Suche:amor

Touch by Touch is the duo of FKV and FKG, exploring themes of love and loss in a cold world: Mesmerizing Urban Power-Dirge.

Die lang erwartete Rückkehr der schwedischen Dream-Pop-Romantiker. Ein verschwommener Schleier aus düsterem und fesselndem Shoegaze-Pop. Die skandinavische Indie-Pop-Band Hater beendet nach ihrem beeindruckenden dritten Album ,Sincere" ihre dreijährige Pause mit der Veröffentlichung von "Mosquito", einem faszinierenden Dream-Pop-Drama, das sich über elf packende Episoden der Selbstreflexion erstreckt. Auf "Mosquito" klingt die in Malmö ansässige Band Hater wie neu belebt - sie greift den rohen Indie-Pop-Ansatz auf, für den sie bekannt geworden ist, jedoch mit einem direkteren, ausgefeilteren Songwriting. Die Band hat ihre Shoegaze-Wurzeln zu etwas Schärferem, Melodischerem und Tiefgründigerem verfeinert. Das Album strotzt nur so vor Geschichten, in denen mythische Wendungen (Vampire, Amor, Mücken) von der traurigen Sehnsucht nach wahrer Liebe untermauert werden. Aber dies ist kein typisches Album über die Liebe, wie die Band betont, es ist eine emotionale Achterbahnfahrt, die von halb vergessenen gebrochenen Herzen und gebrochenen Versprechen, voller Qualen und Kribbeln, aber auch von Hoffnungen und Träumen für zukünftige Lösungen geprägt ist. "Mosquito" wurde in der herrlichen Abgeschiedenheit der AGM Studios in Vollsjö, Schweden, aufgenommen, mit dem langjährigen Mitarbeiter Joakim Lindberg an den Reglern und dem Bassisten Adam Agace, der wieder zum Team zurückgekehrt ist. Sie vollendeten das Projekt in Lindbergs berühmtem Studio Sickan, wobei Caroline Landahl, Måns Leonartsson, Rasmus Andersson und Adam Agace gleichermaßen zu einem Sound beitrugen, der zwischen kraftvoller Introspektion und melancholischer Erkenntnis wechselt. Immernoch "Your next Scandinavian indie pop obsession." Flood. Klares Vinyl mit bedruckter Innenhülle und DLC sowie Digisleve-CD

Mit Brazil Greatest Hits veröffentlicht Wagram eine musikalische Reise durch die farbenfrohe Welt Brasiliens - von zeitlosen Bossa-Nova-Klassikern bis zu modernen Latin-Grooves. Auf zwei sorgfältig zusammengestellten Vinyl-LPs versammeln sich legendäre Aufnahmen und internationale Club-Favorites, die den Spirit von Rio, die Leichtigkeit des Samba und den warmen Sound des Tropenlands einfangen. Die erste LP präsentiert ikonische Stimmen und Instrumentalstücke der goldenen Bossa-Nova-Ära - voller Eleganz, Rhythmus und Melodie. Auf LP 2 geht es moderner und tanzbarer weiter: brasilianische Funk-Einflüsse, Remix-Perlen und energiegeladene Tracks zeigen, wie lebendig und vielfältig die Musikszene Brasiliens bis heute ist.

Carlos Alberto García Moreno, better known by his stage name Charly García, is an Argentine singer-songwriter, multi-instrumentalist, composer and record producer, considered one of the most important rock musicians in Argentine and Latin American music.
Named "the father of rock nacional", he is known for the complexity of his compositions covering genres like folk rock, progressive rock, symphonic rock, jazz, new wave and many others.

a conceptual rock opera featuring experimental passages and two big hits, "Chipi Chipi" and "La Sal No Sala".

La Hija De La Lágrima is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl.







g B1. Calle Taxi







[g] B1. Calle [Taxi]







[g] B1. Calle [Taxi]

West Mineral returns with lushly amorphous actions by Shiner, Pontiac Streator & Ben Bondy aka Shinetiac; together fused for an immersive flux of vapoured dub, chopped and droned Billie Eilish, and fidgety algorithmic jams.

There's not a single, specific sound you can peg to the West Mineral axis at this stage in the label’s evolution - it's rather a set of shared aesthetics that freely bend into various interconnected shapes. Shinetiac's contemptuous, critic-baiting gear is the ideal example; on their last album, 2023's 'Not All Who Wander Are Lost', skittery, ketamized IDM sparkled over Spice Girls samples and the Foo Fighters' 'Everlong' was transmuted into Sneaker Pimps-style trip-hop. 'Infiltrating Roku City' might be a little less blatant with its out-and-out poptimism, but it takes a similarly dim view of conservative "big ambient" snobbishness. Just a few minutes of 'Bluemosa' should be enough to let you know what's up; the overall character of the sound is hazed, with frozen pads and garbled, dubbed-out voices smudged into a mess of effects and samples. But it sups up different nuances as it wriggles, absorbing scampering breaks, dizzy acoustic guitar strums and half-heard wordless vocals, flipping in the third act to emerge from its shell as minimalist balearic folk-pop - something like Bon Iver doing 'Electric Counterpoint'.

Brooklyn's Shiner, Philly's Pontiac Streator and Berlin-based Ben Bondy navigate the labyrinthine streaming landscape, guided by their own private experiences of mindless doom-scrolling and cruising the darkest corners of YouTube. They formulated 'Infiltrating Roku City' while they were rehearsing last year and spent the winter stitching together various recordings and jams into a layered, dry-witted commentary on our algorithmic reality. Laden with inside jokes and refried memes, it's surprisingly elegant gear; handling the most unseemly elements like sonic recyclers, earnestly repurposing pop and nostalgia to create an atmospheric echo of contemporary reality.

Screwing Chief Keef's enduring 'Citgo', 'Clublyfe (hulu)' emphasises the original's AFX-pilled euphoria with Robert Miles-style piano hits, replacing Young Ravisu's brittle 128kbps trap rhythm with a glitchy rattle that picks up dembow spikes as it rolls. 'I Hate Being Sober' vaporises the Chicago drill pioneer's 'Hate Bein' Sober', blocking out his voice with glitchy, downsampled interference and elasticated Rhodes. The trio team up with Orange Milk's goo age on the sublime 'Crisis Angel', catching a ray of Malibu's sunshine in the process, and reduce Billie Eilish's voice to a Romance-does-Celine cinder on 'Billie', stretching it to fit next to gassed Future ad-libs and swooping 808 Mafia sub womps. And although the album takes a murky diversion on 'Roku Axes Ultra’, and a cloud-stepping centrepiece ‘Purelink’ in homage to the eponymous dubbed ambient dynamos, it's back on course with 'Jiafei (NETFLIX)', taking aim at TikTok bot videos and welding screams from Florida metal band Underoath to AI-strength vocal curlicues.

The fourth edition in the label’s compilation series brings together an almost entirely new cohort of ten artists from across the globe. Personal means of expression are archived side by side, coming to light in the form of sparse amorphous percussion, layered voices, restless arpeggios and undulating, heavily filtered soundscapes.

All digital and physical proceeds from this edition go towards Medical Aid For Palestine and the Lebanese Red Cross.

Mastered by Kinn. Design by Severin Black.

Repress!

With the fourth Realm Of Consciousness compilation, Tale Of Us shine a light on the artists whose work has shaped their sets in recent times. The sound encompasses everything Afterlife represents: introspective electronica, euphoric peak-time cuts and more subtle rollers.

„Nessun Dorma – Best Of“ ist die perfekte Sammlung der unvergesslichsten Arien von Mario Lanza, einem der größten Tenöre des 20. Jahrhunderts. Auf dieser Vinyl LP erlebst du die kraftvolle Stimme und die emotionale Tiefe, die Lanza zu einem weltweiten Klassiker machten. Mit Hits wie Nessun Dorma und anderen berühmten Arien ist diese LP ein Muss für Klassik-Liebhaber und Vinyl-Fans.

Reissue, at last!, of Vol. 2, second album by legendary Argentinian Rock outfit Billy Bond y La Pesada del Rock and Roll, a Hard Rock classic originally released in 1972. Leaning on the heavier side of their Hard Rock, Blues, Rock'n`Roll and Psychedelic influences, and keeping their playful spirit intact, the band created another masterpiece. Includes bonafide classics of their repertoire such as "La pálida ciudad", "La máquina" or "Para qué nos sirven". Their tongue in cheek adaptation of the patriotic song "Marcha de San Lorenzo" got them heavily censored by the government. An essential release for the hugely important Argentinian label Music Hall, licensed by the label and re-released in close cooperation with the iNAMU, Argentina's National Music Institute. Gatefold cover, includes insert with extensive notes and rare photos.

When you listen to birds, they usually talk about food, sex/family, or anxiety. If they knew about the true nature of humanity's cruel and exploitative relationship with birds, they would be discussing rebellion. Humanity's current trajectory about birds is to cause the extinction of one-third of all bird species by the end of this century.

This record crystallises the borders between memory, beauty, and anxiety. At the core is an amalgam of all the birds we have met and heard, their sounds synthesised from a blend of memories. Esthetically it simulates the qualities of bird sounds, hitting similar frequential sweet spots. There is a great variety of birds captured here, from high to low frequencies, from solo voices to groups, from birds standing on their own to complex world-building, where the bird voices are part of an ecosystem, becoming one of the instruments.

You could stop there, enjoying this record on a musical level, but it invites us to do one step further, to consider reconfiguring our relationship with the Earth and its inhabitants. To question our impact, and to ask why we need synthetic bird music. Is it just a visionary endeavour or is it because we are failing at fostering a world in which organic birds and other creatures can thrive?

32 artists from the whole world, including our favourite artists from Eastern Europe, have contributed to this compilation both with new and previously released music. Their music is ordered from dawn to dusk and into the night. For many of the artists it's their first time on mappa, but some have previously released an album with us.

APORIAMOR noun 1. The death of love’s contradiction.
| “Embody APORIAMOR”

Etymology
aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’
-amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor.
-mor: latin for death.

APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms.

With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist.

With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth.

APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release.

elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world.

The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth.

The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha.

Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton.

With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

From the opening notes – arriving as if in mid-air – to its final, cheerful burblings, Sean Mac Erlaine and Caoimhín Ó Raghallaigh’s Old Segotia is an album about friendship: both musical and human, the product of two distinctive musicians visiting each other’s worlds with a sense of veneration, and a sense of joyful wonder.
Here, Mac Erlaine (This is How We Fly, Quiet Music Ensemble) and Ó Raghallaigh (The Gloaming, This is How We Fly) meet on common ground developed over 20 years of playing together, with Mac Erlaine’s musical language rooted in jazz and sonic experimentation, and Ó Raghallaigh emerging from an Irish traditional music that he has shaped and reshaped in a deeply personal way.
In this place, Mac Erlaine and Ó Raghallaigh’s music is profoundly integrated and emotionally textured: at times bursting with explosive energy, at times almost sighing into life, but always searching. Here are the touching unison duets of ‘Cantandor’, the lyrical wanderings of ‘Swallow Dive’, or the flirtations with finding a groove in ‘Reverse Burst’.
The palette of instruments speaks to the album’s feeling of abundance, with Mac Erlaine performing on clarinets, chalumeau d’amore, three different flutes, car hooter, percussion, live electronics, Wurlitzer, synthesiser, vocals and alto saxophone; and with Ó Raghallaigh bringing his signature hardanger d’amore sound plus a turn on the flute and live electronics, too.
With the title echoing a well-worn Dublinese expression for “friend”, Old Segotia plays out with ‘Oiche Crua Sna Sleibhte’ (A Hard Night in the Mountains), with ornithologist Seán Ronayne’s field recordings of birdsong rising out of the musicians’ playful explorations, offering a taste of life echoing music, echoing life.

Banda Black Rio is a Brazilian musical group from Rio de Janeiro that was formed in 1976. They were one of the first to undertake the fusion of Essential Brazilian Music with International Black Music. The songs are based on funk but also including samba, jazz and Brazilian rhythms. Compared to other soul-funk groups, such as Kool & the Gang and Earth, Wind and Fire, Banda Black Rio developed a particular style of instrumental soul music fusing together elements from a number of genres. With saxophonist Oberdan Magalhães, trumpet player Barrosinho, Cristovão Bastos on keyboards, Claudio Stevenson on guitars, Jamil Joanes on bass and Lucio Silva on trombone. Arrangements are from Cristovão Bastos and Claudio Stevenson. The album “Saci Pererê” was originally released in 1980.

After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in our previous volumes, this fourth instalment in the series "Cumbia Cumbia Cumbia!!!" comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Tropical, all of them originally released between 1960 and 1984. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. Discos Tropical was a Barranquilla-based label founded in the mid-1940s by Luis Emilio Fortou Pereira, a visionary who helped define Colombian dancing habits and tastes from the previous century. Until the late '50s, most cumbias were orchestral-based. However, even though formats and styles diversified from the following decade onward, these highly popular big bands spectacularly defined the sound of Discos Tropical and livened up the most cosmopolitan dances in the major coastal cities. After the mid-'60s, the big bands gradually fell into decline, but the popular demand for tropical music did not. Facing this situation, the major record companies created smaller-format groups with one particular feature: they mixed accordion music with brass bands. This new volume of "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Double Vinylalbum

Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

Michael Mayer returns to the Speicher series for his first release since last year’s brain-bursting The Floor Is Lava album. And yes, the floor is indeed lava when Mayer is on peak form, as he is here, with three tracks that oscillate, effortlessly, between the twin poles of Mayer’s music: dancefloor detonation and heart-wrenching beauty. To be fair, there’s more of the former here, but there’s beauty in generous discipline, too, and the unrelenting “Cry Me A Raver” feels, somehow, like it brings together decades of Kompakt pleasure in six giddy minutes – disco-fied arpeggios, glistening and hand-burnished textures, abstruse patterns that fall in and out of step. “Don’t Sync With My Tag” stomps with destructive glee, a beat as undeniable as the shaker cross-rhythms are silkily sexy. There’s always been something practical, functional, and utilitarian about Speicher, but it doesn’t get more everyday DJ-life than this: Mayer tells us the title is “a super-annoying message that pops up every time you open Rekordbox. Nobody knows what it means. It’s a DJ mystery.” But who needs answers, anyway? By the time you’ve started to get close to solving the riddle, Mayer’s taken you to Detroit via Cologne with “It Isn’t What It Isn’t”, a little doffing of the cap to Rhythim Is Rhythim. “You’re May, I’m Mayer, I used to tell him,” Michael chuckles. This made one of our cats almost jump out of its skin, with its stealthy slyness – creeping, amorphous electro noise; percussives that just won’t quit; the whole thing flooded with twitchy strip-light energy and silver-machine flare- outs.

Speicher is as Speicher does, and this is a damn good one. Make Mine Mayer!

Raffaele Arcella, known under the moniker Whodamanny, is a hyper-prolific producer and remixer who has been active for many years within the independent underground electronic scene and beyond. Closely associated with the Neapolitan label Periodica Records, he has released and co-produced numerous projects, and since 2023 he has been curating his own imprint, Biloba, conceived as a platform to carry forward the legacy of the Latin Italo-Disco trend that marked many Italian productions from the late 1980s through the 1990s. Onda Biloba stands as a kind of album–compilation, bringing together the results of Arcella’s ongoing exploration in recent years — both in stylistic development and studio experimentation. The record offers a diverse and vibrant selection, shifting between potential “hit-not-hit” dancefloor bangers and more laid-back, downbeat digressions for blue-hour moments.

Hinter dem sorgefrei erscheinenden Titel Dolce Vita verbirgt sich eine dunklere, schmerzhafte Geschichte: es ist die der erzwungenen Flucht von Louis’ Großvater und dessen Familie vor der honduranischen Diktatur. Matute taucht unter dem ironisch gemeinten Motto Dolce Vita in die bewegte Geschichte Lateinamerikas ein, das unter der Herrschaft von Militärregimen und imperialistischen Großkonzernen, wie der United Fruit Company, jahrzehntelang litt.

Mid Price Campaign! Heavy, melodic and passionate, Flat Earth is a hard rock band from Helsinki, Finland, founded by Ex-Amorphis bass player (Niclas Etelävuori) Ex-HIM guitarist (Linde Lindström) Ex-HIM drummer (Gas Lipstick) and Polanski singer (Anthony Pikkarainen). The band produces heavy riffs, blasting beats and cinematic chords that combine to create an unforgiving, passionate, and dynamic sound.
The band's debut single ‘Blame’ premiered on Radio Rock in 2018, immediately gaining popularity, throughout Finland and the rest of Europe. The single Cyanide followed in the footsteps of the debut single, gaining public recognition and earning them a spot opening for ‘Alice in Chains’, in Helsinki. To date, they have over half a million streams on Spotify, alone.
In the beginning of 2019, the band entered the studio to record the follow up to their debut album ‘None for One’. This time with legendary producer Tim Palmer behind the mixing desk.
Flat Earth is: Anthony Pikkarainen - Vocals (Polanski) Linde Lindström - Guitar (ex-HIM) Gas Lipstick - Drums (ex-HIM) Niclas Etelävuori - Bass (ex-Amorphis).

Heavy, melodic and passionate, Flat Earth is a hard rock band from Helsinki, Finland, founded by Ex-Amorphis bass player (Niclas Etelävuori) Ex-HIM guitarist (Linde Lindström) Ex-HIM drummer (Gas Lipstick) and Polanski singer (Anthony Pikkarainen).
The band produces heavy riffs, blasting beats and cinematic chords that combine to create an unforgiving, passionate, and dynamic sound. The band's debut single ‘Blame’ premiered on Radio Rock in 2018, immediately gaining popularity, throughout Finland and the rest of Europe.
The single Cyanide followed in the footsteps of the debut single, gaining public recognition and earning them a spot opening for ‘Alice in Chains’, in Helsinki. To date, they have over half a million streams on Spotify, alone.
In the beginning of 2019, the band entered the studio to record the follow up to their debut album ‘None for One’. This time with legendary producer Tim Palmer behind the mixing desk.

Featuring 10 of his own compositions, Grossi's renowned virtuosity flows with deep sensitivity through various genres, reflecting the solid trajectory of one of the greatest instrumentalists and most creative musicians in Brazilian music. Collaborating with prominent names from both the national and international music scenes, 'Plural' showcases Grossi's music without borders, offering the world a glimpse of his extensive career. For this celebration, outstanding guests were invited to join the musical journey. Several tracks also highlight Grossi's sensitivity as a songwriter and lyricist. In 'Onde Nascem as Ondas', Ed Motta delivers a soulful ballad carried by his distinctive timbre. Zelia Duncan, sings a unique samba in 'Nosso Amor Vadio' with a captivating cadence. 'Chamego no Salao' captures the spirit of north-eastern Brazil and is brought to life by Lenine's vibrant voice and joyful interpretation, adding a playful tone with a jazzy touch. The art of improvisation is beautifully represented by 'Catarina e Teresa', an improvised composition created in collaboration with the legendary Hermeto Pascoal and dedicated to Grossi's twin daughters. Other tracks include 'Banzo', which showcases a rhythmic dialogue featuring Cuban pianist Omar Sosa. 'Motion', with the brilliance of both Jacob Collier and Seamus Blake, merges jazz and pop in a seamless melodic conversation.

With an open mind and without boundaries, he invites us to explore a vast musical universe, embracing art with profound emotion and passion. This is what you will hear and experience in 'Plural': a deep love for the art of sound and a profound respect for musical diversity - qualities that have defined his career.

'The creation of the band African Fiesta, founded in 1963 by three well-known musicians, Nicolas Kasanda, Tabu Ley Rochereau and Roger Izeidi, and the contributions of the VITA label, established by Roger Izeidi, occupy an exciting chapter in the history of Congolese popular music. During the mid-1960s, African Fiesta consistently reached the top of the hit parade. The band, which back in the day positioned itself as a competitor to a current called ‘Fiesta Cubana’, breathed new life into Congolese Rumba, continuing the tradition of the African Jazz school started by Joseph Kabasele.
'The VITA label, with African Fiesta as their sole provider, besides four songs of Eduardo De Veracruz Vinagre et Son Orchestre, ran between May 1963 and early 1966. It created a spectacular legacy and back catalog full of tasteful sentiments and sensual melodies, deeply rooted in the Afro-Latin sound.
'This new compilation offers a few of the classic African Fiesta songs and complements them with an eclectic and original selection, divided into four thematic sides: Showcase, Rumba Lingala, Cha Cha Cha & Bolero. This double LP album comes with a 16-page booklet featuring the history of VITA and African Fiesta, song commentary by Congolese journalist Herman Bangi Bayo, and a written catalog of the VITA label. The heirs of Roger Izeidi kindly gave permission in Kinshasa to release this album of African Fiesta on Planet Ilunga.'

The re-release of 'Flamma Flamma' by the Intuition Music labe was to mark the 30th anniversary and featured a remastered and re- edited version of the original album released worldwide in 1994. It's appearing for the first time on double vinyl, as well as on CD. The composer himself supervised the remastering and re-editing. After its initial release on CD in 1994, 'Flamma Flamma' climbed numerous international charts and quickly developed from an insider tip to a major bestseller and has been compared with Orff's'Carmina Burana'. The gothic world - both romantic gothic and trash gothic - also embraced the work during long 'Flamma Flamma theme weekends' in castles across Europe.

Nicholas Lens began his trilogy 'The Accacha Chronicles' (Flamma Flamma / Terra Terra / Amor Aeternus) with the first part, 'Flamma Flamma', as a search for harmony between the contradictory elements in nature and human nature. The fusion of nonEuropean musical cultures with Western classical music has been described and appreciated as highly unique. Finally, unlike almost every other requiem, 'Flamma Flamma' not only deals with grief and pain, but also presents death as anatural part of the cosmic life process.

After a brief hiatus, Lay Down The Groove is thrilled to be back with its 10th release, an EP that captures the essence and evolving spirit of the label.

Transcend EP marks the debut production of Palazzo, an Argentinian DJ and now Melbourne-based artist. This five-track release is the result of a deeply personal creative process, reflecting his transition from DJing to music production. Inspired by a broad spectrum of influences, the EP weaves together elements of House, Balearic, Tribal, and Latin rhythms, a rich and textured showcase of Palazzo’s unique musical vision.

To round off the release, the EP includes a deep and spacious Dub version of the track “Turquoise”, reimagined by label heads Lay Down The Groove, adding their own signature touch to the project.

Bebel Gilberto took the world by surprise with the release of ‘Tanto Tempo’ in 2000, a soulful blend of Brazilian and electronic music.


· Twenty-five years on, the album - widely regarded as one of the most accomplished works in contemporary Brazilian music - returns in a newly remastered edition from the original master tapes.
· The reissue celebrates Bebel’s international breakthrough and lasting influence, marking a milestone for an album that sold nearly a million copies and remains a touchstone in the global downtempo and bossa nova scene.
· The reissue will be available on digisleeve CD and double vinyl, both including previously unpublished texts and photos, plus a previously unreleased track only available on the CD, ‘No Return’.

Channeling inventive sound design into incisive, characterful techno variations, Jurango returns to Livity Sound with an eight-track double EP — his longest release to date. Taíno Gold captures a moment in time for Bristol-based Nate Reece's continually evolving sound as it draws on the full spectrum of UK club music.

Following a debut for Livity's reverse label in 2021 and last year's An Amorphous Mass EP, Reece is more assured than ever tackling a variety of club-focused cuts. The tracks on the release all came together before, during and after a two-month visit to Reece's grandparents' home — an idyllic tropical environment in a small community at the top of a hill in the northern part of Jamaica.

Taíno Gold refers to the island's indigenous Taíno community and the legend of a witch luring Spanish settlers into a trap on the Martha Brae river. There are no messages explicitly embedded in the music, but the release is both a personal reflection of Reece's own experiences and family heritage, plus a reminder about the enduring sceptre of colonialism and the continued need to fight against it. From absorbing Jamaica's fraught history through museum and plantation visits to the abundant nature in the garden surrounding his grandparent's house, the double EP marks a place in time for Reece, with eight advanced, ear-catching tracks as the end result.

From the cascading arps of 'Black Torches' to the tunnelling chords of 'Waiting For Trelawny', the melodic dimension of the Jurango sound is more confident than ever. 'Hibiscus' is a shimmering celebration of dub techno and crooked drum pressure and 'Chalk On Trees' basks in aqueous, fathoms-deep pads to close out the EP. Elsewhere, Reece brings new textural and tonal detail to his percussive workouts, splashing acidic noise around the angular experimentation of 'Maybe It's Broken' and firing off double-time rhythms to inject 'Double Sevens' with infectious urgency.

With the space afforded by a longer release, Reece widens out the scope of his artistic identity while absorbing the particular scene and setting that surrounded him while making the tracks. Taíno Gold is a vibrant next step for Jurango and a natural continuation of his work with Livity Sound.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

„Amorica” ist das dritte Album der aus Atlanta stammenden und von den Brüdern Chris und Rich Robinson
gegründeten Rockband The Black Crowes. Nach zwei erfolgreichen Alben, „Shake Your Money Maker”
(1990) und „The Southern Harmony and Musical Companion” (1992), standen die Brüder 1993 vor der
Herausforderung, an diese Erfolge anzuknüpfen. Obwohl Chris und Rich ihre persönlichen Probleme haben,
gibt es eine
Verbindung, die sie zusammenhält und zu Amorica führt. Das Amorica-Boxset und das einstündige Gespräch
mit Chris und Rich reflektieren, wie diese Verbindung auf die Probe gestellt wurde, als sie versuchten, Tall
(das verworfene Album vor Amorica) aufzunehmen, sich neu zu formieren und die richtige Energie zu finden,
um „Amorica” aufzunehmen. Sie erzählen auch von der legendären „Mushroom Party”, die am Ende der
Amorica-Sessions stattfand und sowohl die Visuals als auch das Albumcover beeinflusste.
Amorica erscheint am 14.11.2025 als limitierte CD- und Vinyl-Box und 2LP

„Amorica” ist das dritte Album der aus Atlanta stammenden und von den Brüdern Chris und Rich Robinson
gegründeten Rockband The Black Crowes. Nach zwei erfolgreichen Alben, „Shake Your Money Maker”
(1990) und „The Southern Harmony and Musical Companion” (1992), standen die Brüder 1993 vor der
Herausforderung, an diese Erfolge anzuknüpfen. Obwohl Chris und Rich ihre persönlichen Probleme haben,
gibt es eine
Verbindung, die sie zusammenhält und zu Amorica führt. Das Amorica-Boxset und das einstündige Gespräch
mit Chris und Rich reflektieren, wie diese Verbindung auf die Probe gestellt wurde, als sie versuchten, Tall
(das verworfene Album vor Amorica) aufzunehmen, sich neu zu formieren und die richtige Energie zu finden,
um „Amorica” aufzunehmen. Sie erzählen auch von der legendären „Mushroom Party”, die am Ende der
Amorica-Sessions stattfand und sowohl die Visuals als auch das Albumcover beeinflusste.
Amorica erscheint am 14.11.2025 als limitierte CD- und Vinyl-Box und 2LP

Mit Fieras präsentiert das kolumbianisch-deutsche Duo Cosmica Bandida - bestehend aus Manuela Illera und David Blitz - sein erstes vollständiges Album. Nach der EP Lágrimas Saladas entfaltet sich hier ein musikalisches Universum voller Mythen, Rituale und sinnlicher Visionen. Jeder Track öffnet eine neue Tür: vom surrealen Tiburón Blanco über das feurige Volcán bis zum hypnotischen Pantera del amor, das den Dembow neu denkt. Die Musik von Cosmica Bandida verbindet psychedelische Cumbia-Grooves mit elektronischen Texturen, durchzogen von Einflüssen aus Italo Disco, Trap und Latin Alternative. Fieras ist mehr als ein Album - es ist ein klangliches Ritual, das Körper, Schatten und Stimmen auf einer tropisch-kosmischen Tanzfläche vereint.

Mit Fieras präsentiert das kolumbianisch-deutsche Duo Cosmica Bandida - bestehend aus Manuela Illera und David Blitz - sein erstes vollständiges Album. Nach der EP Lágrimas Saladas entfaltet sich hier ein musikalisches Universum voller Mythen, Rituale und sinnlicher Visionen. Jeder Track öffnet eine neue Tür: vom surrealen Tiburón Blanco über das feurige Volcán bis zum hypnotischen Pantera del amor, das den Dembow neu denkt. Die Musik von Cosmica Bandida verbindet psychedelische Cumbia-Grooves mit elektronischen Texturen, durchzogen von Einflüssen aus Italo Disco, Trap und Latin Alternative. Fieras ist mehr als ein Album - es ist ein klangliches Ritual, das Körper, Schatten und Stimmen auf einer tropisch-kosmischen Tanzfläche vereint.

Ähnlich wie die nachtblühende Flora, nach der das Album benannt ist, ist Constant Smiles' Felte-Debüt ,Moonflowers" das Ergebnis langsamer, weitgehend unsichtbarer Wachstumsmuster. Die in New York ansässige Band hat sich ihren eigenen Weg hierher gebahnt und sich nach und nach von einer amorphen Sammlung hochkonzeptioneller Ideen zu etwas Greifbarerem entwickelt, wobei jeder Schritt ihres ungewöhnlichen Weges zu ,Moonflowers" führte, einem subtilen Meisterwerk des intern entstandenen Ambient-Pop. Constant Smiles wurde 2009 von Ben Jones gegründet. Er wurde von verschiedenen Mitwirkenden in verschiedenen Versionen der Band unterstützt, die sich in Form von lauten Soundscapes, szenischem Chamber Pop oder eisigem Coldwave-ähnlichem Synth-Pop manifestierten und oft auf undurchsichtig gestalteten, ultra-limitierten Alben veröffentlicht wurden, die nach Lieblingsfilmregisseuren benannt waren. Durch den Umzug nach New York und einige Platten bei Sacred Bones wurde die Band einem größeren Publikum bekannt, aber Jones und seine Freunde blieben in ständigem Wandel. Die große Entschlüsselung des Constant Smiles-Rätsels erfolgte, als sich die Band zu einer festen Kernbesetzung formierte, als Schlagzeugerin/Sängerin Nora Knight Ende 2022 zu Jones und dem langjährigen Bassist Spike Currier stieß. Nach Jahren, die von tiefgreifenden Veränderungen und Unbeständigkeit geprägt waren, veränderte diese stabilisierte Besetzung den Sound, die emotionale Färbung und die Wirkung der Band. Mit Knight und Currier, die einen Kontrapunkt und Struktur zu Jones' stets sprudelnder Kreativität bildeten, wurden die Songs stromlinienförmiger und direkter. Nach wie vor luftig und traumhaft, hat die Trio-Version von Constant Smiles, die Moonflowers produzierte, die Wolken der Unbestimmtheit und Unsicherheit beseitigt, die es schwieriger machten, sich mit früheren Versionen der Band zu identifizieren. Wie die besten Momente der grundlegenden Alben von Talk Talk oder Nick Drake, die gelebte Erhabenheit von Adrianne Lenkers Songs/Instrumentals oder Jim O'Rourkes Ausflüge in den Kammerpop erreicht Moonflowers seine dynamischen Schwünge auf natürliche, fast unterschwellige Weise. Es ist ein Sound, den frühere Veröffentlichungen von Constant Smiles andeuteten, aber nie ganz erreichten. Moonflowers ist die klarste Sicht auf etwas, dessen Entstehung Jahre gedauert hat, das sich aber dennoch ganz natürlich wie eine Einführung anfühlt. Die Musik ist sorgfältig, aber nicht überladen, und das passt perfekt zu Songs über Gefühle, die entstehen, bevor man Zeit hat, nachzudenken. In dieser vollendeten Form erschließt Constant Smiles etwas Instinktives, eine Atmosphäre der Stille mit mikroskopisch kleinen Teilen, die nie aufhören, sich zu bewegen, und Songs, die fast transparent sind, aber dennoch irgendwie schwerer als ein Berg.

This anthology of Los Wembler's allows us to appreciate the legacy of the iconic group from Iquitos, the most important city in the Peruvian Amazon which is only accessible by air or river, and their key role in the creation and revival of Amazonian cumbia. Los Wembler's emerged as a family band in the late 1960s in the Belén district of Iquitos and are regarded as pioneers of electric guitar-driven Amazonian cumbia from Perú. The selection of songs that make up this compilation dates from the period between 1972 and 1980, at the peak of the band's career. Songs such as 'Sonido amazónico' or 'La danza del petrolero' have become highly influential classics of the genre. Most of these tracks are reissued here for the first time after remaining unavailable for decades. "Selva" includes an insert with liner notes and photos. Pressed on 180g vinyl.