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After his critically acclaimed EP LOOP (national press coverage, playlist support, a sold-out tour with Odezenne, opening for Zaho de Sagazan and Pomme, winner of the 2024 iNOUïS of Printemps de Bourges), Jean unveils an ambitious and cohesive debut album, conceived as a complete work of art. Created without guest features or compromise, this 12-track record delves deep into introspective songwriting, raw yet poetic, at the crossroads of rap, melancholic pop, and modern French chanson. Jean isn’t trying to please, he exposes himself with no filter.



The album stands out for its strong narrative and visual identity, where each track plays like a film sequence, a resurfacing memory. It explores universal themes: love, solitude, escape, addiction, aging, through a deeply personal and always lucid lens. The imagery reflects this universe: the album cover, shot in a movie theater, introduces an ambiguous character, somewhere between absurdity and allegory, perhaps a manifestation of the artist’s inner demon. A disturbing yet familiar presence, intentionally open to interpretation, like a key without a lock.



Musically, the album spans multiple aesthetics without losing its coherence: each track asserts a distinct tone and balance. Jean positions himself within a new, demanding francophone scene, free from cynicism or affectation. He delivers a unique, sincere project, both accessible and profound, that invites listeners to experience it in one sitting, from start to finish.

The Comfort’s sixth release comes from the Italian producer Cesare Muraca, aptly titled Calabrian Flow.

Spanning four tracks, the record maintains a fundamental structure and attitude towards the dancefloor: dynamic, immersive, and universally compelling. But as always, the devil is in the details. From the A-side to the B-side, these tracks traverse moods and emotional nuance with elegance, unfolding like a well-told story.

The title track, Calabrian Flow, is a hypnotic interplay of bleeps and enchanting melodies, walking the fine line between dramatic ambiguity and raw force. Cosmic Odyssey, on the other hand, carries a sense of urgency, shrouded in shadowy gloom yet punctuated by flickers of light—a delicate interplay of tension and fleeting luminescence.

On the B-side, the record embraces pure release. The cathartic and expressive energy of Dynamic Dance offers both freedom and propulsion, while Working balances maximalism on a blade’s edge. Cesare utilizes choral chants that reverse and morph, synthesizers that pulse like distant signals, vortex-like low-ends, and an extremely tight rhythm. The result stuns and pulls—lingering long after the kick fades out.

Chilean-born, Bristol-based DJ, producer, and vocalist Shanti Celeste is back with her highly anticipated second album, Romance, set for release on May 16 via the label head’s own Peach Discs, in collaboration with Method 808. Marking her debut LP on the cult London-based label, Romance sees Celeste fully embracing her artistic evolution, delivering a lush and deeply personal exploration of love, longing and self-discovery across its nine tracks. The album’s bubbling lead single, ‘Thinking About You’, is out now - an emotional and dancefloor-facing glimpse into Celeste’s new era with her voice at the fore.

Shanti Celeste has long been revered for her radiant and infectious sound in a vibrant blend of house and techno. Romance takes this signature style to new heights, exploring the depth of romantic and platonic relationships that permeates the record with a pop-infused sheen. With her vocals placed front and center for the first time, Celeste weaves a sonic tapestry that is as introspective as it is euphoric; it’s a love letter to romance, but also an ode to the transformative power of opening your heart.

For all of Romance's soft focus, it still functions for the dance floor - lead single ‘Thinking About You’ is poignant and heartfelt, driven by a shimmering groove and Celeste’s ethereal falsetto. Inspired by memories of a late friend, the song is a tribute to the enduring nature of love and loss. “He was my first boyfriend but also a really good friend,” Celeste shares. “He was a really important person in my life.” —a beautiful, danceable meditation on the power of remembrance.

The majority of Romance was crafted between Celeste’s home of Bristol and London, featuring collaborations with longtime friend and esteemed producer Batu on ‘Note to Self’, ‘Light as a Feather’ and ‘Softie’. The album also sees Celeste teaming up with Austrian-Ethiopian harpist Miriam Adefris, whose delicate instrumentation adds a celestial edge to tracks like ‘Butterflies’ and ‘Medicine’. It follows her previous smash hit ‘Ice Cream Dream Boy’ last summer, which was named a track of the year by both Mixmag and DJ Mag. Earlier this month, Shanti celebrated the release of the vinyl version with a packed-out in-store set at Phonica Records in Soho.

Shanti will be taking her Club Celeste event series to The Cause for the third year running on May 17, in celebration of the album release. The day & night party will feature sets from Shanti as well as Daisy Moon, Gabrielle Kwarteng, Lishy, Peach and Ryan Elliot b2b Ogazón. Tickets are available here: https://ra.co/events/2062135

With Romance, Celeste steps into her full potential, creating an album that is as deeply personal as it is universally resonant. The album arrives this summer via Method 808. Stream ‘Thinking About You’ now.

On their debut album Seven Dances to Embrace the Hollow, Zurich-based artists Magda Drozd and Nicola Genovese, as Sopraterra, offer exactly what’s announced: seven compositions which, as they unhurriedly flow into each other, mark potential entry points to discover what might be lying underneath. By choosing Sopraterra, which translates to “above the earth” in Italian, as their shared project’s name, Drozd and Genovese indicate their own position in this archeological-looking endeavor, hinting at the potential for sonic explorations to produce deeply submerged discoveries.
Sopraterra’s object of inquiry isn’t easily grasped, traversing histories and blending influences alike. In a time-line-bending manner, musical signifiers from the past, along with specific tonal scales lifted from baroque and medieval music, get digitally synthesized. As sonic matter, the result is distinctly of today: a collection of electro-acoustic compositions that remain experimental at their core, referencing genres like post-rock, shoegaze, or psychedelic, while evoking aural memories of ancient times. Seven Dances to Embrace the Hollow pulls backward and pushes forward alike. Without ever forcing a didactic listening experience, musical motifs and archetypes are thoroughly investigated. But there is no scientific ambition at play here. Rather, the harmonies of late medieval Ars Nova or the transcendent elegance of Baroque chamber music lend their emotional qualities to perceived ideas of old times.
Oscillating between ambient and drone, the album’s seven brooding compositions bring primal connections to a universally shared past to the surface. In its multi-directional positioning, Seven Dances to Embrace the Hollow makes the case for embracing the confusion of warped time and paying attention to all that’s rather felt than seen.

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

Parisian mambo " is the second album by " Cecilya & the Candy Kings ". The entire LP is an homage to the city of Paris, that has made musically grown up the catalan singer since she settled down in the capital of love. The 11 songs of the album take you to a musical journey back to the 1950"s by the hand of a woman with a powerful and luminous voice committed to the causes of her time. Cecilya"s lyrics, intimate and universal at the same time, not only speak about love and celebrationas the old rhythm"n"blues did. She speaks about dreams (broken or not), internal struggles, healing,emigration, her native Mediterranean sea, the chance to be a freewoman, the superficiality of the world we live in and the nostalgia for better times.The music, signed Rodolphe Dumont, has been carefully created and produced to sublimate Cecilya"s personal universe. The retro sound ambiances and catchy melodies truly take us back to the times of Elvis and Marilyn Monroe. "Parisian mambo" captures the essence of the cream of rhythm"n"blues from the golden era: a mix of blues,rock"n"roll, boogie-woogie, mambo and far more.The musicians on the album are:Cecilya Mestres on vocals, Rodolphe Dumont on electric guitar, Sax, Gordon on tenor and baritone saxophones, Olivier Cantrelle on piano, Abdell B. Bop on double bass and Denis Agenet on drums.

LA's Elbow Grease label takes a sharp left turn from dance floor-finessing singles to their first full-length
release via the elusive yet illustrious band KAMM, who return in extra fine form for their third and
presumably final album offering, following the sudden tragic death of core member Alland Byallo last
year. Surviving bandmates Marc Barrite aka Dave Aju, Kenneth Scott, and Marc Smith chose the
inspirational higher ground, finishing off what they had begun with Byallo prior to his passing, resulting in
this sublime musical love letter of an LP.
In keeping with the band’s broad influence canon, we are treated to a blend of sonic flavors from
across the genre spectrum with Barrite and Byallo’s jazz upbringings ringing true at the center, then
branching out through golden era hip-hop feels, phased-out psych funk, warm smokey soul, and of
course generous helpings of intricate electronic layers and innovative treatments, as all band members
have become notorious for in their respective solo bodies of work.
While highly personal by nature, including otherworldly cover art based on Byallo's last paintings, the
musical content contained on the album is also widely universal - from opener “Crystalline Dreams”
serpentine tones turned slo-mo funk bomb, to the triptych Bossa boom-bap of “No Deal”, the timely
political calls of uptempo jazz burner “Your Honor”, the intimate upright-led tribute tales of “Angels
Flight”, to the sleek electro rhythm changes of mid-set breather “How Long?”, a deeply felt take on our
mobile-reliant fate in “S.I.M.”, the expansively expressive depth of “Coordinates”, then closing it out with
the title track featuring a grand finale chorus of Byallo’s best friends and fam from around the world
joining in the “Let The Light In” chant, with as much uplifting intention as possible to capture on record.
A loving collective embrace and very welcome reminder to help lighten these darker days

With ‘Child Of A Shooting Star’ Tom Furse has created four distinct trips into other worlds. His world’s are complex and multi faceted, full of surprising inventions and unusual terrain. Furse has a peculiar disregard for genres, whilst remaining absolutely coherent, and whether the listener wants to label it future exotica, kosmiche funk or world drifter music is up to them. The most important thing is that the listener close their eyes, open their minds and let the music transport them to Furse’s alternate realities. This is music not just to be listened to, but also to be experienced.

Mutant, in partnership with Back Lot Music, are proud to present the premiere physical release of Benjamin Wallfisch's incredible score to the 2025 Wolf Man. Leigh Whannell (Invisible Man, Upload) continues exploring the classic Universal monster series, and with Wolf Man hw again teams up with composer Benjamin Wallfisch for the score. Ben's score evokes the lush classic sounds of the original 1940s movie. It's a beautifully light score featuring incredible orchestration, evoking the mystery within the woods. The score is scary and brutal but also delicate and human when necessary. It's evocative and rich and helps add grounding to this very contemporary telling of this tale.

On the heels of MYRKUR's universally praised debut EP, comes M, the Danish black metal phenom's highly anticipated first full-length album. Recorded in various locations of Oslo, Norway (including renowned artist Emanuel Vigeland's mausoleum) with co-producer Garm (the mastermind behind black metal legends Ulver) M finds MYRKUR achieving the grandiose heights that everyone hoped she would climb to. The melodies are lush and the brutality devastating--M is a highly developed metal masterpiece that blends second-wave black metal, Nordic folk music, classical instrumentation and haunting choirs. Rounded out on record by members of Mayhem, Dodheimsgard & Nidingr plus a guest appearance from Christopher Amott of Arch Enemy, MYRKUR has quickly established herself as one of the best and most intriguing acts in metal today.

**RSD 2025** - Record Store Day exclusive pressing comes on Blue vinyl with heavyweight sleeve

Seminal album from cult Ghanaian musician Alhaji K. Frimpong, recorded in 1976 and considered to be one of the best highlife albums ever recorded.

Features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more.

Backed by Vis a Vis - one of the most influential bands to come out of the Ghana Highlife / Afro Rock movement.

Unique avant garde sound that blends traditional highlife percussion and horns with synthesizers

Original copies of the album are extremely rare. The album was reissued in limited quantities in 2011 and has been unavailable since - even reissue copies sell for high prices on the second hand market.

Fernando's debut for Leng was the universally well received mid-tempo monster 'Blue Impala'. Now he's back with yet another hypnotic bass heavy workout. 'Giant Desert' takes the same low slung approach with some heavy guitar work from Fiorucci. This is really is chugging music at it's best, with fashes of vocal, analog synths and a dirty rock guitar combining to keep that head nodding. The Extended Dub allows Fiorucci more space to hit the groove and the guitar work becomes epic.

Taba voices a subtle yet surprising shift for the Japanese musician and producer Satomimagae. Observing and absorbing the fleeting scenes and sounds of life flowing outside of her home studio, Taba unfolds as a series of vignettes that document the personal and the universal. Satomi sings beyond herself in an orbit of souls and systems known and unknown, seen and unseen, in the present and in the strange flux of memory, leaving linear songwriting to rest for circuitous stories expanded and expansive in tone and texture. Following the logic of taba, a Japanese term for a bunch, bundle or grouping together of different things, the album is assembled as a loose collection of short stories. Shapeshifting into something like a poet-narrator, Satomi casts her writer's eye to the often perplexing shapes that form from quotidian events and exchanges defining our increasingly alienated age. Where Satomi's last full-length, 2021's Hanazono, bloomed from the lush soil of a private inner sphere, the bird's eye of Taba searches to place the artist_somewhere, somehow_within a wider, wilder world. Collaborations with other artists and musicians close to Satomi's universe further elevate the album's sweeping sonics. Synthesizer lines from Norio, who also helps define the album's visual identity through photo and video, enliven the tender ballad "Kodama." The bell-like Rhodes piano ringing in and around Satomi's guitar on "Dottsu" is played by Akhira Sano, who created the cover art for her 2021 Colloid EP. Yuya Shito's clarinet was the missing puzzle piece that completed "Spells," and it was also Yuya who mixed Taba with an ear for its organic textures and elegantly frayed edges, giving utterance to a distinctly different energy than Satomi's earlier expressions. The tonal and rhythmic play that lay the foundation of these songs also animates a colorful palette of melodic gestures, noisy resonances and pointed moments captured by Satomi's close-at-hand recorder. While Taba is still carried by the innate intimacy that has defined Satomi's music to date, these songs channel her newly spacious and inquisitive songwriting approach, unlocking unusual layers in the process. Some are subsumed in the speculative poetics of sound design, while others peer through the window of bedroom pop. Gathering imagistic reflections, tracing vast ideations and quietly lingering in humble moments, Taba connects vivid lines between the individual and the collective, the constructed and the cosmic, the articulated and the felt. Satomi's sonic tales gain an eloquent coherence by the simple fact of existing in conversation, humming a harmony of parts that buzzes with the tangled circuitry of a life in motion. Taba is the fifth album from Japanese musician, songwriter and dream traveler Satomimagae, following her 2021 album Hanazono and the 2023 reissue of her debut album Awa, both for RVNG Intl. On Taba, Satomimagae leaves linear songwriting to rest for circuitous stories expanded and expansive in tone and texture, unfolding as a series of vignettes that document both the personal and the universal. Some of the songs on Taba feature intimate moments captured on Satomi's hand recorder, poetic moments of sound design animated by tonal and rhythmic bedroom pop foundations. As with Hanazono, Taba's album artwork features a wooden block print by Satomi's sister, the artist Natsumi Magae.

Jan Akkerman (b. 1946) stands apart as a singular figure in the realm of rock and beyond. A Dutch guitarist of unparalleled versatility, he earned international acclaim in 1973 when he topped the prestigious Melody Maker readers’ poll, surpassing icons like Eric Clapton (2nd), Jimmy Page (5th), and Carlos Santana (10th). His fame, however, has never defined his artistry. For Akkerman, it’s always been about the music—any genre, as long as it resonates. He’s a lifelong improviser who approaches each performance as a new adventure. Akkerman first rose to prominence with Focus, a band that embodied the grandiose instrumental rock spirit of the 1970s. Long compositions, dazzling technique, and adventurous arrangements made them a cornerstone of progressive rock. Despite the accolades, Akkerman remained true to his calling. When asked about his success, he has always brushed it aside, preferring to let his guitar do the talking. Side 1 of this record captures Akkerman’s stunning performance on July 10, 2011, at the Nile Hall in Rotterdam. Here, he showcases his ability to take listeners on a sonic journey. The mellow “Tranquilizer” offers a relaxed groove, followed by the heartfelt ballad “You Do Something to Me,” unfolding emotion without words. In “Piétons”—a gospel-tinged blues—trumpeter Eric Vloeimans delivers a fiery solo before the leader propels the piece into uncharted territory. Side 2 brings us back to an earlier moment, recorded in July 2005 at the Paul Acket Paviljoen in The Hague. “Streetwalker” delivers a funk-driven explosion featuring alto saxophonist Benjamin Herman, while “The Zebrah” sends Vloeimans soaring into the musical stratosphere, only to have Akkerman reignite the piece with blistering guitar lines, his band driving forward like a well-tuned Mercedes on an open highway. Akkerman’s live performances are as unpredictable as they are electrifying. Whether sharing the stage with legends or newcomers, his spontaneous creativity makes every concert unique—a master class in musical freedom. Jan Akkerman remains a touchstone for guitarists and fans alike, an authentic improviser whose name still elicits one universal response from any seasoned Dutch rock enthusiast: “He’s the best guitarist in the world.” The North Sea Jazz Concert Series includes officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records are captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk. For all recordings it’s a first time ever release on vinyl!

Blues Music Award-winning, GRAMMY-nominated, Memphis-based family band plays original, modern soul and roots music that is uplifting and timeless. The first single "Found A Friend In You," was released last September and charted at Triple A radio, seeing ads at format stalwarts like WFUV/New York, . The release of the track coincided with a 9-date run on the Bob Dylan/Willie Nelson headlined Outlaw Music Festival. In addition to the excellent exposure these shows afforded Southern Avenue, Willie was knocked out by the Jackson sisters' singing and had them sing backup during his set. Not only that, Bob watched their performance from the side of the stage and consented to have his photograph taken with them. On "Family," their fourth album and first for Alligator, the band unleashes one musically memorable performance after another, all delivered with soul-healing power. From triumphant opener Long Is The Road to the emotionally resonant Found A Friend In You to the raucous Rum Boogie, the music is a vibrant blend of Memphis soul and blues, warm sister harmonies, and positive messages reminiscent of The Staple Singers. From the irresistible Upside to the fierce determination of Flying to the closing, ruminative We Are, Family unveils hard-hitting, universal truths about the unshakable power of togetherness.

With the Do For You EP, Fossar embarks on a deeply personal yet universal journey that’s as adventurous as our label’s name - Zissou. Known for his beautifully textured releases on Fuck Reality and Feuilleton, Fossar delivers a five-track exploration into the highs and lows of forging your own path. Each track reflects a different shade of the journey - passion, doubt, euphoria, and self-discovery, all woven together through Fossar’s signature warm basslines, hypnotic melodies, and crisp, driving rhythms.

More than just an EP, Do For You is a soundtrack for the summer, a call to take charge, and a reminder that the true adventure lies within. The path isn’t always clear, but the music is here to guide you.

Mint Green Vinyl. Graham Jonson is drawn to the comforts of melody and noise. How the two conspire in tension, tonally and atonally, stirring up memory and mood. This quality animates the technicolor world of quickly, quickly, the psych-pop project that emanates from Kenton Sound, his basement studio in Portland, Oregon. "Everywhere your eye lands, there's another curio to marvel over," noted Pitchfork's Philip Sherburne when he visited Jonson's recording space for a Rising feature just after the release of his "strikingly original" 2021 debut LP, The Long and Short of It. Since then, Jonson formed a live band, released his Easy Listening EP in 2023, and navigated the up-and-downs of a young musician, the sustainability of tours and relationships. While shaped by personal bouts and fallouts, his highly-anticipated full-length follow-up finds Jonson making music that's universal, open-ended, and rewarding, like great songwriters can do. He set out to make a folk album but couldn't help coloring it in with noise; a confluence of lush instrumentation and unexpected sounds. Ambitious yet intimate, hi-fi yet homespun, the idiosyncratic songs on I Heard That Noise curve around the contours of everyday life with warmth, wit, and dissonance.

Cold Specks kehrt mit ihrem vierten Album 'Light for the Midnight' zurück.

Nach den Erfolgen ihrer ersten drei Alben 'I Predict a Graceful Expulsion' (2012), 'Neuroplasticity' (2014) und 'Fool's Paradise' (2017) hat Cold Specks (Al Spx) ihren Ruf als einzigartige Stimme der modernen Musik gefestigt. Von ihrer fesselnden Acapella-Performance bei Later... with Jools Holland bis hin zu Kollaborationen mit Moby, Massive Attack und Michael Gira von Swans hat Cold Specks immer wieder Kunstwerke geschaffen, die nachhallen.

Mit 'Light for the Midnight' begibt sie sich auf ihre bisher persönlichste Reise. In seinem Kern ist das Album eine rohe und zutiefst emotionale Reflexion über Ausdauer, Überleben und Transformation. Es ist eine Sammlung von inbrünstigen Balladen und atmosphärischen Popsongs, die Spx' gefühlvolle Stimme in weitläufige Klangwelten kanalisiert.

Das Album entstand in einer herausfordernden Phase in Spx' Leben. Die Arbeit begann 2019 inmitten von Kämpfen mit der psychischen Gesundheit, Erfahrungen, die tief in die Musik eingebettet sind. Doch trotz seiner persönlichen Ursprünge betont Spx seine Universalität: „Ich wollte auf jeden Fall über die letzten Jahre reflektieren, weil sie mich so sehr beeinflusst haben, aber ich wollte auch, dass das Publikum mit diesem Album weggeht. Die Songs gehören ihnen, sobald ich sie veröffentlicht habe.“

Das Album wurde in Toronto und Bristol aufgenommen, wobei Spx zusammen mit Adrian Utley von Portishead und Ali Chant (bekannt für seine Arbeit mit Perfume Genius, Dry Cleaning und Aldous Harding) als Co-Produzent fungierte. Es enthält Streicherarrangements von Owen Pallett (Taylor Swift, Lana Del Rey, Sampha) und zusätzliche Beiträge von Graham Walsh von Holy Fuck. Spx arbeitete auch mit einer Reihe von hervorragenden Kollaborateuren zusammen, darunter Chantal Kreviazuk (Drake, Kendrick Lamar), Malcolm Middleton von Arab Strap, Ben Christophers, Ed Harcourt und Jonathan Quarmby.

'Light for the Midnight' zeigt Cold Specks von ihrer verletzlichsten und kraftvollsten Seite, indem sie die Geschichten ihres Kampfes in atemberaubende Kompositionen verwebt, die einen tiefen Eindruck hinterlassen. Es ist ein Album der Hoffnung und der Transformation.

Mark Rae is a well respected artist and has woked with, and alonside many legends in the music industry. Originally finding success with Rae & Christian, Mark grew his record label Grand Central Records into one of the biggest indies of the late 90's. Now writing novels with soundtracks Mark is proving himslef to be a true renaissance man. Expect big things from this project. It is unique and filled with universal emotion.

£8000 booked spend on singles plugging to radio and book PR. Expect coverage on BBC Radio 6 and 4. Expect press coverage across major publications. Supported by Chris Hawkins. This release is backed with a vinyl that comes with a free novel, and a novel that comes with a free acoustic CD.

Audio alchemist Damian Lazarus continues to redefine the boundaries of electronic music with his fifth studio album, ‘Magickal’.

Renowned for his unparalleled ability to craft transformative sonic journeys, Damian Lazarus is a master of rhythm, melody, and vibration—a true pioneer among his generation’s visionary artists. Damian’s broad depth of experience encompasses a variety of disciplines: tastemaker, selector, label owner, A&R and a Grammy-nominated artist in his own right - each informed by his unique ear for sound. He is chief wizard of the hugely influential and culture-defining Crosstown Rebels label, a globally renowned DJ with a penchant for exotic outdoor locations and a highly regarded recording artist with four albums and a plethora of solo cuts, collaborations and remixes in his sprawling discography.

With his fifth album, ‘Magickal’, Damian steps into his next evolutionary phase, combining his newly found sobriety with a more mature outlook while still pushing boundaries and creating unforgettable moments. At the root of it all is the magical power of togetherness and human connection that only music can facilitate. Driven by this core ethos, Damian continues on his mission to share his heartfelt music, taking the dance floor into unexplored realms of experience, facilitating moments of transcendence, bliss and pure, unadulterated magic.

Damian Lazarus, the avant-garde architect of spiritually nourishing sounds, is joined by a stellar lineup of collaborators on his latest excursion. It’s imaginative and mystical, rhythmically captivating and daring in its own way, as is typical of Damian’s approach. Taking consideration of his past, the album references his previous work to create a tapestry of compositions that tap into the energy of key moments from his discography. Drawing on his existing catalogue creates cohesive through lines and thematically serves as a continuation of previous stories. November’s single, ‘Sunrise Generation’, for instance, works as a companion to ‘Vermillion’, which was recorded by Damian with his band The Ancient Moons and vocalist Moses Sumney back in 2015. ‘Sunrise Generation’, featuring the beautiful vocals of Fink, was Damian’s first major release since his Grammy-nominated 2021 collaboration ‘Don’t Be Afraid’ with Diplo and Jungle, and continues to take inspiration from global gatherings at solstice and those moments of collective awe at sunrise.

Indeed, the album’s themes of mental elevation and psychedelic sonic journeys are evident throughout. Damian channels this energy through tracks like the soulful ‘So Low’, featuring the incredible Zoe Kypri, and the luminous ‘Searchin’, with Jem Cooke, whose collaboration with Damian dates back to ‘Flourish’ (2020) and lead single ‘Into The Sun’. Uplifting is the operative word here, as Damian aims straight for our hearts and inner selves, stripping away the layers to take us on a trip inwards, and out into the ether all at once. There’s a clear nod to Damian’s appreciation of amapiano when he teams up with Ghanaian interdisciplinary healer Jojo Abot on ‘Warrior Dance’. Old friend and inspirer Mathew Jonson brings his virtuoso touch to ‘Are You Dreaming?’, while TEED and A-Trak form an awesome alliance for ‘Falling Down’ with its heartrending vocals. ‘Alive’ features the Bloom Twins, and also additional production from acclaimed producer Mark Ralph, who incidentally worked on Damian’s debut album ‘Smoke The Monster Out’ in 2009 and forms another throughline to the past. ‘Alive’ blends pop sensibilities and song structure with Damian’s inimitable sound - and could become one of Damian’s biggest moments to date. ‘La Hija De Juan Simon’ delves into the Latin energy synonymous with vibrancy and self-expression as Damian teams up with acclaimed Spanish flamenco-influenced duo Mëstiza. On a solo tip, he rolls out with the eight-minute-plus soulful funk flex ‘Why Don’t U’.

In a suitably aligned instance of serendipity, the arrival of ‘Magickal’ comes at a pivotal period in Damian’s life, just as it has been with previous album concepts. Albums made and released during big shifts in his life speak to the correlation between growth, personal evolution, creativity, catharsis and sharing that process musically. The last album ‘Flourish’, for instance, was recorded and released in the space of a few months during the first summer of the global pandemic. As a result, there’s a kind of vulnerability in the music, a subtle story that’s being told with emotional touchpoints that will be relevant to anyone listening. The universal human experience and spectrum of emotions are things almost everyone can relate to. With the enhanced clarity of his sobriety, Damian’s compositions embody the uplifting nature of simply being alive, connected and unified in our love for music and one another.

Day Zero, Damian’s iconic annual festival, is intrinsically linked to ‘Magickal’. It’s the setting for his imagination when producing the music, it’s the launchpad for each year’s kaleidoscopic adventures around the world, and this year’s edition will be the backdrop to the release of ‘Magickal’. As the pinnacle of Damian’s annual experiences, Day Zero marks a vital milestone for his artistry, an extension of his inner realm, carefully curated and created for his global family of lovers and dancers to revel in the awe-inspiring beauty of Mother Nature. Central to the ethos of Day Zero is its sustainability practices and deep consideration for the locality within which it is held. Connections with local elders embolden its depth, cultivating a strongly aligned purpose with the ritual, customs and energy of the land and its people.

‘Magickal’ will be released in the same week as Day Zero, tying the two projects together in a neat dovetail. 12 years since it started, Day Zero continues to play a significant role in the music Damian makes, curates and plays. For him, it’s the epitome of his vision: a stunning natural setting, the very best party people from around the world, an unparalleled lineup of friends and family, high production values, eco-centric policies and music from another dimension. With these interdimensional transmissions, Damian channels his inner alchemist, which, in turn, permeates into the vibrational framework of ‘Magickal’.

Never one to adhere to convention, Damian has opted for a disruptive album release. ‘Magickal’ is to be kept under wraps and then announced and released on Crosstown Rebels on 8th January 2025, bypassing the modern trend of prolonged single drops and ‘tombstone’ album releases. ‘Magickal’ is the embodiment of Damian and his intentional, against-the-grain approach and reinforces the album as a complete artistic statement, offering listeners the full cohesive experience from the very beginning. This is a return to the album as the pinnacle moment and not the afterthought. Singles, edits and remixes will follow the ‘Magickal album’ release, and, of course, there will be a world tour to promote the album (including Glastonbury and Coachella) and a chance to present the album in exciting, innovative and unique ways.

Forever dreaming, a sincere student of magic, new and old, social sorcerer, lover of nature and master of musical wizardry, Damian Lazarus is a potent force. With ‘Magickal’, he reaffirms his place as one of electronic music’s most influential figures, taking listeners on a profound journey into sound, spirit, and connection.

Wie Hip-Hop nach Hamburg kam
Die Compilation ist als Zeitreise zu den Anfängen der Hamburger Hip-Hop-Kultur konzipiert und umfasst über 100 weitgehend unveröffentlichte Songs und Skits. Begleitet wird das Triple-Vinyl von einem 96-seitigen Booklet, das von den frühen Jahren von Hip-Hop, Rap und DJing in Hamburg erzählt. Präsentiert wird das Werk von den Herausgebern des Buchs und den Kuratoren der Museumsausstellung EINE STADT WIRD BUNT.

Kennt eigentlich noch jemand Easy Business? Was wie ein Ratgeber Video auf YouTube klingt, ist der Name einer der ersten Hamburger Rap-Gruppen. Die vierköpfige Formation aus Steilshoop gründete sich schon in den späten 1980er Jahren und begann bald erste englischsprachige Texte zu schreiben. 1989 nahmen sie gemeinsam mit Mario von Hacht den Song „Money“ in einem Jenfelder Jugendzentrum auf.
Als House-Produzent verfügte Von Hacht über ein vergleichsweise schon recht ansehnliches Produktions-Equipment. Selbst die legendäre Roland TR-808, analoger Drumcomputer und Allzweckwaffe von Hip-Hop-Produzenten, war bereits 1989 Teil seines Maschinenparks. Nur hatte er sie eben nicht für Rap genutzt – bis Easy Business anklopften. Und so öffnete ein Musik-Nerd und Technik-Freak dem Hip-Hop eine Tür in Hamburg. Von Hachts Offenheit für den neuen Musikstil sollte sich auszahlen: 1995 produzierte er mit „Nordisch by Nature“ den ersten Chartstürmer von Fettes Brot.

Es sind Geschichten wie diese aus der Gründerzeit des Rap in Hamburg, um die sich die 3-Vinyl-Compilation EINE STADT WIRD BUNT dreht. Unter den über 100 Songs und Skits aus den frühen Jahren des Rap in Hamburg finden sich neben dem Song „Money“ von Easy Business auch ein Mitschnitt eines Auftritts der Gruppe in der Fabrik im Mai 1991.
Von frühen Aufnahmen von MC Africa True, der später unter dem Namen Nana einige Hits landen würde, bis zu den Britcore-Veteranen von Readykill, von 2 Ruff, deren Mitglied Simple Simon zu den ersten Hip-Hop-Produzenten der Stadt gehörte, bis zu den Reim Banditen, die als eine der ersten hiesigen Bands mit einem Majorlabel-Vertrag als Hamburger Antwort auf die Fantastischen Vier positioniert werden sollten, vereint das Triple-Vinyl eine einzigartige Sammlung musikhistorischer Zeitdokumente. In Kombination mit dem begleitenden Booklet vermitteln sie ein authentisches – und überaus unterhaltsames – Bild von den Anfängen des Rap in Hamburg.

Nach dem preisgekrönten, 2021 erschienenen Buch „EINE STADT WIRD BUNT. Hamburg Graffiti History 1980-1999“ und der gleichnamigen Ausstellung, die bis Anfang Januar 2024, als eine der erfolgreichsten aller Zeiten, im Museum für Hamburgische Geschichte gezeigt wurde, folgt mit der Compilation nun also eine weitere Dokumentation Hamburger Subkultur Geschichte der 1980er und 1990er Jahre. Im Fokus diesmal: die Pioniere des Rap in der Hansestadt.
Zum Team hinter dem Triple-Vinyl gehören neben den vier Herausgebern von EINE STADT WIRD BUNT. Oliver Nebel, Frank Petering, Mirko Reisser und Andreas Timm drei ausgewiesene Kenner der deutschen Hip-Hop-Szene. Oliver Herbst, einst DJ der Hip-Hop-Band City Nord, betreibt heute ein Musiklabel, auf dem die Platte erscheint, und konnte im Zuge der Recherche an viele alte Kontakte anknüpfen. Ebenfalls mit an Bord: der langjährige Chefredakteur des Hip-Hop-Magazins Backspin Dennis Kraus und der Musikjournalist und Moderator Falk Schacht.
Über einen Zeitraum von über zwei Jahren hinweg hat sich das Team auf Recherche begeben. Sie nahmen Kontakt zu Bands, Rapper*innen, DJs und Produzenten auf, die in den 1980er und 1990er Jahren in und um Hamburg aktiv waren. Sie sichteten und archivierten unzählige Stunden von Radio-Shows, Tapes, Demo-DATs und Live-Mitschnitten und führten Interviews mit Hip-Hop-Pionieren aus der Hansestadt. „Unser Ziel war es, ein kaum beleuchtetes Kapitel Hamburger Subkulturgeschichte zu erzählen“, sagt Mirko Reisser.
Begleitet werden die Platten deshalb von einem rund 80-seitigen, reich bebilderten Booklet im Vinyl-Format, das in aufwändig recherchierten Texten nachzeichnet, wie der neue Musikstil ab Mitte der 1980er Jahre in Hamburg langsam heimisch wurde. Zu den zentralen Themen dieser Erzählung gehört die Abwesenheit von technischem Equipment – und der Umgang der jungen Szene mit diesem Mangel.
Ein Vierspur Kassettenrekorder musste für die ersten Aufnahmen im Kinderzimmer reichen. Und wer DJ werden wollte, übte Scratchen mit dem Plattenspieler der Eltern. Anders als heute, wo man mit einem Smartphone in der Hand theoretisch ein Millionenpublikum erreichen kann, stellte die Aufnahmetechnik damals eine große Hürde dar. Wer jedoch über die technischen Voraussetzungen verfügte, Songs aufzunehmen, wurde schnell zur Anlaufstelle für die junge Rap-Szene.
Parallel zu dieser Ära der Technik-Autodidakten, öffneten die Rapper*innen der frühen 1990er Jahre ebenfalls ein Fenster in eine neue Welt: Indem sie anfingen, auf Deutsch zu rappen, grenzten sie sich bewusst von den amerikanischen Vorbildern ab und schufen ein ganz neues Selbstbewusstsein der jungen Subkultur. Und ganz nebenbei auch ein ganz neues Bewusstsein für die Möglichkeiten der deutschen Sprache. „Hier wurde etwas gänzlich Neues erschaffen“, sagt Oliver Herbst.

Viele Künstler, die auf der Compilation vertreten sind, dürften heute nur noch echten Hip-Hop-Nerds bekannt sein. Doch es finden sich auch bekannte Namen auf der Tracklist. Jan Eißfeldt etwa, der heute solo als Jan Delay oder als Teil der Beginner Konzerthallen füllt. Oder Fettes Brot, die von einem Hip-Hop-Trio aus dem Hamburger Umland zu einer der erfolgreichsten deutschen Popbands der Gegenwart heranwuchsen. Oder Deichkind, die zu einem massentauglichen Universal Kunstprojekt avanciert sind.

Wie schon das gleichnamige Buch und die Museumsausstellung, so blickt auch die Compilation EINE STADT WIRD BUNT. hinter die Kulissen einer jungen Subkultur – und erzählt parallel spannende Kapitel Musik-, Technik- und Stadtgeschichte aus der Hip-Hop-Hochburg an der Elbe.

INTERPRETEN
Fettes Brot, Absolute Beginner, Deichkind, Das Bo, Ferris MC, Mr. Schnabel, Sleepwalker, Kastrierte Philosophen, Mellow Mark, David Fascher, Easy Business, Reim Banditen, Readykill, TobiTob, I.L.L. Will, City Nord, MK Cram (Poets of Peeze), Dialektik, 2 Ruff, Nina, Flashmaster Ray, Dennis Deutschland, 2BIAS, MC Africa True alias Nana, Vers Chaoten, Die Erstausgabe, THC (Ter Hartchor), R.A.F. (Reimende Antifaschisten), Direkt Aktion, Fogmoor, Syren, Mental Disorda (Crime Code Barets), Dennis the Menace, Selma, 08/15, Hamburg Royal, Skunk Funk, B-Low, Gizmo, AJ, SMG, Phantom Black, Leon Le Pro alias EL’OMC, Paolo 77, Monti, Hanseknaller, Schlechta Umgang u.v.a.

ZITATE VON
André Luth, Jan Eißfeldt, Mathias Arfmann, Ale Dumbsky, David Fascher, Fatih Akin, Carsten Bohn, Schiffmeister (Björn Beton), Pasha Kamber (DJ MPK), Boris Ekambi, Sleepwalker, Mr. Schnabel, Nana Abrokwa, Simon Vegas u.a.

PRODUCER
Mario von Hacht (Super Mario), Sleepwalker, B-Base, Bubblez, TobiTob, X-Ray, Simple Simon

POISON IDEA’s momentum hasn’t slowed down one bit; this is still their brand of loud, potent powerthrash. Slightly more metal than in the past but the accent here is on the force and fury. Scorching. Each song on War All the Time flows into the other in a natural sequence for maximum impact and the whole thing blows over before you know it, but everything stays in your head, banging against the walls of your frontal bone. All this makes a good album, but what turns War All the Time into an amazing album are the lyrics and their delivery. Jerry A took the negative side of the world around him and expressed it in detail, rendered with words that can be read in a universal manner, expressing everything trivial and worthy of our puke in a language better suited to talk about the beauty of life. And those words remain as true to this day as the band’s riffs are brutal.

Bells Are Ringing is the debut EP by Melbourne Funk 10 piece outfit Mondo Freaks, released following on from the single of the same name and a thrilling Dub Version by Harvey Sutherland.

Mondo Freaks formed originally as a concept band, equipped with an ever-evolving setlist of late '70s and early '80s Funk classics, their journey has seen them invited to be the backing band for the Australian tours of such luminaries as Leroy Burgess (the producer and artist behind Boogie and Disco favourites Black Ivory, Logg, Aleem, Inner Life, and Universal Robot Band) and the iconic Evelyn "Champagne" King. Having performed at the iconic local Meredith Music, Golden Plains and Panama festivals and at numerous residencies Mondo Freaks have carved their mark, returning now to ring in a new era of groove-soaked original music.

The band revolves around the rhythm section of in demand session bassist Luke Hodgson and drummer Graeme Pogson (GL, The Bamboos). Gathering some of the finest musicians from Melbourne's legendary Soul scene, they're accompanied by five incredible vocalists including Jade McRae, Susie Goble, Francisco Tavares, Aaron Mendoza and Jason Heerah.

New tracks on the EP include "Find A Way", which hits straight away with a percussion and synth hook, blending Jade McCrae's vocal delivery with an uplifting message about finding hope in trying times.

Also included is the Harvey Sutherland Vocal Mix of "Bells Are Ringing", which keeps much of the spaced out Larry Levan, Shep Pettibone re-edit approach that was on his much lauded Dub Version.

It's easy to see why his remix skills have been in demand and utilised by Disclosure, Khruangbin, BadBadNotGood, Tycho, Boston Bun, Lucius, Jungle Giants, Genesis Owusu and Franc Moody. On his own releases Sutherland has collaborated with the likes of DāM FunK and Nubya Garcia.Tightening its hold on the dancefloor, the beefed-up rhythm section rolls deep into the nocturnal hours, as mesmerising reverb loops elevate the track skywards.

Luke and Graeme got to know Harvey Sutherland when they played together backing Leroy Burgesson his Australian tour in 2018. After that Luke and Graeme played in Harvey's live band across the world and then contributed his 'BOY' album. "We were thrilled when he turned in his Dub of "Bells"", Luke said. "A kind of 'what would Shep Pettibone or Larry Levan do?' moment. It's like being transported to Compass Point Studios in '81!"

Mondo Freaks make Funk inspired by late '70s / early '80s era as it gently moved beyond Disco. That era has continued to inspire many artists, but what sets Mondo Freaks apart is their live instrumentation plus a focus on vocals and great songwriting, creating something beyond simply instrumental grooves.In the studio and in their full live lineup Mondo Freaks are a formidable ensemble who take their sound beyond mere homage, without a hint of irony or any knowing winks. Mondo Freaks simply breathe life into a timeless sound and make it feel more relevant than ever.

Madronas’ debut LP Erogenous Biome is an amorphous, murky, cathartic offering. A duet of modular synthesizer and winds that’s equal parts doom and ecstasy, it’s the sound of a majestic butterfly emerging from it’s slimy chrysalis just in time to catch the sun setting on the end of days, a bewitching, heavy ceremony, a power-wash of both mind and spirit.

Tracked in one continuous take at Brooklyn’s Heavy Meadow studio, individual tracks were gleaned from the purge and eschew predictable structures, making for a dense, fluid suite of improvisation, like dancing smoke ribbons in the dark. The duo's chosen sound sources are seemingly opposite - Ry Fyan’s modular’s coming from electronic oscillators, Isaiah Barr’s saxophone and various flutes originating with the breath - but the visceral, imprecise, alive quality to the sound of both lends the record a thrilling combination of rapturous harmony and gritty, intense friction.

Opening the session in ritualistic, foreboding fashion, Voluntary lurches to life with rattles and wandering, bassy arpeggios before a suona’s cry signals the seance has officially begun. Ostraca Loam spits explosive modular rhythms and eerie shrieks for the flute to float above, while Detritus Harp smudges mechanical whirring, pensive horn and wind chimes for an untethered drift. Petrified Microdot swells with menacing sci-fi sequences and breathtaking sax runs until they both run out of breath, and Negative Lingam starts out in a panic of breathy riffing before exhaling into one of the most sublime passages on the record. Rhythmic pounding and undulating flutes punctuate Lenticular Shroud, before The Preparation Of The Novel sets the winds aside for a synthesized dual fit for electric dreams. The title track dominates the B-side, it's shimmering levity slowly unfurling to reveal itself as a kind of post-apocalyptic devotional music, deep space drifting grounded by earthly flutes, and Vale Of Cashmere offers an ascetic, contemplative closure, sparse flute and chiming rhythms organic or electronic - by this time it’s hard to know, it doesn’t matter either way.

Erogenous Biome is a world of it’s own, and one Impatience is honored to offer a window into.

RIYL - Senyawa, witchcraft, Colin Stetson , Civilistjavel, Mars (the planet), Finis Africae, raga, Stephen O’Malley, modular synthesizer, Anthony Braxton, Shabaka.

Madronas is Ry Fyan and Isaiah Barr. Fyan is a painter and tattoo artist, this is his first release. Barr is a prolific instigator of the downtown New York scene, producing and playing saxophone in jazz circles with his group Onyx Collective, as a player and/or producer on records by Nick Hakim, David Byrne and Wiki, performing live with William Parker and as part of his projects Universal Space Jam and Cafe Dewanee.

Erogenous Biome was recorded and mastered by Griffin Jennings at Heavy Meadow, Brooklyn.

Vinyl was cut by Beau Thomas at Ten Eight Seven Mastering, Berlin.

Artwork is by Ry Fyan, typography and layout by Nicolas Turek.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy."

Kaum ein Ereignis hat die deutsche Gesellschaft im noch jungen Jahr 2024 so sehr bewegt, wie der Tod von Fußballlegende und Sportikone Franz Beckenbauer. Als einer der größten Namen ging „Der Kaiser“,
wie er oft genannt wird, sowohl als Spieler als auch später als Trainer und Funktionär in die weltweite Fußballgeschichte ein.

Unvergessen sind, im Angesicht seiner außergewöhnlich erfolgreichen Karriere, aber nicht nur seine Leistungen und Erfolge auf dem Platz oder seine Einflüsse als Funktionär, sondern auch im Bereich der Musik hinterließ Franz Beckenbauer seine Abdrücke in der deutschen Kulturlandschaft.

All diese Umstände ergeben in Summe eine regelrechte Aufforderung zur Neuauflage von Franz Beckenbauers größten Hits, oder besser gesagt: ”Des Kaisers schönste Lieder”. So lautet nämlich auch der
offzielle Titel der neuen 10“-Vinyl, die alle alten Titel aus der Zusammenarbeit mit dem Polydor-Label enthalten und pünktlich zum Fußball-Highlight des Jahres erscheinen wird. Universal Music wird diese feine Schatztruhe an Liedern zudem auch erstmals digital veröffentlichen und für Streaming verfügbar machen.

Die strikt auf 1.000 Stück limitierte Edition in transparentem 10”-Vinyl wird am 14.06.2024 erscheinen.

Because Sound Matters' meticulous One-Step process creates the definitive sounding audiophile version of k.d. lang Ingénue. This all-analog release comes from the original first-generation master tapes for the first time. Vinyl guru and editor Michael Fremer says, "This k.d. One-Step is insane – It's otherworldly great!"

This One-Step version is strictly limited to 3,000 copies. The album is housed inside a top-quality, foil-stamped, uniquely designed numbered slipcase. The enclosed gatefold jacket will feature an "old style" tip-on jacket with the original artwork.

Special care has been taken to faithfully preserve the original sound with exceptional clarity and depth, capturing the recording's nuances and subtleties at every step to create the best sounding record possible.

The One-Step process is highly regarded among audiophiles and collectors for its unparalleled sound fidelity and represents the pinnacle of vinyl manufacturing craftsmanship.

Ingénue was originally released March 17, 1992 and is k.d. lang's second solo album.

Upon release, the album charted at #18 in the US, #13 in Canada, #3 in the UK and Australia and #1 in New Zealand. Nominated for six Grammy® Awards with the breakout single "Constant Craving" winning a Grammy® Award for Best Female Pop Vocal Performance. "Miss Chatelaine" and "The Mind of Love" were follow-up singles.

k.d. received universal critical acclaim for the album from publications like Mojo, Pitchfork, Rolling Stone, Uncut and dozens more! Today, Ingénue is a true classic album and considered one of the great audiophile recordings of the modern era. This One-Step version certainly proves that!

Notes for This Release:

Ingénue was originally recorded and mixed on analogue tape and produced by Greg Penny, Ben Mink and k.d. lang. The original analogue master tapes were directly used as the audio source for this One-Step pressing! This is the first time the analogue tapes have been used as a vinyl source for this brilliant recording. The results are stunning.

Because Sound Matters used the Neotech VR900-D2 180g High-Performance vinyl compound, which is the same as what is known as Super Vinyl – the best in the world.

Chris Bellman at Bernie Grundman Mastering cut the lacquers with meticulous care! He also did the original mastering of the CD release in 1992.

Dorin Sauerbier at Record Technology, Inc (R.T.I.) has been plating records for decades and is considered the best in the world – he also has done more One-Step processing than anybody. This is a vital step in the process to ultimately delivering the absolute best sounding version of Ingénue ever.

Record Technology, Inc did the pressing – using the exact pressing machine used for so many other One-Step releases. The QC team is constantly monitoring each copy as it comes off the press.

Because Sound Matters' slipcases and gatefold "old style" tip on original art jackets were printed by world-renowned Stoughton Printing Company.

This new all-analogue edition will draw you into the music as never before—at least it did me. The sonic picture is rich, well-textured, harmonically saturated, spatially deep and all the rest of the audiophile buzzwords that no doubt the producers (who include lang) intended to give listeners but until now couldn't fully deliver. The musical flow will have you swooning in your seat. Before the opener 'Save Me' concludes you may already feel overwhelmed and in need of lifting the stylus to catch your emotional breath...What a treat!
-Michael Fremer, Tracking Angle, Music 11/10, Sound 11/10

Rich in centuries of creolization*, the music of the Caribbean basin is among the most diverse in the world, and with Sono Mondiale, repertoires cross the oceans and are constantly enriched in a sonic and narrative mise en abîme.

Pambelé's debut album blends Afro-Colombian influences with the acidic, piercing sounds of the sixties psychedelic movement. This cross-fertilization is a powerful expression of the group's transatlantic and definitively Caribbean cultural universality.
Traditional percussion instruments from the north coast of Colombia intertwine and mingle with the joyful cadence of the vocals, while the chiselled words of the guitars, accompanied by the voluptuous sounds of wild organs, draw us into a torrid, exuberant atmosphere.
Pambelé's debut opus is a bewitching trance, a condensed blend of raw, composite material. A boundless playground where the culture of trance, improvisation and dance is the very essence of its strength.

"“We can still hold the line of beauty, form, and beat. No small accomplishment in a world as challenging as this one... hard times require furious dancing. Each of us is proof” Alice Walker, Hard Times Require Furious Dancing

Snapped Ankles have given up trying to make sense of it all. The forest only offers so much protection. Feeding on a diet of fractured narratives, meme culture, viral moments and the very worst of human impulses weighs heavy. The woodwose hold up a mirror to the absurdity of modern life once again. The only sane response is to dance. Make your way to the clearing, gather around the megalith of speakers, drum machines, amps and synthesisers and dance like there’s no tomorrow.

Hard Times Furious Dancing is an invitation to all those lost in the unrelenting noise of the present, to leave it all behind and come together in the forest. Driven by the primitive thrust of their single-oscillator ‘log’ synths, high and low culture collide in a surreal, free flowing narrative - but the rhythm is universal. This is easily the closest Snapped Ankles have come to capturing their rapturous live energy in the studio.

The sound of Hard Times Furious Dancing evolved at Snapped Ankles’ South London ‘Forest Rayve’ club nights in 2024 in response to that age-old primal urge to bring people together and make them move. It’s the first time the woodwose have road tested new material to this extent before committing it to tape since debut album Come Play The Trees, and in doing so have harnessed that feral energy once again. This surreal human/woodwose connection is the very best release from an algorithm that knows you better than you know yourself. Dance it all loose."

After the success of Trenchtown Rock, Small Axe, and All in One, here comes the final chapter of this quadriptych dedicated to Bob Marley’s musical legacy. Side A opens with “Treat You Right,” a vibrant declaration carried by mesmerizing rhythms, while “Don’t Rock My Boat” radiates a serene, sunny vibe. On Side B, “Chances Are” shines with its melodic tenderness, leading into the energetic “Bend Down Low,” a pure call to dance. An essential album, blending incandescent grooves with universal messages, crafted by an eternal legend.

As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. Forging a musical path that is all at once dark, mysterious and foreboding, but ultimately transcendental. His new solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. The project was born across 2021, a period in which Lynch was able to enjoy the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, there are several environments, external and interior, whose respective essence have seeped into the spirit of the music and come to represent Lynch’s artistic approach and development with this singular debut album, …And Take The Black Worm With Me. Rediscovered spaces in Dublin and the familiar enclave of his bedroom are intrinsic to the distinct and sometimes harrowing atmosphere conjured throughout the album’s five enveloping compositions. One particular location, an abandoned factory where his father worked when Ian was a child, provided a space of great inspiration and intrigue during this time. Lynch frequently visited the large abandoned warehouse and sang with his shruti box, contented in his solitude. ‘I’d Rather Be Tending My Sheep’, grew into existence from those initial sessions, eventually finding a home as an emotive centrepiece to the album. Reflecting on the overall recording of …And Take The Black Worm With Me, Lynch says, “Everything I was doing with these songs was all kind of new to me; experimenting with different sounds, textures and palettes and seeing what I could come up with by piecing it all together. I spent about a year making the album. I loved the whole process because it was basically just me in my bedroom recording everything. The experience of recording like this and having my own time to do it was amazing. I could focus on recording a specific element and happily spend all day working on that one part, doing it as many times as I wanted. At the end of the day if it didn’t feel right, I could just try it again the next day. When you’re on your own you can spend as much time as you want on particular parts until you feel that it’s absolutely perfect. I found that to be a really liberating experience. It was probably my favourite experience recording music.” The collection of songs (and their chronology) featured on …And Take The Black Worm With Me tell a story unique to Lynch’s experiences with anxiety and recognising his shadow self. Whilst the album became an outlet of personal expression for Lynch, the overarching themes and subsequent journey to confront one’s internal dichotomy of light and dark before accepting this inherent duality is universally shared. The eerie and often unsettling world contained within the album’s texturally dense opener ‘Glistening, She Emerges’, driven by the captivating drone of distorted uilleann pipes, immediately immerses the listener in this transportive work. It descends with a great heaviness, yet woven throughout the arrangement is a fascinating and indescribable entity that draws you further into this otherworldly dimension. This mood continues as the tracklist progresses and transitions into Lynch’s haunting realisation of ‘Bold and Undaunted Youth’ which further demonstrates a cinematic influence to Lynch’s compositional style. Sonically, Lynch effectively builds an impressively vast terrain with brilliantly murky lo-fi recording techniques and an unshakable curiosity to move beyond conventional structures and play with the timbre of the instruments available to him. From recording hurdy-gurdy or concertina to tape and experimenting with loops and effects pedals to stitching field recordings together, there’s an intimacy established between Lynch and his audience established through the simultaneously eerie and beautiful tones courting through …And Take The Black Worm With Me. This culminates in ‘Only the Diceys’, the extraordinary closing track in which we reach a place of resolution mapped into the album’s narrative structure. Mixed by longtime collaborator John ‘Spud’ Murphy in his Dublin-based Guerrilla Sounds Studio and mastered by Harvey Birrell …And Take The Black Worm With Me features contributions from Ruth Clinton (Landless) on church organ and vocals by Laurie Shanaman (Ails, Ludicra). Of Shanaman’s participation, in particular, which further illustrates the lo-fi and DIY ethos to the recording, Lynch says, “Laurie is my favourite black metal vocalist of all time and so I reached out to her hoping to have her involved in some way. She did, and she features on the opening track by providing some incredible screams. She recorded them into her phone and sent them over to me; what appears on the album is literally a phone recording of her screaming in her kitchen!” …And Take The Black Worm With Me continues Ian Lynch’s groundbreaking work with Lankum; recontextualising traditional forms and generating new spheres of music in his wake, confirming his status as one of the most interesting and innovative artists working in Ireland today.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

SATYA is thrilled to announce the next chapter in its vinyl-only catalog: an evocative EP by São Paulo-based producer Dru. Scheduled for release on March 21, 2025, this record captures the serene yet dynamic energies of Dru's distinctive sound, blending aquatic themes with dubby textures and grooves.

Dru is a producer and DJ with a passion for minimal and microhouse. He has steadily risen through the scene, earning the support of luminaries such as Mihai Pol, Arapu, and Barac. With previous releases on his own labels, Totoyov and Microdots, Dru has honed a sound that is both personal and universal, reflecting his unique journey.

Rooted in the calming beauty of Brazil’s pristine beaches, Dru explains that the EP emerged during a reflective chapter of his life. "I was looking to produce tracks on a more dubby vibe," he shares. "The aquatic and fresh feel of the tracks reflects my connection to the sea and the tranquility I find there." This theme flows through the EP, offering listeners a refreshing escape into soothing yet intricate soundscapes.

The EP comprises two standout originals:

"Lax" captures a serene moment in Dru’s life, characterized by personal harmony and simplicity. The title itself is an 
abbreviation for "Relax," reflecting the calm state of mind during its creation.

"Afterbreak" marks a transitional period post-breakup, yet the track maintains a composed energy, symbolizing growth, 
renewal, and forward momentum. 
Dru draws on a broad spectrum of influences for this EP, from the African-reggae-inspired percussive touches to the intricate dubby aesthetics of Andrey Pushkarev’s Luck of Access label. These elements intertwine with Dru’s Brazilian roots, creating a fusion of global sounds with a personal twist. 
One of the most exciting milestones during the production process was securing remixes from Nicolas Duvoisin and Superlounge, both of whom enthusiastically joined the project early on. With contributions from these respected artists, the EP transcends boundaries, bridging dubby minimalism and deep house groove.

The vinyl-only release marks an exciting new chapter for Dru and SATYA. With its aquatic themes, dubby energy, and heartfelt storytelling, this EP promises to captivate both seasoned collectors and fresh ears alike.

The Wild Robot by Kris Bowers, released 21 March 2025, includes the following tracks: "The Island", "Deploying Rescue Transmitter", "The Accident", "Hatching" and more.

This version of The Wild Robot comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Booklet.

The vinyl is pressed as a swirl, blue disc. Another vinyl is pressed as a swirl, pink & purple disc.

Features members of Pansy Division, Avengers, Camper Van Beethoven, Anohni and the Johnsons, Oranger, Enorchestra and the State Band of Guanajuato. Panorama is an LGBTQIA+ album and it is a bilingual Spanish/English album .Recorded in Leon, Guanajuato with a cross section of notable US underground music stalwarts and emerging Mexican instrumentalists. VIDA VELLA is the manifestation of a dream a lifetime in the making. Apocalyptic yet optimistic balladry. Tijuana native and NYC transplant Luis Gabriel Illades, longtime member of Pansy Division, Avengers and touring drummer for countless acts steps in the singer/songwriter role with VIDA VELLA, a bilingual exploration of universal human emotional themes.

Legendary composer, arranger, band leader and double bassist Israel “Cachao” López (1918-2008) is universally recognized as one of the most prolific and influential figures in the history of Cuban Music. He was a co-founder of the widely popular mambo style in the late 1930’s (along with his brother Orestes “Macho” López and Antonio Arcaño), and a primary exponent of the “descarga” movement of the 1950’s. The album Jam Session with Feeling, presented here, was one in a series of recorded “descargas”, and includes several legends of Cuban music, such as Alejandro “El Negro” Vivar, and Tata Güines.

Florence + The Machine feiert gemeinsam mit Jules Buckley und seinem Orchester Lungs, ihr mit dem
BRIT Award ausgezeichnetes Debütalbum, das vor 15 Jahren mit großem Erfolg veröffentlicht wurde. Am
11. September 2024 wurde Symphony of Lungs bei den BBC Proms mit einer herausragenden Performance von Florence + The Machine und Jules Buckley zum Leben erweckt, die das Album Lungs in seiner
Gesamtheit neu interpretierten. Dazu gehörten die meistverkauften und bei den Fans beliebten Singles
„Dog Days Are Over“, „You’ve Got The Love“ und „Cosmic Love“ sowie Raritäten, die Florence nach
eigenen Angaben seit mindestens 15 Jahren nicht mehr gespielt hatte, darunter „Bird Song“ und „Falling“.
Jules Buckley und sein Team von Arrangeuren verwandelten das bereits wunderschön produzierte Album
in ein orchestrales und chorisches Meisterwerk.
Zusätzlich zur Live-Übertragung der Aufführung auf BBC Radio 3 wird Universal Music Recordings in
Zusammenarbeit mit der BBC die Live-Aufnahme dieser Aufführung offziell veröffentlichen, zunächst auf
digitalen Streaming-Plattformen im Oktober 2024, gefolgt von 2LP schwarz, 2LP farbig und 2CD-Formaten
im März 2025. Die physischen Produkte enthalten atemberaubende Bilder des Auftritts sowie eine herzliche
persönliche Notiz von Florence selbst.