quälend lange Pause. "Existenzängste schlichen sich ein", reflektiert er. "Im Zuge dessen verließ der langjährige Bassist Ralf Schwager die Band. Mit Martijn Horsten aus Rotterdam war allerdings rasch würdiger Ersatz gefunden. Dennoch schwelgen die zehn Kompositionen vor Sehnsucht und einer gehörigen Portion Wehmut."
Der progressive Mix aus Rock, Metal und Artrock gelingt scheinbar spielerisch. Ausnahme-Drummer Dirk Brand setzt dabei eine fulminante Basis, auf die mal rockige, mal elegante Gitarren-Sounds zusammen mit den Keyboards einmalige Klangwelten zaubern. Darüber schwebt das wunderbare Timbre von Sänger Arno Menses - immer präsent, immer einnehmend, voller Leidenschaft und Kraft. Dazu trägt auch die kristallklare und druckvolle Produktion von Yogi Lang von ihrem Label Gentle Art Of Music bei.

Presse:
Rocks 9/10: "Songs wie ›Impasse‹ oder "Marigold‹ berühren, transportieren Gefühle und packen den Hörer, wie es sonst Marillion, Yes oder Kansas am besten können. Auf welch hohem Niveau die Herren musizieren, wird bei Nummern wie The Art Of Giving Ins oder ›Sliver (The Sheltered Garden)‹ klar, aber Komplexi-lät ist hier nie Mittel zum Zweck."

Deaf Forever 8.5/10: "…meistens die wie immer großartigen Refrains, die einen aufrichten. ….wie gewohnt exzellent gesungene Artrock-Stücke, die von den nach fünf Jahren Wartezeit dürstenden Anhängern nun endlich auch zu Hause genossen werden können."

Rock It - Soundcheck #6/32: "…so steht der Name Subsignal auch auf Album Nummer sechs doch für handgemachte Qualitätsarbeit mit Herz und Seele. Reinhören, eintauchen und mitfühlen!"

Break Out: "Mit "Poetry Of Rain" unterstreichen Subsignal ihre Ausnahmestellung im Rock: Scheibe unbedingt zulegen! Ich bin mir sicher, dass niemand bei diesem Longplayer enttäuscht sein wird, der sich in melodischen Bereichen mit progressiven Parts wohlfühlt."

Gäste:
David Bertok - Keyboards "Embers Part II - Water Wings)
Marek Arnold - Saxophon "The Last of its Kind"
Yogi Lang - Keyboards
Dietmar Waechtler - Pedal Steel "The Art of Giving In"
Iraklis Choraitis - Backing Vocals "Sliver (The Sheltered Garden)"

Mix & Master von Yogi Lang, Farm-Studios Freising

Es beherrscht ein grauer, stimmungsvoller und dichter Spätherbst-Tag das Geschehen. Viel zu früh hat der Himmel sich verdunkelt. Jetzt plätschert gleichförmig und regelmäßig Regen auf die Straßen, auf die Erde, auf die griesgrämig wirkenden Menschen herab. So stellt man sich die Atmosphäre vor, in welcher das sechste Subsignal-Studioalbum "A Poetry of Rain" entstanden ist.
Fünf endlos wirkende Jahre ließen Subsignal ihre Anhänger auf neue akustische Klang-Abenteuer warten. "Und auch das hatte wieder mit der Pandemie zu tun", offenbart Markus Steffen den Grund für die quälend lange Pause. "Existenzängste schlichen sich ein", reflektiert er. "Im Zuge dessen verließ der langjährige Bassist Ralf Schwager die Band. Mit Martijn Horsten aus Rotterdam war allerdings rasch würdiger Ersatz gefunden. Dennoch schwelgen die zehn Kompositionen vor Sehnsucht und einer gehörigen Portion Wehmut."
Der progressive Mix aus Rock, Metal und Artrock gelingt scheinbar spielerisch. Ausnahme-Drummer Dirk Brand setzt dabei eine fulminante Basis, auf die mal rockige, mal elegante Gitarren-Sounds zusammen mit den Keyboards einmalige Klangwelten zaubern. Darüber schwebt das wunderbare Timbre von Sänger Arno Menses - immer präsent, immer einnehmend, voller Leidenschaft und Kraft. Dazu trägt auch die kristallklare und druckvolle Produktion von Yogi Lang von ihrem Label Gentle Art Of Music bei.

Presse:
Rocks 9/10: "Songs wie ›Impasse‹ oder "Marigold‹ berühren, transportieren Gefühle und packen den Hörer, wie es sonst Marillion, Yes oder Kansas am besten können. Auf welch hohem Niveau die Herren musizieren, wird bei Nummern wie The Art Of Giving Ins oder ›Sliver (The Sheltered Garden)‹ klar, aber Komplexi-lät ist hier nie Mittel zum Zweck."

Deaf Forever 8.5/10: "…meistens die wie immer großartigen Refrains, die einen aufrichten. ….wie gewohnt exzellent gesungene Artrock-Stücke, die von den nach fünf Jahren Wartezeit dürstenden Anhängern nun endlich auch zu Hause genossen werden können."

Rock It - Soundcheck #6/32: "…so steht der Name Subsignal auch auf Album Nummer sechs doch für handgemachte Qualitätsarbeit mit Herz und Seele. Reinhören, eintauchen und mitfühlen!"

Break Out: "Mit "Poetry Of Rain" unterstreichen Subsignal ihre Ausnahmestellung im Rock: Scheibe unbedingt zulegen! Ich bin mir sicher, dass niemand bei diesem Longplayer enttäuscht sein wird, der sich in melodischen Bereichen mit progressiven Parts wohlfühlt."

Gäste:
David Bertok - Keyboards "Embers Part II - Water Wings)
Marek Arnold - Saxophon "The Last of its Kind"
Yogi Lang - Keyboards
Dietmar Waechtler - Pedal Steel "The Art of Giving In"
Iraklis Choraitis - Backing Vocals "Sliver (The Sheltered Garden)"