Suche:u key

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

Sluta Leta first emerged in the mid-1990s with a series of EPs on legendary labels such as Mego (Fan Club, 1995), Uptight (Space Is The Place, 1996), Cheap Records (Lisa 94, 1998) and Chocolate Industries (…If You Like Champagne On Ice?, 1999). After the release of Sluta Leta's debut album “Semi Peterson” on Mego in 2003, the group somehow got lost in Second Life. Having missed a good decade and a half but not a beat, Sluta Leta unexpectedly reappeared in 2020 with a new album – “Entrée Contrôle” produced by Andi Pieper and Ramon Bauer with a little help from Gerhard Potuznik – released on famersmanual’s generate and test label.
Almost 30 years after their first release on Cheap Records (Lisa 94 in 1998), Sluta Leta returns to the Viennese cult label with their new album “Drift Dekoder”. Andi Pieper and Ramon Bauer have once again teamed up with Gerhard Potuznik to produce some crispy new songs that are bound to set the tone for the second half of the 2020s and beyond. On “Drift Dekoder”, the inherently artificial and somewhat otherworldly atmosphere of Sluta Leta’s songs is enhanced by the participation of several brilliant collaborators: vocals by Gerhard Potuznik on “Moment Eternal” and a duet with Luise Nehl on “Past In Reverse”, drums by ddKern (Past in Reverse, Björn i Fårkläder and Rymdpatrul), keys by Philipp Quehenberger (Björn i Fårkläder) as well as vocal contributions from various previous band members – Jonas Bergkvist (Tidsflayer), Bengt Liljstad (First Order) and Yngwie Moskowich (Driftstopp). A particularly noteworthy highlight of the album is the mix of “Tidsflayer” by Finlay Shakespeare.
Stop looking, start grooving! Written and produced by Andi Pieper and Ramon Bauer.
Lyrics and vocals on “Past In Reverse” and “Moment Eternal” by Gerhard Potuznik. “Tidsflayer (Finlay Shakespeare Mix)” mixed and produced by Finlay Shakespeare.

Get ready for the new school year with our latest compilation,



Back to school. Featuring 31 old-school lofi hip-hop tracks with warm vinyl textures and smooth, head-nodding rhythms, this mix is perfect for studying for exams, sketching in your notebook, enjoying a coffee break, or simply watching the leaves turn.



Sometimes, all it takes is the right soundtrack to make even the busiest school days feel a little easier, and a little more yours.












l B4. eli filosov p h i l o - doinfine

Gatzara Records presents its second vinyl single.

This record is a tribute to Jackie Mittoo, a key figure in the development of reggae, ska, and rocksteady. Known for his work at Studio One and his role as keyboardist for The Skatalites, Mittoo left a profound mark on Jamaican music with his melodic style and rhythmic approach to the keyboards.

The track is built on a classic reggae foundation produced by Sergio Caño, with a restrained rhythm and simple structure. The focus is on the organ, played by Joan Sobrevals, who carries the main line with a sober, respectful sound clearly influenced by Mittoo's school. Without seeking to imitate, the performance takes characteristic elements of his style — melodic phrasing, spaced chords, marked beats — to shape a coherent piece that remains faithful to the style.

The production maintains a minimalist aesthetic, without overloading, leaving space for each instrument to breathe and fulfil its function. The result is a serene, mid-tempo piece that invites you to listen carefully, without virtuosity, but with a clear intention: to pay tribute to a great musician who defined a sound, an era, a style.

Thank you, Jackie!

There’s a rare tenderness to the way Byron The Aquarius makes house music. Across every release, the Alabama-born producer brings a deep sense of humanity - chords that breathe, basslines that sway, and melodies that seem to remember. On 'One of a Kind (Love Affair)', his debut for Hard Times, that emotional clarity shines through once again.

A master of the keys with a discography that spans Eglo, Signature, Apron, Axis, and more recently Skylax and Star Creature, Byron has long blurred the boundaries between jazz, soul, and machine groove. Here, he builds four tracks that each glow with feeling and finesse.

‘A New Life' opens with uplift and propulsion - crisp kicks and fluid sax lines circling around tender vocal refrains. 'The Last Mile of the Way' drifts inward, its spoken-word cadence and pulsing rhythm turning reflection into hypnosis. On the flip, 'I Be Like Dat' pushes forward with a tougher, more percussive edge. A laser-guided club moment that still hums with soul. Finally, '4 Mike Huckaby' closes the record as both elegy and celebration: shakers, muted horns, and shimmering keys floating in quiet reverence for a lost friend and inspiration.

As its title suggests, One of a Kind (Love Affair) is less about romance and more about devotion.

Repress!

4 To The Floor are committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. On Volume 1’s A-Side you’ll find a track with one of the most famous lyrics from house music history MD X-Spress’ ‘God Made Me Phunky’, the record has inspired countless producers to sample and remix it, but this 90’s gem still sounds amazing in its original glory. On the flip are two mixes of a Three Kings classic, ‘Shake Dat Booty’. The A Pal Joey Interpretation matches looped vocals with harmonious keys that perfectly complement each other, while the Wahoo Main Mix utilises energetic drums and techy synths to up the ante.

Glade brings Ramiro’s atmospheric touch into sharper focus, presenting a fluid collection built around momentum and understated detail. Across the three tracks, he shapes a patient narrative that rises gradually, guided by crisp percussion and warm tonal shifts that open each track into expansive, late night territory. The result is a cohesive journey that reflects his instinct for movement, letting the melodies and rhythms unfold naturally.

“This EP is made up of three tracks, all designed to resonate on the dancefloor. ‘Glade’, ‘Jebel’, and ‘Norte’ each contain organic nuances, but together with their synthesizers they achieve a main-set feel that works very well at key moments in a set. The drums and percussion play a major role in making this happen, as they ensure the groove never fades or if it does, that its drop is striking.” – Ramiro Drisdale

Remixer extraordinaire Eric Kupper takes a set of epic, lost recordings from 1982, that feature the cream of the crop session musicians behind the soulful sound of Philadelphia - Earl Young (Drums), Ronnie Baker (Bass), Norman Harris (Guitar), Lenny Pakula (Organ), Larry Washington (Percussion), Vince Montana, Jr (Vibes, Keyboards), John Bonnie (Saxophone) - along with powerhouse vocalists Joe Freeman, David Simmons, Bobby Love and Ron Tyson, and lovingly applies his own modern sheen, spinning them into ear candy for today’s listener as well as those who were there from the very beginning. These incredible remixes, which have individually been topping the charts on Traxsource, can now be had in one place - this exclusive 3-LP vinyl collection that is not just a tribute to the past, but a vibrant continuation of the legacy these legendary musicians helped create.

When percussionist, pianist and vibe player Ricardo Marrero recorded the ultra-rare Latin jazz meets funk LP “A Taste” in 1976, little did he know that decades later that sealed copies of the original album would exchange hands among collectors for thousands of dollars. A veteran of the New York salsa and Latin jazz scene since the mid-1970s, Marrero has worked with luminaries such as The Fania All-Stars, Pete “El Conde” Rodriguez, The 5 Stairsteps, Dave Valentin, Angela Bofill and most recently - Ruben Blades. Full of up-tempo funky gems and sizzling slow burners, “A Taste” also includes Marrero’s crossover hit “Babalonia” that received quite a bit of airplay in the mid-1970s. Originally pressed in a very limited quantity on Don King and Lloyd Price’s TSG Records, and with little or no promotion, “A Taste” nevertheless pushed the boundaries of New York City salsa forward and has subsequently become one of the rarest, sought after and expensive records the vinyl world has ever seen. Suffice it to say that the music on this obscure jewel is priceless, featuring some of the greatest players of the era, directed by the great maestro Marrero on keyboards, percussion, vibraphone and vocals with the legendary Dave Valentin (flute, percussion, coro), Ralphy De Jesus (bongos, percussion, quinto), Erasto Bernard (congas), Tito Marrero (drums, timbales, percussion), George Oldziey (flugelhorn, trumpet), Nancy O’Neil (lead vocals, coro), John “Figgy” Figueroa (tenor saxophone, soprano saxophone, baritone saxophone), Sean Mahony (trombone) and John Dearth (trumpet). A taste of Ricardo Marrero & The Group is one that’s sure to satisfy.

- Debut album by percussionist, Pianist, Vibraphonist and two time Grammy Award winner
- Rare 1970 melange of Latin Jayy, Soul, Funk and Salsa from New York City
- Features legendary flutist Dave Valentin

In conjunction with the 2025 re-pressing of the Nora Guthrie "Emily's Illness/Home Before Dark" 7-inch single, we have here, in the same format, a lovely cover of the latter tune, performed by Eddie Marcon, a band based in Himeji, Japan. The band's vocalist Eddie Corman and musician/producer Shintaro Sakamoto wrote the Japanese lyrics for this gorgeous version, recorded in 2024 and originally unintended for public release; however, this slice of sweetness, delivered by the full band comprising guitar, keyboards, bass, percussion and wistful winds is now available to the lucky listener. The flipside, recorded in 2025, is an intriguingly ghostly recomposed version for cello and flute by TORSO, a Tokyo instrumental duo, who used the basic tracks from the Eddie Marcon version of "Home Before Dark" as a 'guide' before finally deleting the basic tracks.

Killer Groove Records proudly presents the debut 45 by Italian cinematic funk trio Atabasca. A syncopated journey where funk, psychedelia, and cinematic groove merge into a timeless narrative suspended between rhythm and vision.


"Cacopoulos" and "Kundela Mawedi" mark the birth of Atabasca's sonic universe: the first two singles from the upcoming self-titled debut album,which will be released on March 27 in limited-edition LP, CD digipack, and digital formats.

On the A-side, "Cacopoulos" is an impetuous, visionary ride that fuses the power of instrumental groove with the evocative imagery of library music and Italian golden-age soundtracks. From the first beat, listeners are drawn into a dry, dusty landscape driven by a primal drum groove and the acid twang of a guitar that evokes the spirit of classic Westerns. Indeed, "Cacopoulos" pays homage to I Quattro dell'Ave Maria (Ace High) and to the legendary Eli Wallach, the sly outlaw who turns deception into revenge, a subtle yet powerful nod that ties the trio's sound to imagery steeped in dust, dreams, and redemption.


On the flip side, the sound of an old lap steel guitar evokes the gentle waves of the sea, opening the doors to "Kundela Mawedi", a dreamy track with exotic tones and heavenly atmospheres. The sonic journey unfolds through hypnotic rhythms and echoes of ancient cultures, where ethereal voices and warm, entrancing bass lines intertwine with psychedelic riffs and evocative guitar melodies, merging into a soundscape rich in warmth and mystery. The chorus, with its unexpected choral chant, adds a spark of magic. An elegant twist that gently stirs the dreamlike mood and transports the listener into a new sonic dimension, steeped in mysticism and tribal vibrations. "Kundela Mawedi" is more than just a song: it's a sensory experience, a musical ritual where tradition meets psychedelia, sand meets sea, and the soul dances upon the waves of time.


Recorded in a single take, the session captures the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer, and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the tracks at Velvet Room Mastering Studio in Brighton.


A killer double-sider, blending psychedelic and funk moods with percussive, jazzy textures. A must-have gem for every groove-loving DJ.


Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment: this is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals), and Valerio Pompei (drums, percussion, vocals). Individually active for over twenty years on both national and international scenes, the three musicians came together in 2023 to create a project that merges experience, experimentation, and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.


Atabasca's sound moves through jazz-funk, world, and cinematic territories, weaving together afrobeat, desert, and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture, and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


Fans of Khruangbin, Surprise Chef, and instrumental psych-funk, take note!

2026 Repress

Dam Swindle's new 'Backyard Galaxy' EP is an ode to house music and the classic Swindle sound.

It's only been a few months since Dam Swindle released their highly acclaimed album "Open" and already the boys are back on Heist with a new release that takes you right back to the dancefloor. Where they've spent the better part of the last 3 years writing their album with all its sonic explorations and collabs, this new EP sees the duo return to their roots of club-ready house music. The 'Backyard Galaxy' EP comes with 4 high-energy house tracks made in their Amsterdam studio that have been road-tested all summer.

EP opener "Feel it much?" has all the ingredients of a classic Swindle heater, with warm pads, rich organic percussion and tons of soul. There's a simple and effective vocal running throughout the track that blends nicely with the classic house elements and electronic textures that are layered throughout the track. There's an effortless flow to this track and it comes as no surprise that it has been a highlight in their sets this summer.

The EP title track 'Backyard Galaxy' is an up-tempo Latin-themed jam with a hint of old school techno. The synth stabs hit you just right and the modulated vocal chops are a lovely boost for the build ups and add a touch of swing to a track that already has a tight groove. Add to that a huge breakdown and drum roll and you've got yourself a track that'll light up any dancefloor.

On the flip, we're moving into garage territory with the shuffling vibes of 'Rhythm Baby'. The current popularity of the genre is not missed on Dam Swindle, but when you look closely, you'll see this track is full of elements that the duo have built their legacy on. The vocal chops, transposed key samples and swing are all on point and work just as well below, as above 130 bpm if speed is your thing.

The EP closes with the NY-style house cut 'What you give', which reminds us of Dam Swindle's remix of Cinthie's Heist hit 'Won't U take me' with its lush organs and moody keys. It's perhaps the most classic house track they've made in a long time and you can hear they had a great time recording this. It's playful, vibey and catchy. Just the way we like it.

Dam Swindle might have delivered one of the standout cross-over albums of 2025, but on this EP the message is clear: Once a househead, always a househead.

As always, enjoy the music and play it loud!

Much love,
Heist HQ

Junun is the debut collaborative album by composer Shye Ben Tzur, Radiohead guitarist Jonny Greenwood, and the Indian ensemble the Rajasthan Express. Originally released in November 2015, the album was recorded in a makeshift studio within the 15th-century Mehrangarh Fort in Jodhpur, India. Radiohead's longtime producer Nigel Godrich worked on the album, creating a 2LP/CD release. World Circuit is set to reissue Junun on 16th January 2026, marking the album's 10th anniversary. This special edition will be available as a 2LP Gatefold Yellow & Orange Marble vinyl and a CD digisleeve. The album features Ben Tzur's compositions, which incorporate devotional Sufi qawwal musicians singing in Urdu and Hebrew. Greenwood contributed guitar, bass, keyboards, ondes Martenot, and programming, aiming to use chords sparingly and instead focusing on North Indian ragas. The recording process sought to capture the ""roughness"" of Indian music, avoiding the high fidelity often found in world music recordings. The making of Junun was also documented by acclaimed filmmaker Paul Thomas Anderson, offering an intimate look at the creative process and vibrant daily life during the album’s production. His film, also titled Junun, debuted at the New York Film Festival in October 2015. Junun (an alternate spelling of ""junoon,"" meaning ""mania"" or ""the madness of love"") received widespread critical acclaim—including Album of the Year honors from The Sunday Times, who called it “one of the most inspired releases of the year” and “intriguing, sinuous, and essential listening”. The group also supported Radiohead's 2018 Moon Shaped Pool tour, performing under the name Junun.

This release resurrects a long-lost cornerstone of Seattle's early grunge history, showcasing Bundle of Hiss, featuring future Mudhoney and TAD guys and singer Jamie lane, one of the genre's missing links. Between 1986 and 1988, when Seattle was still a circuit of small clubs, four-track tapes and bands sharing drummers and singers, Jack Endino went in to record one of the most solid - and most unfairly invisible - outfits of that scene: BUNDLE OF HISS. Two sessions (1986 at Reciprocal and 1987/88 at Audio Design) fell into limbo, stored in the basement of Mudhoney-Drummer Dan Peters and for years they were a kind of pre-grunge legend, everyone knew they existed, but there was no record, until Loveless Records from NYC released both on CD. The second one, Audio Design Sessions, now sees the light of vinyl for the first time, just as it should have come out in the late '80s: a basement document turned into a collectible artifact. For those who want real grunge, not the domesticated version. It gathers the core of those 1987-1988 recordings done by Endino: the moment when the band is tighter, darker and closer to what the press would later call the "Seattle sound": minor-key melodies, thick fuzz, vocals on the edge, and that mix of hard rock, punk and Sabbath-like heaviness we'd later hear in Mudhoney, TAD or early Soundgarden. And Jack Endino himself summed up these sessions: "Vintage Seattle grunge from one of the original practitioners_ I always felt sad that this hard-working band never managed to get a record out and was almost lost to history. It was a pleasure -and a technical pain!- to resurrect all this." Kinda key release of the early grunge days, first-generation material, recorded by the scene's producer, at the exact moment Seattle was shifting from noisy punk to that heavy, shadowy rock that later blew up. It sounds raw, young and dangerous: this is not a polished compilation, it's a snapshot of the scene.

Auf ihrem Debütalbum ist eine lange Liste von Elite-Musikern aus der Daptone-Familie zu hören, die alle mit ihrem Talent dazu beigetragen haben, Pazners kreative Vision zu verwirklichen. Das Album wurde mit großem Beifall aufgenommen und erlangte schnell den Ruf als eines der besten Instrumental-Soul-Alben des Jahrzehnts – mit Rezensionen von Pitchfork, American Songwriter, Brooklyn Vegan, Rolling Stone u.v.a.. Im digitalen Bereich wurde das Projekt durch ein unglaublich starkes organisches Wachstum bei den DSPs unterstützt, wobei die Streaming-Zahlen alle Erwartungen übertrafen und es zu einem Durchbruchserfolg sowohl für Daptone als auch für Pazner machten. Nach dem Erfolg seines Debütalbums verbrachte Pazner die nächsten Jahre damit, den musikalischen Kosmos zu erkunden – er schrieb Songs mit Lee Fields und begleitete ihn als Keyboarder auf Tournee. In dieser Zeit gründete er auch eine Familie. Diese Reihe von einschneidenden Lebensereignissen bereitete den Boden für das kommende Album „In Search of a Revival“ (Daptone Records).
Dieses Mal, ganze 10 Jahre nach der Veröffentlichung des selbstbetitelten Debütalbums, komponierte, arrangierte und produzierte Pazner das gesamte Album selbst. Mit einer Mischung aus Musikern, die bereits auf dem Debüt zu hören waren, sowie einer Handvoll Freunden und Mitwirkenden, die er auf seiner musikalischen Reise kennengelernt hat, bildete er ein 17-köpfiges Ensemble aus den besten Musikern der Szene. Während „The Olympians“ stark vom klassischen Soul-Stil von Curtis Mayfield und James Brown beeinflusst war, lehnt sich „In Search of a Revival“ an die goldene Ära der Wrecking Crew, die üppigen Texturen der Gold Star Studios, Vintage-Filmmusik und die eher unbekannten Ecken der cineastischen Klanglandschaften an. Von den kaskadenartigen Harfenklängen, die „Sirens of Jupiter“ eröffnen, bis hin zur treibenden Horns von „Sagittarius By Moonlight“ liefern The Olympians einen ganz eigenen neuen Sound: einen alten Traum vom fernen Griechenland, gemalt in üppigen, filmischen Arrangements über harten Rhythmen. In Search of a Revival ist auf dem besten Weg, ein weiterer Daptone-Klassiker zu werden – ein Album, das nicht nur die Traditionen des Instrumental-Soul würdigt, sondern auch einen kühnen neuen Standard für das Genre in den kommenden Jahren setzt.

Auf ihrem Debütalbum ist eine lange Liste von Elite-Musikern aus der Daptone-Familie zu hören, die alle mit ihrem Talent dazu beigetragen haben, Pazners kreative Vision zu verwirklichen. Das Album wurde mit großem Beifall aufgenommen und erlangte schnell den Ruf als eines der besten Instrumental-Soul-Alben des Jahrzehnts – mit Rezensionen von Pitchfork, American Songwriter, Brooklyn Vegan, Rolling Stone u.v.a.. Im digitalen Bereich wurde das Projekt durch ein unglaublich starkes organisches Wachstum bei den DSPs unterstützt, wobei die Streaming-Zahlen alle Erwartungen übertrafen und es zu einem Durchbruchserfolg sowohl für Daptone als auch für Pazner machten. Nach dem Erfolg seines Debütalbums verbrachte Pazner die nächsten Jahre damit, den musikalischen Kosmos zu erkunden – er schrieb Songs mit Lee Fields und begleitete ihn als Keyboarder auf Tournee. In dieser Zeit gründete er auch eine Familie. Diese Reihe von einschneidenden Lebensereignissen bereitete den Boden für das kommende Album „In Search of a Revival“ (Daptone Records).
Dieses Mal, ganze 10 Jahre nach der Veröffentlichung des selbstbetitelten Debütalbums, komponierte, arrangierte und produzierte Pazner das gesamte Album selbst. Mit einer Mischung aus Musikern, die bereits auf dem Debüt zu hören waren, sowie einer Handvoll Freunden und Mitwirkenden, die er auf seiner musikalischen Reise kennengelernt hat, bildete er ein 17-köpfiges Ensemble aus den besten Musikern der Szene. Während „The Olympians“ stark vom klassischen Soul-Stil von Curtis Mayfield und James Brown beeinflusst war, lehnt sich „In Search of a Revival“ an die goldene Ära der Wrecking Crew, die üppigen Texturen der Gold Star Studios, Vintage-Filmmusik und die eher unbekannten Ecken der cineastischen Klanglandschaften an. Von den kaskadenartigen Harfenklängen, die „Sirens of Jupiter“ eröffnen, bis hin zur treibenden Horns von „Sagittarius By Moonlight“ liefern The Olympians einen ganz eigenen neuen Sound: einen alten Traum vom fernen Griechenland, gemalt in üppigen, filmischen Arrangements über harten Rhythmen. In Search of a Revival ist auf dem besten Weg, ein weiterer Daptone-Klassiker zu werden – ein Album, das nicht nur die Traditionen des Instrumental-Soul würdigt, sondern auch einen kühnen neuen Standard für das Genre in den kommenden Jahren setzt.

Singer and DJ Natsu Summer’s new single "Anata ni Muchu" will be released on 7-inch vinyl on Wednesday, January 28, 2026.
The track, a slightly bittersweet lovers’ reggae, was also featured on Natsu Summer’s mix album "Endless Natsu Summer 3" made for an endless summer vibe.
Produced by Kunimondo Takiguchi (RYUSENKEI), the main producer and a key figure behind the city pop boom, "Anata ni Muchu" is a newly written and arranged
track that showcases his signature touch.

This tender love song captures the feeling of an endless summer, blending mellow sounds with Natsu Summer’s ocean-perfect vocals, complemented by e-mura’s
soothing, dubby mix to create an exquisite lovers’ reggae groove.
The single is a cut from the Tower Records–exclusive mix CD "Endless Natsu Summer 3" released under DJ Natsu Summer.
For fans of Natsu Summer’s ongoing releases—including original albums, dub albums, and mix CDs—this lovers’ reggae track perfectly embodies the spirit of an
endless summer.