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Bordello Travels presents the second volume of ‘Buone Vacanze’ with your tour guides Ali Renault, Señor Chugger, Back From The Wave & Umatik and CT Kidobo.

Comes with San Remo Casino sticker cover.

Andiamo!

Sophisticado Recordings label head Vick Lavender hails from Chicago and is doing fine work to continue the city's house legacy. Back in January, he dropped the superb Time Traveler album and is now back with a cheeky one-sided 12" on limited white vinyl that draws on some mad classic sounds, all worked up into a super funk and jazzy jam that's layered up with Rhodes jams, splashy cymbals, rubbery and rolling baselines and organic percussion. It's the sort of steamy session to get cosy backrooms really heated up and boiling over. Another standout from Lavender.

We’re excited to present Reflections Vol. 1. Freerange Records gathers four diverse yet complementary tracks from Cody Currie, James Kumo, Jimpster & Bishy, and Radic The Myth. The first in a brand-new series of vinyl compilations showcasing highlights from the label’s recent digital catalogue.



The Reflections series brings together fresh talent & established names across four lovingly curated cuts pressed on wax for the first time!

Rick Wade is one of Detroit and house music's most consistent performers. He is a master of crafting tools that never miss on the floor but also have the sort of character that means they endure across the ages and remain impervious to passing trends. Art Is The Place has his latest, and it opens with the angelic vocals of 'Level Up' over a whimsical groove, then 'Big Ha Blues' gets more deep and zoned out with pillowy pads and wet claps. 'Intrusive Emotions' has a more grinding low end but stays slow and is softened by jazz keys, then 'Bitter Sweet brings some dust and grit. Another faultless outing from Wade.

For over 11 years, Nowadays Records has been shaping the French electronic music scene with boundless energy and total artistic freedom. Much more than a label, Nowadays is a big musical family where every release, meeting and event becomes a real celebration. With over a hundred albums and nearly a thousand titles to its credit, Nowadays Records embodies musical diversity across a variety of genres: abstract hip-hop, house, electronica and alternative pop.



It's in this festive spirit that the Club Nowadays project is born, a true embodiment of the collective's vision. Through its club compilations and evenings featuring label artists and outside guests.



Today, the label continues to chart its course with the release of Club Nowadays Vol. 6, a new opus in its series of compilations, which fully embodies its vision of club music. This sixth volume brings together emblematic figures of the label and emerging artists around the following dance tracks.



Don't Lie, the first single from the compilation, is a heartfelt track born of a broken heart, but turned towards the light. Mira Ló composed this track as an act of resilience, following a break-up in love. She transforms her pain into positive energy, hoping that everyone can recognize themselves in it and find a little sweetness to soothe their own grief.



R1D1 brings together his groovy house and garage influences to create the track Marsupilami around a hand-crafted synth, sharp drums and deep bass. Influenced by hip-hop beatmaking, he incorporates vocals from radio and interviews, transformed into rhythmic elements. The name, a nod to the famous character, comes naturally through the sampled “houba houba”. Between offbeat textures and assertive groove, the track embodies R1D1's singular, hybrid universe.



OOGO & Blanka, two pioneers of the label, offer us Phô Real, a hybrid track between soulful deep house and hip-hop groove, mixing organic and digital textures. A track to get the dancefloor moving, with a delicious nod to La Fine Équipe's culinary universe.



With Tracksuit & Loafers, Yambow creates a bridge between groovy French Touch elegance and the effervescent energy of UK house, in the tradition of producers like Salute and Oppidan. The track is conceived like an acid cocktail: funky, euphoric and dancefloor-friendly. The title is a nod to cultural contrasts - between English tracksuits and French loafers - which translate into a musical interplay between sophistication and fervor.



Finally, Laaanky, the Parisian producer, breaks codes and gives free rein to his passion for raw sound, efficiency and groove on the track Bloom. Between textured house, dub echoes and Afro-tinged post-dubstep rhythms, he explores a danceable, minimalist and percussive electronica. Less is more.

Big D’A covers two classics in his indomitable style. First up his rendition of Roy Ayers summer Anthem. On the flipside Creative Source anthem later covered by EW & F gets the Nu Soul treatment to fine effect with layers of harmonies and punchy brass stabs .

Carolina Blues Man ist das Solo-Akustikalbum des Sängers und Gitarristen Pink Anderson. Das Album
erschien ursprünglich 1961 auf dem Prestige-Label Bluesville und zeichnet sich durch seine Mischung aus
Fingerpicking und Strumming aus, mit der er Blues-Standards wie „My Baby Left Me This Morning“ und
„Baby, Please Don’t Go“ auf einzigartige Weise interpretiert. Diese Veröffentlichung wurde bei QRP auf
180-Gramm-Vinyl gepresst und neu (AAA) vom Original remastert, während eine Replik der Tip-On-Hülle
das Paket abrundet.

Discoweey makes its vinyl bow here, and in some style, too, as Hotmood brings the heat. He is no stranger to doing that - the Mexican Guillermo Gonzalez Santana broke out more than a decade ago and has been leading his local, and the global, disco scene from the front ever since. Side A kicks off with the global hit 'Ya Te Olvide' extended and guaranteed to ignite. Following that is 'DDD,' a high-energy banger, then 'Funk Party' is a crowd favourite that held the top chart spot for weeks and smooth and soulful closer 'D.R.E.A.M.I.N.G.' leaves a lasting impression.

DEVO’s Hardcore documents the group’s beginning as pre-punk outcasts in the fertile Akron, Ohio, underground rock scene. Spawned at the nearby college of Kent State, site of the infamous May 4 Massacre, DEVO formed as a conceptual art project armed with the radical philosophy of de-evolution. Brothers Mothersbaugh (Mark, Bob and Jim) and Brothers Casale (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of “devolved blues” that could hold its own alongside the beatnik groove of 15-60-75 (a.k.a. The Numbers Band) or the primal rock poetry of The Bizarros. Recorded on various four-track machines and in tiny studios, basements and garages between 1974-1977, Hardcore reveals their strikingly clear vision: rock ’n’ roll stripped bare of its collective cool and jerked back into propaganda fit for post-modern man. It’s no surprise that these transmissions would soon catch the eye and ear of Brian Eno, who later produced their landmark 1978 debut album. Noisy synth, strangled guitar chops and a primitive rhythmic thud power the early DEVO sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera and DEVO’s long-running topic of choice: sex, or lack thereof. Few moments in pop music history can match the grinding, pent-up energy of “Mongoloid” and the spastic bounce and sputter of “Jocko Homo” (two anthems presented in their earlier and superior versions here). Cult favorites like “Mechanical Man” and “Auto-Modown” make Volume 1 essential listening. Superior Viaduct and Booji Boy Records are proud to present DEVO’s Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakha’s stunning cover photography. As David Bowie said in 1977, DEVO is indeed “the band of the future.”