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JVB released their self-written, self-produced, self-mixed and mastered sophomore album – No Hands – which debuted in the Top 10 on Spotify’s Top US Album’s Chart. The critically-and-fan-acclaimed collection of genre-bending tracks are their most impressive work to date and feature appearances by Danny Brown, Terror Reid and Z-Trip.

Rome’s very own Electro-Psych outfit, Big Mountain County, is set to release their third LP ‘Deep Drives’ on November 29th via Sister 9 Recordings. After unveiling their latest EP, ‘Klaus’, at the New Colossus Festival in New York and SXSW in Austin, the band took a year-long studio break, honing and redefining a distinctive sound that bridges primitive Garage Rock and Neopsychedelia with Electroclash, Kraut and Disco. Stay tuned for updates as we’ll reveal more details and the release date in the coming weeks. Big Mountain County was formed in Rome in 2013 after four southern boys, two from the slopes of Mount Etna and two from the Adriatic Coast, came together. They instantly bonded over their mutual love for The Stooges, MC5, The Velvet Underground, and Joe Spencer, leading to the release of a 7-inch record brimming with raw Garage Rock & Roll. This debut propelled them into an exciting tour across Eastern Europe, hitting countries such as Hungary, Serbia, Croatia, and Bosnia-Herzegovina. They soon moved beyond Garage Rock to immerse themselves in the European Neopsychedelic resurgence and spent the following years carving out a reputation in the vibrant continental live scene. They dropped two LPs—Breaking Sound (Gas Vintage Records, 2015) and Somewhere Else (Porto Records, 2020)—along with two live albums. After relentlessly touring across Europe and the UK and opening the Italian tour for the U.S. band Cloud Nothings in 2019, they finally hit the US in 2023, gracing six different venues at SXSW and sharing stages with Osees and Os Mutantes. By the time they returned to Italy, they had secured summer opening slots for the likes of Brian Jonestown Massacre and La Femme. That year’s EP ‘Klaus’ marked a bold new chapter, showcasing a thrilling shift, diving into a more dance-driven and electronic sound. Featuring collaborations with electronic psych producer and LEVITATION DJ in residence Al Lover, along with the distinguished Roman producer Hugo Sanchez, the making of ‘Klaus’ provided the band with a revitalizing spark, steering them into a new musical direction

If you feel like motoring down the highway at 100 miles per hour breathing in pure rock n roll exhaust then look no further– Rowdy is here to kick out the jams and rev up with their self-titled debut LP Rowdy! These seasoned rockers are dealing out a heavy dose of song-forward classic garage punk that sounds like a mixed bag of Joan Jett singing for Teengenerate and Roky Erikson and The Aliens covering Oblivions. This is no surprise as Rowdy is formed by members of legendary Austin band Hex Dispensers and Scotland's Goldie Dawn, (Hex Dispensers, major contributors to the Texas garage punk scene). Rowdy’s sound runs the gamut with catchy 77 punk tunes like “All in My Head”- with its huge chorus, anthemic doo-wop tinged songs like “Fine Mystery, and bluesy garage rippers like “Cost Of It”. The recording is raw and punchy, dripping with overdriven twangy guitars, a steadfast, tight rhythm section, and blown out vocals. This record is pure rock n roll madness! Pop this Rowdy on in your headphones, shotgun a Steel Reserve, and you’ll be on your motorcycle doing donuts on your highschool principal’s lawn in no time.

Suffocating, the hidden child of Plastikman, Farmer's Manual and Warp. The glitches could just as well be the disgusting sound system of the club crackling under the humidity as a rhythmic pan too well timed to be honest. From durations to sound grain, the gloves are removed. The standards are far behind, the pleasure vibrates from the ears to the lower abdomen. The listener manages to get lost on a straight line, the perfect labyrinth according to Borges, but the exits flash red for those who want to escape. Will Elvis leave the building?.

Airelle Besson, the French multi-award-wining jazz trumpeter, has been lighting up the European jazz scene for several years at the head of her quartet, duo with virtuoso accordionist Lionel Suarez, and the Besson/Sternal/Burgwinkle trio, featured here on 'Surprise!'.

A production without the inclusion of a bass player, the combination of trumpet, piano, and drums is both unusual and intriguing. The result is totally refreshing and provides a new dynamic to the jazz trio format. Featuring ten original compositions, five apiece from Besson and pianist Sternal.

As a much sought-after side-musician, and composer/arranger for the band Metronomy and the Orchestre National de Lyon, Airelle Besson has performed with Charlie Haden and Carla Bley, Michel Portal, Manu Katche, Philip Catherine, Billy Hart, Rhoda Scott, Daniel Humair, Henri Texier, Tom Harrell, Avishai Cohen, Greg Hutchinson, Jose James, and may others.

Airelle Besson: trumpet
Sebastian Sternal: piano, Fender Rhodes, FX pedals
Jonas Burgwinkel: drums

Recorded & mixed by Christian Heck at Loft Studios, Cologne, Germany.

Blues & Roots is not only a cornerstone in Charles Mingus' body of work but also a testament to the enduring power of the blues as a foundation for jazz

Mingus managed to both honor tradition and push the boundaries of jazz, all while making a deeply personal and politically charged musical statement. The album remains one of the most vital and influential recordings in the history of jazz music. Released in 1960 this album stands out in Mingus' discography as a raw, vibrant homage to the roots of blues and gospel traditions in jazz. Mingus sought to return to his musical roots, drawing from blues and gospel traditions he grew up with, particularly from the African American church music of his youth. The album is a powerful statement of how deeply the blues tradition influenced modern jazz. It combines the unfiltered emotional intensity of the blues with Mingus' forward-thinking and often unconventional compositional techniques. The album's tracks are imbued with a strong sense of the blues, which is especially apparent in songs like "Wednesday Night Prayer Meeting" and "Moanin'." The album carries a loose, jamsession feel, reflecting the church and street-based roots of blues music. The use of call- and- response patterns in several tracks also hints at gospel traditions. Blues & Roots is often cited as a critical album in the development of jazz as a genre that embraced both its past and future. Mingus' ability to integrate traditional musical forms (such as blues and gospel) with more modern, experimental elements opened up new possibilities for jazz. His compositional style, which juxtaposed tightly arranged sections with freewheeling solos, influenced generations of musicians, from avant-garde jazz artists to rock musicians and composers in other genres

Workout features a mix of original compositions and jazz standards, highlighting Mobley's ability to blend sophisticated harmonies with rhythmic complexity and received critical acclaim upon release and is regarded as one of Mobley's finest works

The album has been praised for its engaging arrangements and the strong interplay between the musicians, the tracks often feature rhythmic grooves and vibrant solos, which became characteristic of the hard bop movement. Released in 1962, it is considered a classic in the jazz genre, particularly within the hard bop substyle and it's often recommended for both jazz enthusiasts and newcomers to the genre and showcases Hank Mobley's lyrical approach to the saxophone and is frequently included in lists of essential jazz albums. The album continues to influence contemporary jazz musicians celebrated for its artistry and innovation, making it a significant contribution to the jazz landscape of the 1960s. So Workout stands as a significant milestone in jazz history, exemplifying the creativity and musicianship of its time: with its engaging compositions and stellar performances, the album remains a beloved classic, inviting listeners to explore the depth and beauty of hard bop jazz, a treasure that continues to resonate within the jazz community.

Although never released until recently, Jazz Sabbath's music has been finding its way to millions for over 50 years. Through a vicious cycle of personal tragedy and plagiarism the songs intended to change the jazz world ended up giving birth to a much darker sound. Now a third recording from the Sixties has resurfaced, perhaps their most important one.

In 1968 Jazz Sabbath were an instant hit on the UK jazz scene. It wasn’t long until they were offered a record deal. They spent weeks in the studio recording the tracks that got the heaviest reactions at their shows until they captured their live energy on tape. Unfortunately, the label manager told them the album was far too experimental and there was no hit potential. Ordered to play some of their ‘easier’ tracks instead, they reluctantly gave in.

The 2 albums that followed still are classics in their own right, but they were not mistaken in thinking they had recorded their best work in 1968. Like the tracks from their 2 albums, these tracks were also blatantly presented as 'original songs' by that band from Birmingham a few years later. Whether they copied them from live bootlegs or if they got their hands on the mix, it doesn’t really matter. Their lasting popularity, even in the crude way they were covered, only proves just how monumental these songs were and how record labels are often wrong.

With the truth now finally out there and that Birmingham band exposed as the musical charlatans they are, Jazz Sabbath have finally mastered the 1968 tapes to present their best work to the public.

The Blues and the Abstract Truth is not just a landmark album in Oliver Nelson's career but in the history of jazz itself

The album features an incredible ensemble of top-tier jazz musicians, often referred to as a "supergroup": Oliver Nelson (alto saxophone, tenor saxophone), Freddie Hubbard (trumpet), Eric Dolphy (alto saxophone, flute), George Barrow (baritone saxophone), Bill Evans (piano), Paul Chambers (bass), Roy Haynes (drums). The early 1960s were marked by a shift from the hard bop of the 1950s to more experimental forms, including modal jazz, free jazz, and the incorporation of avant-garde elements. Musicians like John Coltrane, Ornette Coleman, and Charles Mingus were all pushing the boundaries of jazz, and Oliver Nelson's work fits within this broader movement: in this album there's a perfect combination of modern compositional techniques, virtuosic performances, and emotional depth make it an essential listening experience for any jazz fan. It captures the moment when jazz was evolving into new, exciting directions while staying connected to its roots in the blues. The Blues and the Abstract Truth is considered one of the essential albums in modern jazz where Oliver Nelson's compositional style blends hard bop, modal jazz, and blues influences with sophisticated harmonic structures and striking arrangements. The album is noted for ts rich orchestration despite having a relatively small ensemble with use of textures and colours, particularly in tracks like "Stolen Moments," created a new standard in azz arranging.

THE CLASSIC 1990 ALBUM REISSUED & REMASTERED BY ED WYNNE ON COLOURED VINYL FOR FIRST TIME ON KSCOPE

One of the most influential bands to emerge from the UK’s festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It’s an open exploration of music and the soul.

For over 30 years, the Ozrics have experienced the vicissitudes of the rock and roll life. The band has flourished through a number of line-up changes, spawned several side projects, created their own record label, scored a hit record and sold over a million albums world-wide. And yet, the basic motivation behind the band’s existence has never wavered.

Their signature blend of hippy aesthetics and raver electronics with spiraling guitars, textured waves of keyboard and midi samplers, and super-groovy bass and drum rhythms continues to delight fans across the world to this day.

Erpland, the band’s 1990 eighth release, is considered one of their finest works. This 2LP set presented in wide spine packaging, will be released on turquoise heavyweight vinyl as the third title in t

Upon its release, Big Band Bossa Nova by the renowned American music producer, conductor, arranger, and composer Quincy Jones, released in 1962 received favorable reviews from critics, who praised its innovative arrangements and the seamless integration of bossa nova into big band jazz

It was noted for its lively and fresh sound, appealing to both jazz enthusiasts and fans of Latin music. Over the years, the album has been recognized as a classic in the realms of both jazz and Latin music. It continues to influence musicians who seek to explore the fusion of different genres. The album played a crucial role in popularizing bossa nova in the United States, introducing many listeners to Brazilian music. It paved the way for future collaborations and crossover projects between jazz and Latin music. It is often cited by contemporary artists and arrangers who are inspired by its innovative blend of styles. Its influence can be seen in various genres, including jazz, pop, and world music and is a testament to Jones's ability to adapt and innovate throughout his career. It solidified his status as a pioneer in the music industry, influencing countless artists across genres and generations. Big Band Bossa Nova not only captures the essence of its time but also continues to resonate with audiences today, highlighting the enduring appeal of both big band features contributions from several talented musicians.

The Tokyo Blues is an album that reflects Horace Silver's deep musicality, cultural curiosity, and love for the blues

Its combination of relaxed grooves, melodic beauty, and hints of Eastern influence make it a unique and memorable work within Silver's extensive catalog. It's a perfect example of how jazz can both explore new territories and remain grounded in its own traditions, showcasing Silver's versatility as both a pianist and a composer. Released in 1962 it is considered a gem within Horace Silver's prolific career and offers an intriguing combination of Horace Silver's unique jazz language with the subtle influence of his experiences in Japan, producing a warm, thoughtful, and musically rich album. Horace Silver's The Tokyo Blues is the result of his quintet's tour of Japan in 1961, which left a strong impression on him. While on tour, Silver was struck by the culture, atmosphere, and aesthetics of Japan, which he sought to translate into the musical language he was deeply rooted in hard bop. The album, however, doesn't feature overt Japanese musical scales or instrumentation, but rather evokes a mood and a sense of place. Silver's approach was more about integrating his impressions of Japan, its serenity, beauty, and mood of reflection, into the compositions. He did this within the framework of the jazz tradition, creating music that remains unmistakably his own. His quintet was already known for its catchy themes, complex rhythms, and inventive solos, and The Tokyo Blues adds a layer of atmospheric and emotional depth to that established style. In the early 1960s, Horace Silver was at the height of his creative powers. His work was instrumental in shaping the hard bop movement, a style that emphasized blues, gospel, and soul influences over the more intricate, intellectual sounds of bebop. The Tokyo Blues stands as an example of Silver's ability to evolve his sound while staying true to the groove-based essence of hard bop.

Brilliant Corners is an exceptional example of Monk's distinctive approach to jazz, which was characterized by angular melodies, unusual chord progressions, complex rhythms, and an idiosyncratic sense of timing

The title track, "Brilliant Corners," for example, was so intricate that it took multiple takes to complete, and the musicians found it challenging to follow its unconventional structure. This difficulty speaks to Monk's originality and his pushing the boundaries of what jazz could be at the time. The LP is one of Thelonious Monk's most acclaimed and influential albums, recorded in 1956 and released in 1957. It stands as a cornerstone in Monk's discography, showcasing his innovative approach to jazz composition and performance, and is often regarded as one of his finest works. Upon its release, Brilliant Corners was met with widespread critical acclaim and remains a significant album in jazz history and helped solidify Monk's status as one of the great innovators of modern jazz. It was a breakthrough album for Monk commercially as well, attracting attention from jazz critics and listeners who were beginning to appreciate his genius more widely. Today, Brilliant Corners is considered an essential jazz record, often cited as one of the greatest jazz albums of all time: musicians like Ornette Coleman, Cecil Taylor, and Eric Dolphy were influenced by Monk's ability to push the boundaries of jazz without losing its essence. The album is not just a masterwork in Thelonious Monk's discography but a pivotal moment in the evolution of modern jazz.

Released in 1956 this album is a compilation of recordings from different sessions held between 1953 and 1954

Thelonious Monk and Sonny Rollins were both giants of jazz, each known for their individual approaches. Monk, with his unorthodox approach to rhythm and harmony, was one of jazz's most original composers and pianists. Rollins, one of the greatest saxophonists in jazz history, was known for his inventive and bold improvisations. Thelonious Monk was still establishing his reputation during this time. Though considered a genius by some, Monk's highly original style, marked by dissonant harmonies, abrupt rhythmic shifts, and a percussive attack on the piano, was still divisive among critics and audiences in the early '50s. It wasn't until later in the decade, when he started working with Columbia Records and gained wider recognition, that he achieved broader commercial success. Sonny Rollins, though younger, was already a notable figure in the jazz scene by this point, having played with Miles Davis, Charlie Parker, and Bud Powell. He was known for his inventive and bold improvisational style. In these recordings, Rollins was solidifying his status as one of the major voices on tenor saxophone. The album shows both musicians in their prime, experimenting with harmonies and extended forms. Even though the sessions were recorded at different times, there is a strong synergy between them, particularly in how Monk's percussive piano style complements Rollins' flowing saxophone. A record that captures a moment in jazz history, a testament to the artistic brilliance of both musicians and a significant piece of jazz history, blending the freewheeling spirit of jam sessions with complex, forwardthinking compositions.

“Traurige Trinkerlieder” stands for itself. Hymns dedicated to alcohol. Sardonic songs of praise. Sung in a musty, shabby pub where the people are as old as the stories they tell, the tables are sticky, the light is a flickering, oily twitch and the landlord is the unfriendliest person for miles around.

“Traurige Trinkerlieder” stands for itself. Hymns dedicated to alcohol. Sardonic songs of praise. Sung in a musty, shabby pub where the people are as old as the stories they tell, the tables are sticky, the light is a flickering, oily twitch and the landlord is the unfriendliest person for miles around.

New and soulful songs by the Swedish composer and drummer Martina Almgren. With lyrics from Rabindranath Tagore's poems that touch on love, longing and belonging, they move in a chamber jazz oriental landscape characterized by the thoughtfulness and fragrance of a starry night. In collaboration with oud player Ahmad al Khatib, singer Karin Burman, bass guitarist Owe Almgren, trombonist Niclas Rydh and sound designer Åke

Producer, designer, publisher, filmmaker, all-round scene phenom - Lasse Marhaug returns with his first album since relocating from Oslo to the Arctic Circle, surveying his 35-year career for a set of grizzled, doom-pocked rhythms and foghorn drones pulled from the aether. Expansive and hard to categorise, it's a precision-tooled set of ice-cold tonal productions that heavily lean into Mika Vainio’s rhythm experiments, with extra levels of growling bass and curious noises to send us deep into the uncanny.

Lasse Marhaug has put his mark on literally hundreds of albums - working with artists like Jenny Hval, Merzbow, Jim O'Rourke, Kevin Drumm, Hilary Woods - so many others - yet he still regards himself as a primarily visual artist who got diverted into an occasionally different path. If his last album 'Context' was a kiss goodbye to decades of life in Oslo, 'Provoke' turns a new page, but one that draws heavily from memories of the distant past, reflecting on the way the topographies of Norway's frozen north helped shape his creative worldview. Weaving electronics into environmental recordings captured in the bleak Arctic winter, the album was mixed during the Polar night season, when, for two straight months, the sun never rose past the horizon. Somehow, even at its bleakest, Marhaug avoids the usual aesthetic signifiers for this kinda thing, finding elements of queered beauty in all the severity, juxtaposing elements that shine a bright light on all the odd spaces in-between.

A consideration of noise music's place in 2024, and whether it can still be a tool for subversion when its aesthetics have been so commodified, ‘Provoke’ also refernces an experimental '70s Japanese art magazine that attempted to define a new language for photography. Operating somewhere between these two guiding poles, Lasse feels his way through a subtly altered mode of expression, a new approach to familiar concepts. Album opener ‘Plates’, for example, gives it the full Ø treatment, like some exceptional ‘Oleva’-outtake, but , eventually, shards of interference start to exhale like horses blowing, creating uncanny sensations that hit through ambiguous feeling rather than sheer noise terror. Ritualistic, corporeal - hard to know what you’re listening to and why it makes you feel that certain way - so much more than just machine cycles optimised for their ultimately hollow brutalist aesthetic.

Marhaug paints vivid pictures from a carefully chosen palette, drawing us into a soundworld that's rich with contradictions and contrasts. Even the relatively deafening 'New Topographics' offsets its wall of distortion with a muffled, perforating kick drum, cutting into the noise like a knife through butter. And all of this preparation makes the album's lengthy centrepiece 'Monochrome Head' even more impactful; hinging on a Pan Sonic-like alloy of bass and drums, the track snowballs through tempered feedback and improv scrapes and whistles that pick up into an orchestral din. Marhaug accents the bluster with rhythmic hums that gather in momentum until they're almost oppressively heavy, as if everything's about to collapse.

A masterclass in quietly subversive world-building, 'Provoke' invites us to peer at an expansive sonic landscape and marvel at its intricacies, but this time around there's a Lovecraftian behemoth lurking somewhere beneath its icy surface.

Originally released in 1977, this was the first album Iggy Pop made after the dissolution of the Stooges, several jailings and a self-imposed stay in a mental institution. Produced by David Bowie, and including music written almost entirely by him, this is Iggy's most introspective and heavy work. Much more mechanical than the sleazy proto-punk of the Stooges, The Idiot was a huge influence on the post-punk sound of folks like Joy Division and Magazine. An absolute classic on red and yellow vinyl. Limited edition of 1,000.

Released on 15th November via Polydor Records, “Small Changes” is the eagerly anticipated follow-up to Michael’s eponymous third LP, the Mercury Prize winning, and Grammy Award nominated “KIWANUKA”.

“Small Changes” was produced alongside Danger Mouse and Inflo, the team behind the globally acclaimed “KIWANUKA” and its equally acclaimed predecessor, “Love & Hate”. The new record was recorded between London and Los Angeles. The core trio made up of Kiwanuka and his trusty co-producers expanded into a wish-list ensemble that featured legendary bassist Pino Palladino (D’Angelo, John Mayer, Beyoncé) and Jimmy Jam of the iconic Jam and Lewis songwriting and production duo (Janet Jackson, Prince, SOS Band).

A welcome return for one of Britain’s most talented of songwriters, most recognisable of vocalists, and most virtuosic of guitarists.

Art by YOUT and photography by Marco Grey.

180g heavyweight black vinyl in gatefold sleeve. Includes full size 12pg lyric booklet.

elbow return with their seventh studio album on 3rd February 2017. 'Little Fictions' was recorded in Scotland and Manchester and sees the band collaborate with the string players of The Hallé Orchestra, the Hallé Ancoats Community Choir, members of London Contemporary Voices and session drummer Alex Reeves. As with the previous three elbow albums it was produced by Craig Potter.
'Little Fictions' is emphatically a band album. Having written individually for its chart-topping predecessor, 'The Take Off and Landing of Everything', sessions this time were collective affairs, with all four members gathered initially in a house in Scotland before moving to Guy's attic in Prestwich and finalising recordings in the familiar setting of Blueprint studios, Salford.
'Little Fictions' is an upbeat album. All the band talk of the sessions being 'joyful', Mark summarises it as 'the sound of four people who love what they do and each other', of an album that came into being naturally and, at times even unconsciously. Lead single 'Magnificent (She Says)' was embraced for the joyous, thrilling piece of music it is, positive and outward looking. Mark never even considered his audible switch towards electric guitars, most notable on the psychedelic lushness of 'All Disco', until the very end of the process.
The departure of drummer Richard Jupp prior to commencing the writing and recording process in earnest saw early sessions characterised by new approaches to rhythm, with the band utilising percussive noises, sampling and loops to build tracks. The grooves that run through much of the album, from the go-go beats of 'Gentle Storm' through the jagged trip hop of 'Kindling' to the soulful 'Firebrand & Angel' represent both the band's widest musical palette and a newfound sense of experimentation borne from both necessity and desire. That desire fuelled the title track, an eight minute piece that is epic without at any point feeling excessive. As a shorthand for the album it is perfect, crossing musical genres and experimenting with sound in ways that demonstrate the confidence and enthusiasm of the band throughout the recording process.
'Little Fictions' is, therefore, more than just yet another brilliant elbow album. In many ways it marks the start of a new chapter for the band, characterised by a rediscovery of shared purpose in doing the thing that has always brought them together, the place that Mark describes as 'the creative space where we all meet'.

Gracie Abrams veröffentlicht am 21.06.24 ihr mit Spannung erwartetes zweites Album „The Secret Of Us“. Nach zwei gefeierten EPs war das letzte Album ”Good Riddance” (2023) das erste musikalische Statement in voller Länge – Gracies Definition von vertonter Poesie und intimem Pop - mit lebensnahen Texten und ganz viel Tiefgang. Wie auch schon der Vorgänger ist „The Secret Of Us“ wieder von Aaron Dessner (The National) produziert. Schon als Achtjährige zu ersten eigenen Songideen inspiriert, gab Gracie Abrams ihr erstes musikalisches Lebenszeichen Ende 2019 von sich. Für ihre ersten beiden EPs „Minor“ und „This Is What It Feels Like“ als Rising Star gefeiert, verzeichnen viele ihrer bisherigen Songs (u.a. „I miss you, I’m sorry“, „21“ und „Feels Like“) Streamingzahlen in zwei- bis dreistelliger Millionenhöhe. Für ihr letztes Album „Good Riddance“ wurde Gracie Abrams für einen Grammy in der Kategorie „Best New Artist“ nominiert. Zuletzt war Gracie Abrams als gefeierter Support Act auf einigen Taylor Swift Konzerten zu sehen.

Fedka makes his Don’t debut but has been very much part of the family going back nearly 20 years.

The vinyl on this one is ultra limited, just 100 copies so be quick !

It’s his ideas and musical pedigree that make his music stand out and sound like no one else on earth. Never taking the easy route and injecting each production with his own wry humour. The beats ooze funk and the Melodies are always catchy with production that’s full of edits and tricks. An antidote.

This EP has all the Fedka hallmarks; Eccentric riffs and huge basslines colliding with epic 3D chords that skid around on playfully sleazy beats, all inside a Techno framework that references the classic era of ‘wonky’ Techno whilst bringing it right up to date and into the future.

Mastered by fellow Pest band member, Ben Pest.

Support coming already from Luke’s Anger, Carl Craig, Ben Pest, Jerome Hill. LWS, Jaye Ward, Kreggo, Paco Osuna, Red Rackem and Richie Hawtin.

Vibes Addikt is excited to announce the release of "Midnight In New York - 2024 Remixes," a project that highlights the iconic track by Michael Sanctorum, which has long captivated the Belgian audience and has become a staple in the history of dance music.

The label, led by French producer N.O.B.A—who has received support from influential artists such as Charlotte de Witte, Klaudia Gawlas, Yves Deruyter, Thomas Schumacher, and Amelie Lens—presents four original remixes by renowned talents: N.O.B.A, Manu Kenton, DJ HS, and Samuel Sanders. Each artist brings their unique touch while paying tribute to the captivating melodies and atmosphere of the original.

These remixes, rooted in the techno universe, promise to take you on a sonic journey that harmoniously blends modernity and nostalgia. The vinyl itself showcases a stunning bluish hue adorned with stars, evoking the enchanting essence of the track and the vibrant nightlife of New York.

Don’t miss this chance to rediscover a reimagined classic for today’s dance floors!

Vibes Addikt est ravi d’annoncer la sortie de "Midnight In New York - 2024 Remixes", un projet qui met en lumière le titre emblématique de Michael Sanctorum, qui a longtemps captivé le public belge et est devenu un incontournable de l’histoire de la musique dance.

Le label, dirigé par le producteur français N.O.B.A—qui a reçu le soutien d’artistes influents comme Charlotte de Witte, Klaudia Gawlas, Yves Deruyter, Thomas Schumacher ou encore Amelie Lens —présente quatre remixes originaux signés par des talents renommés : N.O.B.A, Manu Kenton, DJ HS, et Samuel Sanders. Chaque artiste apporte sa touche unique tout en rendant hommage aux mélodies envoûtantes et à l’atmosphère de l’original.

Ces remixes ancrés dans l’univers techno promettent de vous emmener dans un voyage sonore qui allie harmonieusement modernité et nostalgie. Le vinyle lui-même arbore une teinte bleutée saisissante ornée d’étoiles, évoquant l’essence enchanteresse du titre et la vie nocturne vibrante de New York.

Ne manquez pas cette chance de redécouvrir un classique réimaginé pour les pistes de danse d’aujourd’hui !

Following on the somnambulant heels of When I See The Sun, our massive, near-complete Codeine overview, comes What About The Lonely?, an eight-track LP recorded at the group's live zenith. Captured direct from the mixing board at a stop on Codeine's November 1993 swing through the Midwest, opening for Mazzy Star, this document finds Stephen Immerwahr, John Engle, and Doug Scharin running through their hits at Chicago's notorious Lounge Ax for a crowd of chatty "120 Minutes" fans. Gastr Del Sol's David Grubbs adds his guitar to two songs, slinking on and off the 24-inch stage with little fanfare, but leaving his signature indelibly on the performance.

Introducing Wishy, a brand new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. Wishy came to life as a musical partnership between the two Indianapolis musicians when Pitchkites moved back home from Philadelphia in 2021. The two bonded over their love for 90s alternative bands like The Sundays and My Bloody Valentine and soon began crafting their own brand of swirling pop-rock with an introspective, grungy flair. By day Krauter works as a music teacher, giving drum and guitar lessons to students, while Pitchkites is a seamstress by trade and often makes embroidered merch for the band. While Krauter spent the better part of the last decade cementing his place as a torchbearer of Midwestern dream pop with 2018's Toss Up and 2020's Full Hand, Pitchkites delved into her own indie electro-pop project Push Pop, writing songs like "Spinning" that would later be reworked for Wishy. To round out the live band, Pitchkites and Krauter enlisted guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. Across two trips to Los Angeles in late 2022 and early 2023, Krauter and Pitchkites linked up with friend and producer Ben Lumsdaine, who had some spare time between Durand Jones tours to record the pair's newly written songs. The result of their fruitful time in sunny California is the aptly named Paradise, a breezy and melodic EP that puts on full display the songwriter's musical fluency. Tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze, Wishy delivers a strong 5-song introduction that's dense with melodic earworms and stirring sentiment. Wishy's debut single for new label home Winspear, the driving and distorted "Donut," showcases Pitchkites' hypnotic vocal and Krauter's melancholic wash of guitars. Written after a period when Pitchkites was driving on a spare, "Donut" laments the cynical capitalism of Midwest living and the reliance on a car to get around. Of the song Pitchkites says "When you've got the possibility of the open road plus the limitations of your shitty car-and you're stuck driving on a donut spare tire- it's a Catch 22." Throughout Paradise, the band laments on American loneliness and idealism as it relates to our everyday lives. Across the EP's five tracks, Pitchkites and Krauter trade bittersweet reflections on love and self actualization over vast, scrappy guitar chords. The whole thing feels equally indebted to early aughts alt-rock and '90s jangle pop. Wishy's music is cathartic, yet underlined by a subtle brooding energy-sitting nicely alongside the work of their contemporaries like Momma or Tanukichan, both of whom Wishy will have shared the stage with. Wishy will be touring this Fall supporting Tanukichan, and the band will make their first festival appearance at LEVITATION in Austin, TX. After that, they have their eyes set on finishing their debut album, slated for release via Winspear in 2024