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“Featuring the mega-hit ‘Place Your Hands’, the album was recorded in Abbey Road, Real World Studios and LA’s legendary Sound City Studios, with producer George Drakoulias at the helm. And it’s fair to say that Glow was the point where everything that made Reef so great – the spirit, the passion, the honesty, the undiluted energy – came together. It’s the sound of a band who were never short of talent or confidence firing on every single cylinder.

“I love every album we’ve made, but Glow is the one that really encapsulates the band,” says Gary Stringer today. “It’s emotional, it’s sexy, it’s passionate, it rocks hard. It’s everything Reef should be.”

Having burst onto the music scene in 1994, and with their debut album Replenish going Top 10 the following year, Reef were on a fast-track trajectory to international fame. But in true Reef style, there were no agonising songwriting sessions for Glow. It was written entirely on the hoof, wherever and whenever they had their instruments to hand – in soundchecks, between shows, in the band’s rehearsal space and the trusty blue VW van which carried them from gig to gig. “

“Featuring the mega-hit ‘Place Your Hands’, the album was recorded in Abbey Road, Real World Studios and LA’s legendary Sound City Studios, with producer George Drakoulias at the helm. And it’s fair to say that Glow was the point where everything that made Reef so great – the spirit, the passion, the honesty, the undiluted energy – came together. It’s the sound of a band who were never short of talent or confidence firing on every single cylinder.



“I love every album we’ve made, but Glow is the one that really encapsulates the band,” says Gary Stringer today. “It’s emotional, it’s sexy, it’s passionate, it rocks hard. It’s everything Reef should be.”



Having burst onto the music scene in 1994, and with their debut album Replenish going Top 10 the following year, Reef were on a fast-track trajectory to international fame. But in true Reef style, there were no agonising songwriting sessions for Glow. It was written entirely on the hoof, wherever and whenever they had their instruments to hand – in soundchecks, between shows, in the band’s rehearsal space and the trusty blue VW van which carried them from gig to gig. “

The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.

Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.

Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?

The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.

We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.

The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.

Edition of 250 UNITS

English short Version
Almost five years after the inaugural compilation "El sol desde oriente", Passat Continu releases "El ser y el tiempo", the first solo recordings of the Tenerife musician Javier Segura, a set of seven
compositions that make up a true exceptionality in the panorama of Spanish experimental music and that have never before been uncovered for listening. This sound document recorded between 1976 and 1978 is presented remastered from its original tapes and with a bonus track, with the invaluable collaboration of Juan Belda.

panish Version

Casi cinco años después del recopilatorio inaugural “El sol desde oriente”, Passat Continu lanza “El ser y el tiempo”, las primeras grabaciones en solitario del músico tinerfeño Javier Segura, un conjunto de siete composiciones que conforman una auténtica excepcionalidad en el panorama de la música experimental española y que nunca antes han sido destapadas para su escucha. Este documento sonoro registrado entre 1976 y 1978 se presenta remasterizado de sus cintas originales y con una canción extra, con la inestimable colaboración de Juan Belda.
Existe cierto consenso en llamar transición española al período que va del fallecimiento de Francisco Franco, el 20 de noviembre de 1975, a la ratificación mediante referéndum de la Constitución, el 6 de
diciembre de 1978. Años de agitación y anhelo democrático que la población vive con gran intensidad. Aquejada por una larga enfermedad, la madre de Javier Segura fallece en 1976. El
tinerfeño tiene entonces 21 años y acaba de salir de su primera experiencia discográfica como compositor en el cuarteto Huellas. Como todo el mundo entonces, Segura se ha educado en un colegio
religioso. Es allí donde empieza a cultivar interés en la música, el cine y la filosofía “dentro de mí existía, y aún persiste, la idea de que somos un espejo donde algo o alguien se mira para reconocerse. Es una idea que surge de la lectura de “El ser y el tiempo” de Martin Heidegger.”
Con el objetivo de seguir dando forma a las ideas, Segura destina la totalidad de sus ingresos a la compra de equipamiento, experimentando en el desván de casa en los ratos libres. Se adentra en sesiones extenuantes utilizando la metodología de las músicas de corte concreto, grabando encima de un casete Sony, reproduciendo encima de otro al tiempo que mete más instrumentación por la entrada del micrófono. Así varias veces hasta sobreponer tres, cuatro y hasta cinco capas. En 1977 se hace con dos Tascam de carrete abierto de cuatro pistas. Las cintas grabadas en los casetes Sony se pasan al magnetofón para luego volver a encima del mismo, y así una y otra vez. En sus más de 40 minutos de duración, en “El ser y el tiempo” suenan flautas, saxos, un vibráfono, un piano, un violín, un arpa, un salterio turco, un Crumar DS-2, sintetizador monofónico de dos osciladores y de más de 50 kilos de peso popularizado por Sun Ra en los años 70 e incluso unas placas de metal.

solid white vinyl

For the third release on his own imprint, DTR, VII Circle launches the new split series by teaming up with THAM, on a full split EP.

Following the latest EPs 2020's 'Fearless EP', 2021's Warriors which saw the support from artists like Perc, Paula Temple, Headless Horsemann and Regal just to name a few, VII Circle is with two impactful tracks which are establishing once again his uncompromising sound and exposure to the dark post-punk and heavy music influences he got.

On the other side of the vinyl, THAM shows his genuine and real interpretations of how complex grooves, pounding bass drums and aggressive synths are driving his sound.

With this release, the duo wants to rise a new musical vision and musical compactness that has distinguished them in recent years, making them find their true personal sound.

As a true reference cultural media, Trace completes its musical offer with a first collection of 3 vinyls! Find the cream of Afrobeat selected by Trace and journalist Osman Jr. With Manu Dibango-Ebo Taylor-Shina Williams...

As a true reference cultural media, Trace completes its musical offer with a first collection of 3 vinyls! Find the cream of Salsa selected by Trace and journalist Osman Jr. With Tito Rodriguez-Setenta-The Alegre All Star....

As a true reference in the world of cultural media, Trace completes its musical offer with a first collection of 3 vinyls! Find the cream of Zouk selected by Trace and journalist Osman Jr. With: Kassav"-Perle Lama-Admiral T..

For Dizzy everything starts and ends with laughter. In the meantime, all paths are possible. That of melancholy, of dance or of political commitment... Dizzy is everywhere at once, always elusive, he is this explorer who, after having been one of the founders of Bebop in the 40's, will never stop experimenting, surprising and pushing back the borders. Proud of his Afro-American heritage, he knew like no other how to confront it with other cultural horizons such as Latin America or Cuba. On 25 August 1973 Dizzy Gillespie came to the Dutch public in Laren. True to form, he introduced his musicians in a mischievous and generous mood and then launched thunderously into a Caribbean tempo that lasted 19 minutes! Then, in a deep voice, Dizzy evokes his friend Martin Luther King. He dedicates "Brother K" to him, a tender ballad punctuated by flashes of storm and anger. As a conclusion Dizzy invokes his roots: "The Blues", where he abandons his trumpet to unleash the full force and warmth of his voice. The musicians withdraw to a surprisingly light theme. We leave as we arrive, on tiptoe. However, we leave with a certainty: "Yes Dizzy, you made it".

Dizzie Gillespie, Trumpet and Vocals
Mike Longo, Piano
Alexander Gafa, Guitar
Earl May, Bass
Mickey Roker, Drums
Guest Artist : Jon Faddis, Trumpet on tracks 9 and 10

Recorded at the Singer Concert Hall

Laren Jazz Festival, 25.VIII.1973

STEREO ℗ 1973 VARA

Remastered by ℗ & © 2017 FONDAMENTA

Made and printed in Germany

"Have you ever had this endless feeling of unconditional love for someone or music, between virtuality and reality, which seems to be eternal for your own heart... " — Nicolas Masseyeff French DJ and producer Nicolas Masseyeff shares his first album in almost a decade on Marc Romboy’s label Systematic. The release brims with lush tones, electronica-flecked rhythms and rich soundscapes, suitable for a club-based audience and home listening. Celebrated visual artist Yann Masseyeff—Nicolas’s brother—is responsible for the artwork of the release.
Raised on the French Riviera, Nicolas Masseyeff started out as a local record dealer before purchasing his own shop, Limelight, establishing it as the most respected vinyl haunt in the South of France. Pursuing music production full-time since the late noughties allowed Nicolas to follow his true path, shaping him into the multi-genre artist he is today. Having released on Herzblut Recordings, Systematic, KD Music, Mobilee and several other esteemed imprints, Nicolas has worked relentlessly to craft a sound that transcends house, electronica, downtempo and afro house. Collaborations with Kittin, Oxia and Parallelle wind throughout his back catalogue, as well as remixes for Frankyeffe, Pig&Dan, Nikola Gala, Hot Since 82 and many more besides.
Endless offers an insight into Nicolas’ spiralling world, detailing the artist’s lithe production skills and consideration when collaborating with other talents, like the interdisciplinary singer Kittin. The collection sums up where Nicolas is at now in his career—a storied producer who continues to evolve, sharing an aesthetic rich in melody while retaining a dance-driven flavour. It’s the kind of sound that comes with years of practice, patience and perseverance.

Johannes Schebler's musical output is all about establishing a dreamlike territory where sonic settlements can spread at ease. While Grykë Pyje (Johannes Schebler's duo with Jani Hirvonen) presents musical landscapes as open and clear spaces, Baldruin's miniature pieces tend to narrow them down, zooming into domestic sceneries that shift like malleable rooms inside a magic building. These are the quarters where the inhabitants of Schebler's musical world are configured.

Rendered in a tender manner, the tunes in Kleine Freuden (in English: small joys) unfold like a collection of fairy tales and bedtime stories. Fables and lullabies performed in whispering tones seem to carry us through a child's dream where images blend into each other. Compact, yet gauzy and free flowing melodies gather up revealing an ensemble of households where fanciful entities play care freely, leading us along their musical maze. The music is placid, childlike and playful. It wanders around in unwavering estrangement, organizing an unprecedented and intimate space as seen from a bird's eye view.

In the landscape of a bedroom where the night lamp is the sun, we take part in a lively journey, as wonder is warrant and keeper of a warm and pristine environment. Perspective shifts as we rise from bed sheet folds that turn into fragile mountain ranges. We crawl behind furniture and take shelter in secret hideouts while dust falls upon us like a blizzard. Transfiguring notions of scale and time, we are left wondering how long have we been here, wondering if music is the only true measurement of time.

LP is black vinyl + LP3 insert for full album Download. Check out the first 18 or so seconds of “Can I Ride”, the title track on the first release by Polvo, the two-guitar juggernaut that represented the other side of Chapel Hill indie rock (more on that in a moment). That two-note riff, and the guitar twang that follows, recalls the opening notes on another monster song: “The Sprawl”, a key track on Sonic Youth's epochal Daydream Nation, an album released in October 1988, less than two years before Polvo formed. This compilation's nine tunes—the first seven from the Can I Ride double 7” EP (1990), the last two from the “Vibracobra” b/w “The Drill” 7” (1991) are not quite the sound of a torch being passed, but they were a sign that Sonic Youth's weird tunings, the hardcore punk and proto-indie rock on SST Records, and R.E.M.'s hazy rock (three big influences on this era of Polvo) were changing lives. Even back then, the impossibly catchy roar from Merge’s flagship act Superchunk was known to outsiders as the sound of Chapel Hill. But Polvo was something different from the same region. While the band never cottoned to the “math rock” tag (and it’s hard to disagree with them), there is no question that there was a distinct “how can we make guitar rock sound different from all the other guitar rock” vibe going on in the mid-Atlantic, from Richmond (math rock’s true home, don’t @ me) to the North Carolina Triangle over to Louisville and down almost to Atlanta. (If the Mastodon dudes aren’t down with Polvo, I’ll eat your shoe.) No, Polvo were their own brand of squall, not afraid of big hooks (“Leaf ”), odd tempos and textures (“Lull”) and rolling thunder (“Totemic”), and answers to the musical question, “What if the Feelies grew up on Dinosaur Jr.?” (“Tread on Me”). Indie rock? Not the 2022 kind. Math rock? Eh, not really. This was the sound of a new Southern rock, of a pre-internet guitar storm that looked at what came before and said, “What's next?” Track listing: Side A 1. Can I Ride 2. Leaf 3. Lull 4. Totemic 5. Tread on Me. Side B. 6. Teen Dream 7. Snake Fist Fighter 8. Vibracobra 9. The Drill

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

After the relative success of The Bitter Springs' last album, The Odd Shower, Simon Rivers promptly disbanded the long-running group and began recording his first solo album, Like Yer Wounds Too, under the name Poor Performer. As Jim Wirth wrote of a recent Bitter Springs reissue, "Weaving the messy threads of suburban life into dense tapestries, he has something of the Go-Betweens' gift for melody, something of Mark E Smith’s ear for language, something of Vic Godard’s common touch, and almost none of the acclaim that should have been his due." This holds true for Poor Performer's debut album, though the songs seem based around a loose concept of issues dealing with middle-age self-reflection . . . though nothing nearly as navel-gazing as that statement might imply! Rivers: "For as long as I can remember, I've been either making records or planning to make them. But for once, this is a record I didn't really plan to make. The strange circumstances of the Covid lockdown led to its coming together. I'd lost my Dad to a demential-related death, retired from work due to mental stress, and was shielded for seven months . . . I took my banjo, my Dad's Yamaha keyboard and a few of my guitars, and booked a month of studio days at One Cat with the brilliant Jon Clayton at the controls . . . after a week or so of recording backing tracks, Jon said, "I think 57 songs is a bit ambitious, Si", so together made the decisions that shaped this record and its accompanying EP." With 7" 45s now nearly as expensive to make as a full vinyl LP, a decision was made to include likely contenders on a bonus CD EP, which certainly rivals the album in quality and perhaps generally exceeds it in immediacy, but Like Yer Wounds Too is more of a grower than anything yet released by Tiny Global Productions, and one of the releases we're most proud to present to the public. Humour, insight and brilliance abound. Album tracks: Golden London Leaves / Kempton Park / Life U Chose / Hard To Be Happy / Lil' Bro / Sleepy Little Town / No Escape From Me And You / Right As Rain / The Point / Our Souls / The Frog's Tale / Can You Whistle? / Something's Gonna Kill Ya ep tracks: The World Has Had Enough / 2 Hard 2B Happy / For A While / Get Up Them Stairs / Daylight Robbery

. It's 2021 and Vancouver’s Bootlicker are back with their first full length. Experimenting with various lineups and sounds since 2017, these 14 original tracks flesh out their most realized expression. Following four EP’s and two demos, their self-titled debut stays true to the noise cultivated in the previous offerings. That raw, blown-out production countered with clean guitar sound and Internationally-informed take on a UK82 delivery remains. Everything that made the band what they were on their previous output is polished into a ball of fire that will not be contained. Their mid-tempo, menacing posture of tracks like "Herd The Sheep" and "State Of Fever" give way to the D-beat totality of "Master" or "Two Faced" proving there are still ideas in the tank. There won’t be much left but scorched earth by the time it comes to rest. FFO: Mau Maus, Discharge, SSD. Every copy of this LP comes with 16 page zine-style lyric insert full of illustrations by band member and visual artist Athena.

On her Signature Sounds debut Til It's Gone, Ali McGuirk delivers a sublime set of songs that pairs her trademark soul sound with rootsy turns and raw rock n' roll detours McGuirk co-produced Til It's Gone with Jonah Tolchin (a star singer-songwriter in his own right) and a set of session legends: Little Feat guitarist/mandolinist Fred Tackett, organist Larry Goldings (James Taylor, Norah Jones), singer Valerie Pinkston (Ray Charles, Luther Vandross), percussionist Lenny Castro (Stevie Nicks, Stevie Wonder). They provided the astounding chops, but the true magic of the album comes from McGuirk's singular voice as both singer and songwriter. The nine tracks run from intimate introspection to wider meditations on oppression and justice, from tough r&b and tender soul to big rock guitar and twangy folk. And McGuirk's voice bold, buttery, spellbinding " carries each song to the next til they're gone.

A true Cherrymoon classic from Twister with Metamorphosis Of Narcotics, but with a twitch. The release comes with a brand new bonus remix by Danny Corten and the B-side is blessed with Dave Angel’s rework of the follow-up single Sequence 23. Original released in the UK but became a techno bomb in the mid 90s on the Belgian Nitric label. A true underground tune that made waves in the Belgian techno clubs and is still a hot tune at events.

After 31 years, the Serious Beats compilation era comes to an end. The very last edition, Serious Beats 100, arrives as 3 Vinyl Box Sets (including 5 vinyls per box).

Some of the most legendary club tracks of the past decades have made the cut, and are now bundled into a true collector's item for everyone who's heart is beating to the rhythm of house music.

After 31 years, the Serious Beats compilation era comes to an end. The very last edition, Serious Beats 100, arrives as 3 Vinyl Box Sets (including 5 vinyls per box).

Some of the most legendary club tracks of the past decades have made the cut, and are now bundled into a true collector's item for everyone who's heart is beating to the rhythm of house music.