Buscar:analog 1

Boutique-pressed 7" vinyls A-side: "Wonderin'" / B-side: "Dream"

Drawing influence from the likes of CAN, Faust, Mahavishnu Orchestra, and David Vorkhaus, Shakti Soundsystem traverses the borderlands of psychedelic rock, Krautrock, jazz fusion, and ritual improvisation. But this isn't a retro trip—this is future folklore.

Each track is a trance in motion, built on hypnotic basslines, spiraling melodies, and moments of ecstatic dissonance. The instrumentation is as unconventional as the process: Bulbul Tarang, modular synths, guitars, drums, and vocals that oscillate between invocation and surrender.



Their first singles have already made waves across tastemaker blogs and listener-curated Spotify playlists, includingNeo-Psychedelia, Psych Rock Melting Pot, Rock for when 26 King Gizzard albums aren't enoug and Psychedelic & Space Rock.

"Wonderin',"described by Analogue Trash (UK) as "an absorbing, psychedelic jam that thrives on hypnotic repetition and a raw, live energy,"introduced their trance-infused sound to a wider audience.
"Silver," hailed by RMAS (Mexico) as"a hypnotic journey between Krautrock and spoken word... a sonic delirium that recalls CAN and the free spirit of the European underground," cements their place in the modern psych scene.

Letztes Jahr erschien in Blue Notes audiophiler Tone Poet Serie mit “In The Wee Small Hours“ erstmals
ein Klassiker von Frank Sinatra. Die Überraschung ging voll auf: das Album wurde einer der größten
Verkaufserfolge der Serie. Jetzt folgt mit ”Songs For Swingin’ Lovers!” ein zweites Sinatra-Album in gleicher luxuriöser Aufmachung und Verarbeitung: Wie bei der Serie üblich wurde auch diese Produktion
von “Tone Poet” Joe Harley persönlich überwacht, von Kevin Gray bei Cohearent Audio rein analog von
den Originalbändern gemastert, bei Record Technology Inc. (RTI) auf 180-g-Vinyl gepresst und in einer
luxuriösen Tip-on-Gatefoldhülle verpackt.
So gut wie in dieser Fassung hat das relaxed swingende Album ganz sicher auf LP noch nie geklungen.
Es wurde 1956 in den Capitol Studios in Hollywood aufgenommen und enthält großartige Nelson-RiddleArrangements von Klassikern wie ”You Make Me Feel So Young“, ”Love Is Here To Stay“ und ”I’ve Got
You Under My Skin“.

JeGong, known for their immersive, rhythm-driven explorations of Krautrock and experimental sound design, now take an exhilarating leap into brighter, nostalgically stranger territory. `Gomi Kuzu Can` is an electrifying journey through Kraut, Post- and Experimental Rock, delivered with the analog warmth of the '70s. Across eleven meticulously crafted tracks, JeGong embrace their roots while fearlessly expanding into neon-lit, beat-driven worlds where kinetic rhythms meet playful sonic futurism. It is music built for movement, contemplation, and the ecstatic strangeness of possibility. Their approach borrows the endurance and patience of minimalism, but they subvert minimalism's austerity with grit, distortion, and physicality. The result is music that feels alive in motion: constantly shifting, tightening, unfurling, and mutating even when its core pulse remains unbroken. "We wanted to create a `70s sound as the recording foundation - a sonic aesthetic that sets a mood through warm tape saturation. Like a kind of memory box where you can store recollections, for example from childhood, when you would spend hours by yourself watching TV and listening to the radio, often both at the same time." (JeGong) `Gomi Kuzu Can`, is hand-built, lovingly assembled from circuitry, intuition, and raw creative impulse. This tactile quality is precisely what makes the album's danceability so impactful. In blending organic rhythm with retro-electronic brightness, they've created a sound that is both familiar and refreshingly new. In the end, JeGong's sound is less a genre and more a landscape: rugged, hypnotic, austere, and strangely spiritual. It is music built on the bones of rhythm and the electricity of repetition, crafted with the precision of engineers and the instincts of explorers. FOR FANS OF Neu!, Cluster, Tangerine Dream, Swans, Mogwai, Sonic Youth, John Zorn The single colour edition comes as Glass Clear vinyl!

Ol' June & The Ashburns deliver timeless soul with a modern edge. Their new single "What's her Name?" is a slow-burning groove in 6/8, built on lush instrumentation, warm analog textures, and heartfelt storytelling.Inspired by the golden era of Soul, the track captures the mystery of a fleeting moment — the glance of a woman who lingers in memory long after the nightfades.A soulful, cinematic journey for fans of vintage grooves and contemporary soul alike new single release "What's her Name?"

"Can't Let Go" by Ol' June & The Ashburns is a modern soul ballad with a timeless 70s feel. Driven by a steady groove and heartfelt vocals, the song tells the story of a man torn between leaving and holding on to a love that's both beautiful and destructive. Nostalgic yet raw, it's soul music that lingers long after the last note

Here comes the first appearance on vinyl of Elf Bagatellen, a 1990 FMP classic from the legendary Schlippenbach Trio where the group achieved fever-dream beauty through self-imposed temporal limitations. The trio deliberately shaped the music, opting for more concise pieces rather than concert-length performances that had become standard practice. Those durational limitations clearly inspired them, bringing a jewel-like, compositional flow to many of the works, although even when the trio seems to be playing a tune in a piece like "Analogue: Scaled" the performance moves so rapidly into the next event any such notion is banished. And yet some of Schlippenbach's older themes resurface in abstracted ways, whether it's Pakistani Pomade's "Sun-Luck Night-Rain" appearing as quicksilver line in "Sun-Luck: Revisited" or Globe Unity's "The Forge" sneaking into "The Forge: Rebellowed." The concision of shorter pieces, including several solo works, arrive as a kind of fever dream in the usual context of free jazz. Schlippenbach Trio soon snapped back into its working methodology on its follow up album, Physics, in 1993, which further elevates the singularity of Elf Bagatellen. The album captured a different side of the trio and helped inform the modern classical tilt in European improvised music. Cien Fuegos is delighted to reissue this undeniable classic, making it available on vinyl for the first time ever, freshly remastered by Martin Siewert. Evan Parker - soprano & tenor saxophone - Alexander von Schlippenbach - piano - Paul Lovens - selected drums and cymbals This album was released as a cd on FMP 1990, remastering for vinyl by Martin Siewert 2025

Jeb Loy Nichols is at it again with a brand new 7” that pairs two sides of his soulful storytelling. On the A-side, the exclusive cut “Do The Get Together” makes its debut – a slow-burning southern soul dancer that gently calls people closer, both on the dancefloor and beyond it. With warmth, patience, and a steady groove, Nichols invites connection without force, offering a quiet reminder that togetherness can still feel natural and unpretentious.

Driven by Cold Diamond & Mink’s deep-pocket rhythm and understated analog textures, “Do The Get Together” unfolds with ease. The groove never rushes, allowing Jeb’s voice to guide the message with soft authority and lived-in wisdom. It’s a song that feels tailor-made for late-night spins, where movement and meaning find common ground.
On the flip, “First Night Away From Home” brings listeners back to the opening chapter of Nichols’ latest album This House is Empty Without You. Warm, melodic, and intimate, the track captures that mix of vulnerability and quiet resolve that defines Jeb’s songwriting. Together, these two sides form a perfect 7” pairing, pressed for those who value soul that speaks gently but stays with you

In 1983 Nana Vasconcelos came into contact with a group of young musicians from Quebec City, who combined their association with the avant-garde with a visceral love for Africa and the Far East. The entire album encompasses the musicians' multifaceted music experience infused by a sense of spirituality and mystery - immersed in an ocean of rhythm with one shore in Brazil and the other in Africa. Ntsano is now available on CD for the first time, plus 180g vinyl with cutting and pressing by Pallas Group, Germany. The limited edition LP is presented in a gatefold sleeve with booklet & each copy is hand numbered. The audio has been transfered from original analogue tapes.

An album with reflection, resilience, journey, and elemental connections at its core, Hollow Chapters is a collection of original songs written and performed by the Marsh Family - Dad (Ben, 49), Mum (Danielle, 48), sons Alfie (19) and Tom (18), and daughters Ella (16) and Tess (14). Recently featured in The Observer, the multiinstrumentalist family group of six from Kent have a significant international online following passionate about their mix of folk- pop harmonies, uplifting messages, authentic imperfections, and sense of connection and heart. Hollow Chapters ranges across genres (from acoustic protest songs to funk and reggae rock), but has a vintage organic style, rooted in natural analogies, ideas of journey and lifecycle, and epic and inspirational themes. It promises to move people emotionally, whether through ballads about departed loved ones or stirring tracks designed to forge collective action and hope. The songs tell stories using the different voices of family members, drawing inspiration from poetry, landscape, and artefacts.

Thomas Peter debuts on Hallow Ground with »changing bodies,« an album inspired by the resonance and reaction of objects with and to sound. The Swiss composer and sound artist has worked with sounds generated with various materials, field recordings, and an array of analogue and digital synthesizers to create five ever-shifting pieces full of twists and turns in which even silence plays a significant role. Peter composed and recorded the album over the course of four years in an inherently physical process, led by both his intuition and his perception—what you hear on »changing bodies« is an artist intently listening to the material world around him.

Peter laid the foundation for »changing bodies« by making field recordings wherever he went, whether in closed rooms, cities, or rural environments, while also recording organic-sounding material with different synthesizers as well as working with objects made of wood, stone, or metal. »I viewed all these sounds as a kind of language that I was trying to understand,« he says. »I paid close attention to differences between sounds in motion, rhythmic patterns, and dense textures.« He further describes this as an inherently corporeal endeavour, quite literally becoming all ears and internalising the different sounds.

This process of concretion led to one of abstraction when Peter translated the source material and its psycho-physical reverberations into new musical structures. He applied repetition, densification, and recombination to unlock their true potential. Across its five tracks, the album sets literally unheard-of sounds into motion, creating intricate dynamics without ever overwhelming its listeners. »changing bodies« was born out of listening intently and physically.
It is recommended to listen to it in the exact same way.

Mit 30 eindrucksvollen Tracks laden Svein Berge und Torbjørn Brundtland die Hörer:innen auf eine klangliche Reise ein, die tief in atmosphärische Klangwelten eintaucht. Das Album, eine Hommage an das Ambient-Genre, verbindet hypnotische Texturen, subtile Melodien und immersive Soundscapes, die den Geist beruhigen und gleichzeitig inspirieren. Als Erweiterung ihrer gefeierten Profound Mysteries-Reihe beweist Nebulous Nights einmal mehr Röyksopps unerschöpfliche Kreativität und ihr Gespür für emotionale Klangkunst. Röyksopp: "Analoge, rohe und immersive Klänge. Das ist „Nebulous Nights“ – eine ambient hafte Neuinterpretation unseres Albums „Profound Mysteries“. Live aufgenommen, fängt diese After-Hours-Session die Essenz von Nostalgie und Verweisen ein: Huldigungen und Anspielungen, die auf verschiedene Elemente des Röyksopp-Kosmos zurückgreifen. All das ist sorgfältig in eine esoterische Hülle gewickelt, durchzogen von analoger Wärme und voll kleiner Details, die aufmerksame Hörer:innen entdecken können. Doch „Nebulous Nights“ ist mehr als ein reines Hörerlebnis: Das Album möchte die Bedeutung von kritischem Denken und neugierigem Nachforschen hervorheben. Es lädt dazu ein, die eigene Vorstellungskraft und das Streben nach Erkenntnis nicht durch ein festgelegtes Weltbild oder starre Denkweisen einzuschränken, sondern offen für Wachstum und Erkundung zu bleiben. Diese Idee wird perfekt durch ein Zitat von Albert Einstein zusammengefasst: „Das Schönste, was wir erleben können, ist das Geheimnisvolle. Es ist die Quelle aller Kunst und Wissenschaft. Wer diese Empfindung nicht kennt, wer nicht mehr staunen und sich in Ehrfurcht verlieren kann, der ist so gut wie tot – seine Augen sind geschlossen.“

Für ein vollständiges, intensives Erlebnis empfehlen wir, das Album mit Kopfhörern zu hören. "

It started in a Brooklyn studio back in 2011. A raw demo, a shared vision, and a deep reverence for the echoes of Basic Channel and King Tubby. After years of meticulous overdubbing and sonic layering, Marter (Bass) & Yony (Drums) have finally completed their masterpiece. Originally licensed to Bill Laswell’s label for digital release, this warm, lo-fi journey is finally available in its truest form. Recorded on 4-track and 8-track tape before meeting ProTools, every frequency breathes with analog soul.

This album sold out immediately upon its initial release in 2018. Due to overwhelming demand, a highly limited number of copies have been repressed with sticker on black jacket.

2nd album is on the way!

Elevation, released in 1974 on Impulse! Records, finds saxophonist Pharoah Sanders expanding his spiritual jazz vision on an album that balances ecstatic expression with focused ensemble interplay. Produced by Ed Michel and recorded in 1973 across two live performances and a studio session, Elevation features a dynamic ensemble including Joe Bonner on piano, Calvin Hill on bass, and Michael Carvin on drums.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’s ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation comes towards the end of Sanders’ tenure on Impulse!— a cohesive and spiritually resonant statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The album’s open forms, modal grooves, and spiritual themes underscore Sanders’ ongoing search for transcendence and cultural affirmation through sound. With chant-like melodies, circular motifs, and immersive rhythmic textures, pieces like “The Gathering” and the title track reflect a more meditative and exploratory side of Sanders’s aesthetic. Elevation marks the culmination of his Impulse! discography — a cohesive and spiritually resonant final studio statement that bridges the raw fire of earlier albums with a deeper, more spacious sound.

The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

a A1. Elevation 18:26
b A2. Greeting To Saud (Brother McCoy Tyner) 4:15
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1. Elevation [18:26]
[b] A2. Greeting To Saud (Brother McCoy Tyner) [4:15]
[c] B1. Ore-Se-Rere (Nigerian Juju HiLife) [6:20]
[d] B2. The Gathering [14:09]
[e] B3. Spiritual Blessing [6:20]

[a] A1 | Elevation [18 26]
[b] A2 | Greeting To Saud (Brother McCoy Tyner) [4 15]
[c] B1 | Ore-Se-Rere (Nigerian Juju HiLife) [6 20]
[d] B2 | The Gathering [14 09]
[e] B3 | Spiritual Blessing [6 20]

A Profound Non-Event, the debut album by Sydney-based three piece Daily Toll, comprises 11 songs traversing three years of forged friendships, collaborative experimentation and a shared love of growing through words and song.

Those attuned to the ever-vibrant Australian underground may already be well familiar with Daily Toll, their consistent live presence since their inception in 2021 embroidered by a handful of (mostly) home-recorded, (mostly) digital self-releases that have steadily accumulated an appreciative following. Initially the project of self taught musician, poet & artist Kata Szász-Komlós(they/them) and Jasper Craig-Adams(he/him), and expended to a three piece with the more recent addition of friend Tom Stephens(he/him), Daily Toll represents the union of three unique creative dispositions, of relationships blooming through the push and pull of creative practice. Mapping the band’s existence through their recorded output is to bear witness to the flux of three people learning to respond to one another and gently ossify into a collective vision that at once calls to mind folk song intimacy, post-punk dynamics and the artful poeticism of an adjacent Flying Nun legacy.

If those earlier recordings reflect a band imagining themselves into being in real time, A Profound Non-Event observes a clear shift in both conviction and approach. Recorded in just three days with Alex Bennett at the purely analogue Sound Recordings studio in Castlemaine and holing up at night in the century old cottage situated beside the studio, sheltering from the late-June wind and rain within walls littered with instruments and microphones, lighting fires to stay warm. Kata describes the experience as defined by “candle light and creative camaraderie”, an idyllic account of a collection of songs that glide with an undeniably warm, easy charm, evidenced in particular in the record’s second half as the tone turns increasingly introspective, the very sound of a cold evening’s drift into night. When contrasted with the moody swirl and sing-song bounce of the opening trio of tracks, there’s clear evidence of a band not simply in the process of becoming, but committed to finding their truth in that process.
Still, if Daily Toll display a reluctance to be wholly defined, then album centerpiece ‘Killincs‘ (positioned in the middle for a reason) might just be their Rosetta Stone. A verbose rumination on unsettled feelings of isolation and longing, exploring the challenges in making peace with one's decisions amidst the uncertainty of an often harsh world and the realisation that some things remain best unresolved - “I have the keys still, but I’ve buried the path”.

In 2025, Off The Grid celebrated 10 years of existence, throwing several events throughout the world.

It's now time to put a seal on these celebrations with a curation of music, gathering old and new faces orbiting the OTG galaxy, divided into two compilations.

For Part 1, deeper and deeper we go, focusing on delicate aesthetics and dubby grooves, trippy sounds and dreamy atmospheres. A soundtrack for early mornings and initial stages of the night.

Off The Grid was born around this sound and this is a tribute to it.

Part 2 will be announced in Spring.

Stay tuned!

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Mastering & Lacquer Cut by Marco Pellegrino at Analogcut Mastering Studio Berlin
Graphic Design by Guillaume De Ubeda
Pressed at Mother Tongue in Verona

Long part of Portugal's ever expanding house scene, Bogdan Ra loves acid, and frankly, don't we all. This new drop on his Love Affair label offers up four more 303-inspired works full of dirtiness, sleazy texture and analogue punch. Side A opens with the classic leanings of 'Damn Fine' with a rasping acid line and hefty groove, while 'Habibi' is where eastern melodies meet jacked up drum work. Side B amps up the vibe with 'Feel', offering a faster, more edgy sound and 'Action' is a driving New Beat-inspired sound with phased bass, withering sci-fi synth motifs and darker, snappier moods and grooves for when the lights go down low and things get naughty.

Following “The Red Pill” and “Suicide Neighborhood”, VHS Horror Tape marks the next chapter in the sonic universe of Dutch synthwave wizard Adam Tristar. The album expands on his signature sound with darker tones, gritty analog textures, and a strong cinematic horror influence, evoking late-night VHS aesthetics, neon-lit nightmares, and retro-futuristic suspense. It’s a haunting journey that blends nostalgia with menace, pushing his synthwave style into deeper, more ominous territory. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK viny. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Auntie Flo delivers two extended versions of Costa Rica based singer-songwriter Doe Paoro. If you liked Auntie Flo's 'Green City', check these...

Doe Paoro approached Brian d’Souza aka Auntie Flo to do a remix for her album 'Living Through Collapse' last year. He loved the parts she sent so much he asked her if he could do two remixes, press onto vinyl and release via A State Of Flo.

We're doing a limited run of 300 copies only, orange vinyl - so buy today if you don't want to miss out.

The tracks... Teach Us Of Endings - a classic balearic groove, gloriously uplifting disco-style strings and complete with Green City-style drum rolls and a killer Ziggy Funk bass line ... just waiting for those strings to come in...bliss

Maya - exotic, deep, hypnotic. Centred around a Ziggy Funk groove with analogue washes and Middle Eastern sounding instrumentation.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

Support from Colleen ‘Cosmo’ Murphy, Luke Una, Dar Disku, Paula Tape, Sean Johnston, Gabriels, Batida etc

BOSLTD013 brings Luminér in a tight, floor-minded 12" that leans into the warm end of micro house and minimal without losing its bite. Analogue Forma is all about motion and detail: elastic grooves, crisp drum work, and that slightly dusty, hardware-fed sheen that sits perfectly between deep and functional.
Across four cuts, the record shifts from rolling, hypnotic pressure to sharper, twisted angles, keeping the swing present and the space alive. The B-side closes with “Forma (Gogan Remix)”, flipping the original into a more driving, late-night tool while staying true to the release’s analogue character. Vinyl only, built for DJs, and made to live in the mix.

Analogue Audio Archive, Issue One (AAA001VA) moves between focused listening and the dancefloor, exploring the correlation between machine-made sound and human feeling. Featuring Linear System, Hugo Rolan, Translate, and Ben Behrendt.

Interstellar Echoes is a deep, hypnotic blend of Dub Techno and Dub House swing, built for late-night systems and long transitions. WM002 on Watermellow Music brings Benjamin Shock into full orbit mode: Warm chords drift through cavernous delays, low-end pulses stay locked and steady, and each track unfolds like a slow-moving spacecraft patient, spacious, and heavy with atmosphere. From the rolling drive of “Analog Odyssey” and the expansive glide of “Space & Time” to the tougher push of “Thunder Jam” and the weightless swirl of “Orbital Resonance,” this 12” is pure cosmic dubbing subtle, immersive, and endlessly repeatable.

Be fast!! New analog cut! In response to popular demand, KOLTERCAMP is back with a new, exciting selection of KOLTERs self released music.

We present an EP from two house masters Artem Stan & Matpri on Analog Concept records.

This record was born like in the classic 90s from jam sessions in the studio, when musicians caught the groove and connected their deep universes, showing true love for house music. Everything is combined here - the sound of drum machines 909 and not only, atmospheric acid impulses of 303, classic pads that paint these paintings bright and filled with deep meaning, as well as much more. Amazing two sides and four compositions, each with its own story.

The Midnight Seduction track opens the telling of these stories on side A. From the first seconds, immersing in the atmosphere of synthesizer temptation, the analog bass line combined with the default drum section and elements of bright metal claps quickly gain the necessary energy and immerse in the images of a closed nightclub with long corridors and hidden dance floors. The light plume of the classic M1 organ and the accentuating Acid lead maintain balance. Secret nocturnal seduction, light ecstasy and an atmosphere of love.

French Kiss - everything is great here, as soon as you listen to the harmony of accordion-like synthesizers and deeply addictive pads, you are instantly transported to the image of Parisian streets. Elements of bells, a rhythm section filled with unpredictable percussion, acid inclusions and an unexpected immersion into a broken beat in the middle of the composition, a real deep French kiss.

Matpri is known for its sophisticated approach to music and is rightfully the guru of micro and minimal house. Having created the maximum sound quality of the rhythm section and the deep bass that was addictive from the first seconds, mixing old-school vibe, while not losing touch with his minimalistic sound image, he filled the House Template track with the smallest details and percussion, which is confidently based on the B-side.

Four certainly high-quality compositions were created in the studio of Artem Stan in the mountains of Krasnaya Polyana and one of the tracks on the B-side - "Nasha Polyana" - is dedicated to this location, it conveys a certain playful atmosphere of a mountain village with a vibe of complete freedom and daily carefree. A complete release with decent house music.

Mean Field Mutation is a thermodynamic phenomenon occurring just below the vaporization point of voracious growth. It relies on the debris of false and almost forgotten narratives. Astral residue of consumer angst, echoes of obsolete newspeak and oscillations of promotional imbecilities collide with free floating particles hovering under the radar of the megamachine. In steady intervals, this results in a meltdown producing random waves of reconfigurations driven by cryptic but sanguine naivety.
Released on Lustpoderosa, Mean Field Mutation is the first musical output by Des Coda. Written and produced by Piero Scherer during the pandemic winter of 2021 in his bedroom studio in Zurich. Moving between playful
serenity and feral distortion, it was produced by layering sounds from field recordings, radio and TV clips, as wellas sequences from drum machines and analogue synthesizers. Taking a stance against commercial copyright, all stems of this production are available for download free of charge and ready to be reappropriated.
Des Coda is an open field for collaborative, cultural experiments beyond the conventional understanding of authorship and representation. It engages with an artistic position that defines the creative process as an interplay between context and concept. The resulting work is not a rigid product of authoritarian ingenuity, but a sensitive, living organism guided by the tensions between society and individual. Des Coda is the zestful curiosity rummaging through the rubble of the present in search of future aesthetics.

After a moment of calm, De Lichting returns with the fourth instalment in its double LP album series, Vier.



Never losing touch with its roots in emotional dance music, Vier is a tribute to the electronic soul, something increasingly overlooked on today’s dancefloors. queniv’s Frequency Match opens the album as a gentle invitation, built on minimal drum work and long, stretched pads. RDS’s Aerial Reflections continues in the same vein, leaning into a more serious mood with old school flavoured rhythms.

The first heavier club moment comes from Human Space Machine with Test Rec. A more tense, primetime leaning, proggy groove unfolds, washed in nostalgic strings and trippy elements for both body and mind. Nathan Kofi follows with Kinesis, a proper Detroit infused techno track that pushes the experimental edge further, darker and more driving.

On the second record, the mood shifts into deeper melancholy with Eversines’ Lift The Veil, featuring classic deep house textures of Rhodes chords and FM basses. Nearing the end of the album, Proxyan’s Another delivers pure credits rolling, emotion drenched analogue funk electro, a track the rest of the group had to beg Robbert to include. We are glad we did.

As a kind of bonus track, RDS and Eversines close Vier with a tech house rework of their earlier track Missing. Released on vinyl for the first time, it was previously available only in digital form via Kalahari Oyster Cult.

Transient Response is a storytelling of moods in motion, from city to city, situation to situation from China-born, London-based artist Guohan. Side A opens with ‘Don’t Forget Your Hiss’, a funky dusty groove built around the repeated phrase ‘带走我的’ gradually unfolding into ‘带走我和你的故事’ meaning ‘bring along the stories of yours and mine’. ‘First Light’ follows as a percussive MPC-driven slow burner, capturing a swirling summer day in the studio.
Side B starts with ‘Seeds of Tomorrow’, a mellow drive through thoughts with a broken groove constructed with drum machine, djembe and shaker. Growing synths and bassline from the analogue devices keep your head nodding and feet moving. Backed with a remix from Xiamen-based artist Knopha.

Todh Teri returns with a brand new record, and this time the spotlight falls on Hari Heart. The Return of Hari Heart marks the eighth release on Masala Movement Records and launches a fresh vinyl-only series that brings the mythical characters of Deep In India back to life in a bold new form. Todh Teri further expands his conceptual universe by focusing on deeper sonics & music explorations. Hari Heart guides the release with a delicious blend of nostalgia, analog warmth and a club-ready intentions - built for curious DJs (and listeners alike).

On the A side you will find Smriti (Remembrance) - a reimagined classic flipped into a peak-time driver - disco spirit, acid bite, and pure dancefloor release. Limited, loud, and made to move bodies. On the flipside we have ??a (Debt) - a deep, dubby slow-burn built around an evergreen melody which grows patiently - finally rewarding you with a sweet earworm.

The final tune on the record is Prem (Love) - a reinterpretation of a ’70s indie rock n roll gem. Unmistakably retrospective (if you know your history). Play it a bit longer into the dead wax, and you will catch a hidden acid sequence locked groove.

Art by Soju Aduckathil with creative direction from Masala Movement’s Manoj Kurian. This is the label’s eighth release, a vinyl-only exclusive, with more coming in 2026.

Detroit mixmaster Omar S serves new techno from out of leftfield with 'I Like You', a fresh 12" from the self-professed "best dance music producer and track mixer using faders (not a mouse)" in the city. Omar's all-analogue focus shines through here, professing his amourance for the listener in a short three-track spate. The mix job varies from crunchy to subdued to dynamic; 'I Like You' is the freakiest and roughest, a proper nerve shredder with fizzling hi-hats, 'Sad Techno' falls in the latter camp, sounding less melancholic than alien, a central acid burble glugging away against skeletal kicks. The closing track, meanwhile, 'Before Romance' bumps along with a funk feel that's so low slung it's on the verge of lewdness. Needless to say, we like it a lot.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalises on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing.

The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album — field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces.

Hitchell threads his dub techno tendencies in subtle ways, from the kick pattering underneath 'As Time Stood Still' to the quintessential metallic delay ripples that define 'A Silent Storm'. 'Someplace Else' has a defined, albeit delicate, rhythm section guiding its lighter shades of pads and chords. However, drums are never a dominant aspect of the music, simply another layer in an intentionally coagulated whole. At times, flickering tones hint at space where percussion once stood, since muted to leave the wet signal setting a new course for the sound, somewhere far beyond drum duties. The hushed ceremony of tracks like 'Adrift' are the perfect scenario in which to absorb these microfibres of detail, where the genius of Hitchell can truly be savoured.

In line with the limitations of record pressing and Hitchell's proclivity for long-form tracks, 'The Setting Sun' is reserved for the digital edition of this reissue. It's a logical move, as the sound palette widens to encompass tangible, organic instrumentation evolving over the best part of half an hour. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon — a unique piece that holds its own space comfortably, while also adding to the overall weight of The Setting Sun as a profound benchmark in a stellar discography.

Market East teilt endlich seine wichtigste Botschaft mit der Welt in Form seines Debütalbums ,French Street". Die Band, bestehend aus Kurt Cain (Gesang), Vincent John (Gesang, Bass, Gitarre und Keyboard) und Maxwell Perla (Gesang, Schlagzeug und Percussion), liefert ihre charakteristischen himmlischen dreistimmigen Harmonien über Arrangements, die noch nie so reichhaltig und fesselnd geklungen haben. ,French Street" ist extrem gefühlvoll und die Vocals sind üppig, als hätten die Zombies in Muscle Shoals aufgenommen. Die Texte sind poetisch und nostalgisch, da die Band Songs über ihre vergangenen ,goldenen" Jahre geschrieben hat. Damals hatten die Jungs nicht viel außer einander und ihrer gemeinsamen Liebe zur Musik. Sänger Kurt Cain lebte in einem kleinen Reihenhaus in North Philadelphia in einer fast verlassenen Gasse namens French Street. Hier trafen sich Cain, John und Perla jede Woche, um der Realität zu entfliehen und sich gemeinsam an der Musik zu berauschen. Sie entwickelten eine tiefe Wertschätzung für alles aus den 60er- und 70er-Jahren, von Simon & Garfunkel bis The Moments und allem, was dazwischen liegt. All diese Jahre später hat Market East ein eigenes klassisches Album geschaffen. Vom Barock-Pop des Titelsongs und dem mitreißenden Soul von ,Roses" bis hin zu den lateinamerikanischen Klängen von ,Echoes of My Heart" und den orchestralen Klängen von ,Everyday, Springtime" zeigt Market East ihre beeindruckende Bandbreite. Die Platte wurde in Philadelphia auf Analogband aufgenommen und von Market East und Eraserhood Sound produziert. Hol dir noch heute dein Exemplar dieses zeitlosen Klassikers.

Market East teilt endlich seine wichtigste Botschaft mit der Welt in Form seines Debütalbums ,French Street". Die Band, bestehend aus Kurt Cain (Gesang), Vincent John (Gesang, Bass, Gitarre und Keyboard) und Maxwell Perla (Gesang, Schlagzeug und Percussion), liefert ihre charakteristischen himmlischen dreistimmigen Harmonien über Arrangements, die noch nie so reichhaltig und fesselnd geklungen haben. ,French Street" ist extrem gefühlvoll und die Vocals sind üppig, als hätten die Zombies in Muscle Shoals aufgenommen. Die Texte sind poetisch und nostalgisch, da die Band Songs über ihre vergangenen ,goldenen" Jahre geschrieben hat. Damals hatten die Jungs nicht viel außer einander und ihrer gemeinsamen Liebe zur Musik. Sänger Kurt Cain lebte in einem kleinen Reihenhaus in North Philadelphia in einer fast verlassenen Gasse namens French Street. Hier trafen sich Cain, John und Perla jede Woche, um der Realität zu entfliehen und sich gemeinsam an der Musik zu berauschen. Sie entwickelten eine tiefe Wertschätzung für alles aus den 60er- und 70er-Jahren, von Simon & Garfunkel bis The Moments und allem, was dazwischen liegt. All diese Jahre später hat Market East ein eigenes klassisches Album geschaffen. Vom Barock-Pop des Titelsongs und dem mitreißenden Soul von ,Roses" bis hin zu den lateinamerikanischen Klängen von ,Echoes of My Heart" und den orchestralen Klängen von ,Everyday, Springtime" zeigt Market East ihre beeindruckende Bandbreite. Die Platte wurde in Philadelphia auf Analogband aufgenommen und von Market East und Eraserhood Sound produziert. Hol dir noch heute dein Exemplar dieses zeitlosen Klassikers.

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

From his roots in House, Alex Finkin is a renowned producer and creative director. Working in his Paris studio he has developed numerous projects, notably his own (Roseaux), as well as commissions for radio and television. Meanwhile, with 30 years of production and DJing under his belt, Rocco Rodamaal belongs to the elite circle of House innovators who continue to influence the scene. He's played alongside some of the best in the industry showcasing his versatility and deep understanding of the genre, and remixed artists including Marshall Jefferson, Kerri Chandler, Louie Vega & Moodymann, Todd Terry, Barbara Tucker and Robert Owens to name just a few. Alex Finkin befriended Rocco Rodamaal, who he met via the soulful Parisian club Djoon, where Alex was resident from 2006 to 2014. They have since collaborated on a number of projects together, including "In Da Hood" released on COD3 QR in 2023. Kenny Dope's "O'Gutta" remixes are a series of house and club-focused reworks characterized by raw, gritty and often stripped-back percussion, which he now brings to "In Da Hood".

Ross McMillan, known professionally as Carlos Nilmmns, is a Scottish electronic music producer, DJ and composer originally from Glasgow. Over the years he has collaborated with a range of notable artists, including Grammy-nominated and Grammy-winning figures, including Kenny Dope, Carl Craig, Kevin Saunderson and Davina Bussey, plus respected artists like Niko Marks, Rolando, Laurent Garnier, Santiago Salazar, Hardrock Striker, Karl The Voice, Zadig, Ben Sims, Andrés (who worked with Jay Dilla and Moodymann), and YouANDme. His music has been released on Planet E, Trax, Cocoon, Ornaments, Circus, Virgin, Skylax/Universal Music France and more. His style draws from house, techno and jazz influences, often combining analogue and digital production methods. A returning regular and COD3 QR favourite, he's back with another stunner in "Latin Quarter".

K' Alexi Shelby is a prominent figure in electronic music and with a career spanning decades, he's established a significant influence on House and Techno. Throughout his career he's worked with many well-known artists and remixed tracks that are now key pieces. The cultivation of his massive musical catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists such as The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Maurice Joshua, Terry Hunter, Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson, Will Smith and countless others. Already respected around the world as a true underground House legend, he delivered "Flame" in 2025 for COD3 QR. Now he's back with "When I", another deep and sexy cut.

Benny Rodrigues a.k.a. ROD unveiled his new moniker, The Lost Souldancer when he dropped "No More Voices" for COD3 QR last year. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He continues this ethos with the delicate and melodic closing track "Life and Death".

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band over the course of a spring week last year, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

Between flesh and silicon. “Under My Skin” (2026) is the first album by IADI, released by Neo Life. A record like few
others, highly conceptual, cover art included. Its essence lies in the folds of the increasingly ambiguous relationship
between man and machine, where the former designs the latter and, perhaps without fully realizing it, is gradually
destined to adapt and be reprogrammed by it. Each track of “Under My Skin” is, in fact, a sort of interface, connector, or
any other imaginative point of contact between two creative phases, amid emotional impulses and binary calculations.
The sonic architecture oscillates between analog warmth and algorithmic coldness, constructing landscapes in which
pulsating synthesizers and mechanical rhythms seem to question each other. There's no linear narrative, but rather a
progressive immersion in a zone of near-friction, where the comfort of technology coexists with more than a faint
musical uneasiness, like a background noise that never ceases to remind you who's truly in charge. In “Under My Skin”,
the machine is neither an enemy nor a simple instrument: it's a real presence, intimate, even tactile, amplifying desires,
fears, and dreams of dawns beyond the digital realm. Intelligent dance music. Less noise, more sensations. Electronic,
but profoundly human.
The final result, then, is a music project that speaks to the present, yet sounds like an X-ray of the future, capturing that
fragile moment when humanity and technology stop observing each other from afar and begin to merge, track after
track. It's no coincidence that IADI's album opens with “Impulse”, an immediate expression of an electrical impulse, for
both humans and machines, which is also the language of the nervous system, as fast as it is vital—pure energy and
rhythm, a track as intense as it is irregular. And after this introduction, it's the turn of the equally erratic “Axon”, whose
title describes the neuron that transmits the signal over distance, telling the listener to sit back and relax for a new
journey through the notes toward the more melodic “Cortex”. The cerebral cortex, the ultimate seat of thought and
memory, becomes the source from which the musical flow of the first part of the work is drawn.
Then, suddenly, an automatic, or instinctive, response to the constant succession of impulses: “Reflex”, or zerotemperature techno, with a fragmented pace, featuring vocal samples, breaks, and restarts. In the producer's
imagination, the subsequent, and conversely placid, “Neuron” represents the emotional core of the second part of the
work, providing a kind of respite from the seething vibrations. While the neuron is the basic unit of the nervous system,
the synapse is the functional connection point between one neuron and another effector cell, essential for the
transmission of nerve impulses and communication in the nervous system, enabling functions such as learning and
movement. Likewise, a track like “Synapse” once again illuminates the path traced by IADI. The more experimental and
streamlined “Static” instead suggests true ordered chaos. “Dreamstate” is the conclusion suspended in the void, relating
to that dreamlike state between waking and sleeping, where consciousness fades toward infinity and visions begin. Pure
fading into the subconscious. Eternal return to where it all began. Dancing is a form of consciousness. Every beat is a
question. IADI, however, holds all the answers you need.

Anlässlich des 20-jährigen Jubiläums im Jahr 2025 ist das gleichnamige Debütalbum der besten Band aus Staten Island endlich wieder erhältlich! Mit einem luxuriösen Cover im „old style“ und einer vollständig analogen (AAA) Remastering-Version der Originalbänder – von Ryan Smith (Sterling Sound) – sieht diese legendäre LP besser aus und klingt besser denn je. Mit „Up From the South” und „Ghost Walk” ist dieses Album ein Muss für Fans von Daptone und den Budos!

Für seinen monumentalen „Ring“-Zyklus versammelte Karajan ein Weltklasse-Ensemble von Sängerinnen
und Sängern, die über einen neutralen Stimmklang verfügten und eine klare Deklamation des Textes boten.
Seine Berliner Philharmoniker waren mehr als fähig, dieser Herausforderung gerecht zu werden. Karajans
„Ring“-Zyklus hebt sich von anderen Einspielungen durch seinen geradezu überirdischen Ansatz ab, der auf
Schönheit, Lyrik und Struktur ausgerichtet ist.
Dieses außergewöhnliche Aufnahmeprojekt erscheint nun in der Original Source Series für höchsten audiophilen Klang; erstmals verwendet OSS als Quelle das originale Stereo-Masterband, ein Zweispur-Tonband.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Mehrspurbänder mit eigens für
die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und
geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere
Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Veröffentlicht auf 180g-Vinyl und präsentiert in einer 3-LP-Box-Edition mit den originalen Covern und
Liedtexten, umfasst diese limitierte und nummerierte Ausgabe zusätzliche Fotos sowie Faksimiles der Aufnahmeprotokolle und Bandkartons.

Aufgenommen 1959 innerhalb von zwei Tagen in San Francisco, zeigt „Alone in San Francisco“ Thelonious
Monk in einer seltenen, ungezwungenen Form – solo, ohne Publikum und ohne Ensemble. Da er sich
nirgendwo verstecken konnte, zeigte sich Monk (wenig überraschend) der Situation gewachsen und schuf
eines der intimsten Dokumente seines Schaffens.
Das Album bietet eine Mischung aus Standards und Eigenkompositionen. Es beginnt mit Monks schwungvollem,
virtuosem Klassiker „Blue Monk“, seinem wohl am häufigsten aufgenommenen Werk, bevor es in die schräge
Eleganz von „Ruby, My Dear“ übergeht. An anderer Stelle unterstreichen zwei Takes des faszinierend
betitelten „There’s Danger in Your Eyes, Cherie“ Monks Improvisationsinstinkt, der zwischen beschwingter
Meditation und verspielter Abstraktion oszilliert.
Diese Neuauflage des Albums erscheint als Teil der Original Jazz Classics Series auf 180-Gramm-Vinyl,
gepresst bei RTI, mit vollständig analogem Mastering von den Originalbändern bei Cohearent Audio und
einer Tip-On-Hülle, die das Original-Artwork originalgetreu nachbildet.