Cerca:charm

Some records feel like they should have existed. This is one of them.Originally buried as an album cut in the catalog of C. C. Catch, ‘Stop – Draggin’ My Heart Around’ never received the maxi single treatment it always deserved. For decades, fans of Dieter Bohlen’s signature sound have been left wondering what could have been… no extended mix, no dub, no proper club version… Until now.

Julie Chrome steps in with a strikingly faithful reinterpretation, capturing the emotional tone and melodic essence of the original, while Ryan Benson carefully reconstructs the sonic blueprint, staying true to that unmistakable mid-80s German disco aesthetic of Luis Rodriguez. Think shimmering synths, tight Linn-style drums and that bittersweet, dramatic tension Bohlen/Rodriguez and Co. perfected. But this release goes further than nostalgia. On this maxi, the track finally unfolds the way it always should have. Fully extended, club-ready, and built for the dancefloor. The Long Version delivers that essential 80s arc: slow build, emotional lift, and extended instrumental passages made for mixing. The Dub Version strips it back into a hypnotic tool, pure drums, synth stabs and atmosphere, tailored for late-night transitions and deeper sets. The Radio Version and Alternative Radio Version complete the package, offering two concise takes that still retain all the charm, drama and melodic punch of the original composition. This is more than a tribute, it’s a carefully crafted time capsule. From the production to the artwork and label aesthetics, everything here is designed to transport you straight back to 1986. For fans of classic German disco, collectors of lost Italo-adjacent gems, and DJs who know the power of a well-placed nostalgic moment – this one hits deep. A record that finally corrects history.

The Charmer, Toadies first full-length studio album in nearly a decade, also happens to be one of the last records recorded by famed engineer Steve Albini (Nirvana, Pixies, PJ Harvey) before his death in 2024. The raw, guitar-driven collection places the platinum-selling band firmly back in the Alternative Rock pantheon that sparked their early success, while sounding right at home with the dozens of younger contemporary rock bands they've influenced.

Craig Clouse has devoted the past several decades to exploring a wide range of avant-garde avenues for his brainchild Shit & Shine. The monolithic riffs of raw and powerful psych'n'roll hysteria, the freeform dance miasma, sub-heavy electronica and the blissful stupidity crafted for ecstatic ascension: all perfectly-placed in the idiosyncratic world of Shit & Shine. There's also fertile soil for twisted noises in their lowest form, often obscured by groovier comrades in S&S releases yet vitally important for the substance of Clouse's compositional carcass and OOH-sounds has given him the required space to stretch out his longtime interest in developing loose structures and crackling landscapes to transcend his rhythmic comfort zone.

Making an enthusiastic transgression into noisy tones, "Joy Of Joys" has a friendly way of presenting difficult material. The rough and ready cheapo electronics sparkle in full electrifying mode, welding an ascetic gamut of aural hypnotics with a wormhole of uncompromising loop brut. Clanks, bangs, twangs and creeping, ragged globs of sound bloom on the bones of repetition to focus on the swinging stream of dirty anarchy. Stepping out of any context and genre disciplines, S&S finds new sonic trajectories in "Joy Of Joys" which perfectly sit in-between a wobbly cabal of international sub-underground acts: the idiot-avant strategies of LAFMS, early Mego bad digitalia, no-brow enthusiasm of Wolf Eyes family, micro-DIY ethos of Chocolate Monk and the sheer hellish nonsense of US noise circa '00s.

Clouse was already established as a landscape painter with a series of faux naïf paintings charmingly accompanying his releases. With his heart full of passion for abstract minimalism, he continued these narrative forms but was always in search of the confidence to paint non-figurative art. The first step into the chaotic abyss is coming from his sonic side by abandoning the beat and riff layers of his previous works to complete nakedness and reductionist courage. At once Clouse makes an evolutionary lurch into extremes as well as taking us back to basic forms in "Joy Of Joys". He creates an entire new parallel world to Shit & Shine with his maverick imagination presenting us with one of the most mutant releases to bear his name. Arthur Kuzmin

Step into a candy box of sound: sweet Italo-infused house and tangy, bass-heavy breaks. Some tracks hit like hard candy, daring you to bite, while others are sticky and irresistible, gluing you to the dancefloor. B.Visible tasted all the sweet treats without losing a tooth, but the synths took a proper beating. On this DJ tool, you'll find a track for every part of your set, with a package that nods to '90s electronic music without losing its timeless charm.

B.Visible is a Vienna-based DJ and producer. His sets blend danceable beats with a strong musical vision - ranging from disco and house to breaks and experimental electronics, complemented by rare vinyl discoveries. Each selection is surprising, versatile, and curated with great attention to detail. His productions are just as multifaceted as his DJ sets: warm drums and organic textures meet carefully crafted electronic elements designed with the dancefloor in mind. The result is a distinctive signature style - accessible, diverse, and independent. His music is regularly featured on Austrian radio stations such as FM4 and receives international
support from BBC DJs including Gilles Peterson, Tom Ravenscroft, and Don Letts. B.Visible's music thrives on surprise and depth - whether in the studio or on stage, it always unfolds with a unique dynamic, drawing audiences in from the very first moment.

Bright Opaque Orange Vinyl, Opaque Turquoise Vinyl & Semi-Opaque Natural Vinyl. ,Images of Life" ist ein die gesamte Karriere umfassendes 3xLP-Retrospektive-Boxset, das die beeindruckende Bandbreite und Tiefe von Detroits unbekanntem Songwriting-Genie Ted Lucas beleuchtet. Die erste Platte ,Strange Mysterious Sounds (1965-1970)" zeigt Teds Annäherung an die psychedelische Major-Label-Szene durch seine Bands The Spike Drivers, The Misty Wizards und The Horny Toads. ,Rainy Days (1970-1974)" präsentiert die akustische Wärme und den Charme seiner Solokarriere, die denjenigen am besten bekannt sind, die bereits mit Teds selbstbetiteltem ,OM"-Album von 1975 kennen. ,Impossible Love (1979)", das verschollene zweite Album, präsentiert Ted sanft und fast schon im ,Yacht-Rock"-Stil, ohne dabei jemals die wahre Kunstfertigkeit und das handwerkliche Können des einmaligen Talents Ted Lucas zu verraten.


































[xh] 11IMPOSSIBLE LOVE [ACOUSTIC]

Sie machen keine großen Worte, hampeln nicht 24/7 auf allen Social-Media-Kanälen herum, verzichten auf Werbung und große Worte jeglicher Art und spielen nicht wahllos an jeder Steckdose. Eigentlich ein Unding in der heutigen Zeit. Geschäftsschädigung in eigener Sache, quasi. Und dennoch ist die im Jahr 2009 gegründete Formation aus Tübingen mit jedem ihrer immer stoisch und schlicht mit dem Bandnamen betitelten Alben stets aufs Neue in vieler Munde, genießt mindestens Respekt, bei etlichen Fans gar unantastbaren Kultstatus - und das nicht nur innerhalb der Punk(Rock)-Basis, sondern auch bis tief in die Alterna- und Metalszene hinein. Große Riffs - mal episch, mal punkruppig, mal schmissig, und so gut wie immer nackenbrechend - und der zuweilen zweistimmige Gesang sind die Kerntrademarks des Vierers, dazu spartanische, aufs Bitternötigste reduzierte englische Lyrics sowie ein magnetisierender Groove, für den unzählige andere Musiker töten würden: HYSTERESE at it's very best. Auch mit Album Nummer fünf pflügen HYSTERESE durch eure Herzen. Wie nicht anders zu erwarten, walzt das Quartett seinen schwermütigen Punk-Rock in die nächste Metamorphose. Die riesigen Melodien sind getragen von krachigen Breitwand-Gitarren, mal Shoegaze, mal 80s Rockismus, zeitlos und integer. Und hat da jemand tatsächlich Manilla Road gesagt?

Wer sich Drunks Debütalbum ,A Derby Spiritual" aus dem Jahr 1996 noch einmal anhört, wird feststellen, dass es charmanter, sanfter und - wenn ich das so sagen darf - farbenfroher ist, als es sein stoischer Slow-Core-Ruf aus den 90ern vermuten lässt. Und man könnte sogar bemerken, dass Rick Alversons Stimme einen bisher ungeahnten, von Niederlagen gezeichneten Tom-Petty-Singsang aufweist. Der Sound der Band aus Richmond ist zweifellos zurückhaltend, knarrend und karg. Doch die Jahrzehnte haben diesem alten, traurigen Kerl einen wärmenden bernsteinfarbenen Schimmer verliehen. Das Black-Hole-Radio-Stück am Ende des atemberaubenden Openers ,Collarbone" scheint das Kommen von ,Yankee Hotel Foxtrot" vorherzusagen. Und hier in der seltsamen Gegenwart könnten Stücke wie ,Germany Skies", ,Gideon's Trumpet" und ,Gizmo" nahtlos in den heutigen Indie-Country-Boom eingefügt werden. Der seltsame Walzer aus Akkordeon und Geige in Stücken wie ,Indeliberate Matrimony" und ,Coming Home" klingt - wage ich es noch einmal zu sagen - wie Mellencamp aus der ,The Lonesome Jubilee"-Ära am Boden eines Fasses Schnaps. Alversons Lyrik schwankt zwischen dem hoffnungsvollen Nihilismus seines zeitgenössischen Songwriter- und Dichterkollegen aus Virginia, David Berman, und dem tiefgründigen Post-Beat-Minimalismus von Robert Creeley. Ich schwöre, wenn er in dem hoch-und-einsamen, von der Mundharmonika getragenen ,Window Sill" seufzt: ,I feel willy-nill/I pissed upon your window sill", klingt das im Lenderman'schen Sinne des Wortes verdammt romantisch. Im Rahmen des 30-jährigen Jubiläums von Jagjaguwar wird ,A Derby Spiritual", Jags zweite Veröffentlichung überhaupt, zum ersten Mal auf Vinyl gepresst. Ein drei Jahrzehnte langes Unrecht wird endlich wiedergutgemacht. Tatsächlich erscheinen im Rahmen der Feierlichkeiten zum 30-jährigen Jubiläum des Labels eine Handvoll dieser frühen Veröffentlichungen aus der Charlottesville-Ära von Jagjaguwar auf Vinyl.

"Melodic, dreamy bedroom pop with a nostalgic sheen" is how Tom Davies, creator of brand new dream-pop artist Flopsy's dream, describes this charming little album.
Some of you may know him as GeoWizard; the mad British adventurer/YouTuber who travels in straight lines, but here you get to see or indeed hear a completely different side to him - one that sings in soft, tuneful tones reminiscent of Damon Albarn or Ray Davies, builds ethereal, layered harmonies that wouldn't sound out of place on a Fleet Foxes track, and crafts gorgeous guitar and synth parts that could easily have come straight out of John Frusciante or Kevin Parker's handbook.
Written in a young Davies's bedroom between the years of 2008 and 2014, the songs themselves are far from brand new, but with the help of his good friend and writing partner Liam Rhodes (with whom he played in Birmingham Psychedelic outfit "Kinds of light"), Davies has brought these sentimental tracks to life whilst keeping them bang in line with their original vision.
The result is an album that doesn't really fit into any specific genre, in fact you could argue it's just regular old generic pop, but there's an innocence and a playfulness in there that disarms the listener and transports them to a simpler time when melody ruled supreme.

Tauche ein ins Herz des Londoner West Ends mit Paddington The Musical – Original Cast Recording, das
all die Wärme, Magie und den liebenswerten Humor von Paddingtons neuem Abenteuer einfängt. Inspiriert
von Michael Bonds zeitlosen Geschichten und den preisgekrönten STUDIOCANAL-Filmen präsentiert das
Musical neue Songs und Liedtexte von Tom Fletcher, ein Buch von Jessica Swale und die Regie von Luke
Sheppard.
Von mitreißenden Ensemble-Nummern bis hin zu gefühlvollen Balladen feiert der Soundtrack Familie, Freundschaft und die Suche nach dem eigenen Platz in der Welt. Begleite Paddington und die Browns durch
spannende Momente, herzliche Begegnungen - und natürlich ganz viel Marmelade.
Mit dem gesamten West-End-Ensemble aufgenommen, bringt dieses Album den Charme der Windsor Gardens direkt zu dir nach Hause. Erhältlich auf CD und als Sammler-Vinyl ist es ein freudiges Erinnerungsstück
für Fans jeden Alters - der perfekte Begleiter für Londons liebenswertesten Bären.

One of the all-time Balearic greats gets an official re-rub by friend of Balearic London, Holmes Price. Taking the charms of the classic Cool And Breezy Jazz Version- produced by Pete Waterman's in-house team at his '80s powerhouse PWL Records, and also included here in all its glory - rearranging the phrasing and adding a meatier contemporary house groove, it's the perfect update for the modern dancefloor that we hope will also introduce the timeless 'original' mix to some new ears.

Manuel Darquart returns to WOLF with this season’s must-have EP, Dream House Factory Vol. 1. Following his sublime 2023 release, The Del Sol EP, and a standout appearance on Permanent Vacation Records, he once again delivers a collection rich in Italo house influences, all filtered through his unmistakable signature style.

Seamlessly blending house, Italo and acid flourishes, Manuel Darquart continues to showcase why he’s a master of that sun-soaked Balearic sound. There’s a strong sense of nostalgia throughout, yet it’s balanced with a sharp, contemporary edge.

Adding further weight to the package, Malik Kassim aka Retromigration steps up to deliver a killer, remix of Pammy’s Craft. Injecting the track with extra drive and peak-time energy, he transforms it into a dancefloor weapon while retaining the character and charm of the original.

Think Ibiza via Hackney, with a pit stop in Amsterdam for a late-night pick-me-up. Balearic to the core!

,In the Grace Of Your Love" kam ursprünglich 2011 raus und war ein Neustart für The Rapture und eine willkommene Rückkehr zu DFA, dem Label, das ihnen zu ihrem sofort erfolgreichen Debüt ,Echoes" verholfen hatte. Der Schwung und Erfolg dieser Jahre führte zu einer Achterbahnfahrt mit einem großen Label, die sie wieder da landete, wo sie angefangen hatten - mit Narben, aber jetzt frei, die Grenzen der Erwartungen zu sprengen. Begleitet wurden sie dabei vom verstorbenen, großartigen Philippe Zdar, einer Hälfte des französischen Dance-Duos Cassius und Produzent von Künstlern wie Phoenix und den Beastie Boys. Zdars Begeisterung und technisches Können sind schon in den ersten 30 Sekunden des Albums zu hören: ,Sail Away" ist The Rapture in voller Pracht und Strahlkraft, ein fünfminütiger Ausatem mit Disco-Drums. Natürlich gibt es auch jede Menge Futter für die Dance-Kids - ,How Deep Is Your Love" rockt immer noch die Tanzflächen der New Yorker Bars, ,Miss You" ist ein unwiderstehlicher kleiner Streich in Moll -, aber insgesamt herrscht das Gefühl vor, dass man langsamer wird, Bilanz zieht und an den richtigen statt an den falschen Orten nach Sinn und Liebe sucht. Daher auch das Finale: ,It Takes Time To Be a Man", ein charmant ehrlicher, von Klavierklängen untermalter Song über Verantwortung übernehmen und anderen helfen. Er klingt wie nichts anderes im Repertoire von The Rapture und rundet es dennoch perfekt ab. Der Abspann läuft, die Zeit vergeht, Platten bedeuten immer noch alles.

Expanding beyond the West Coast with release number three, Goodtunes invites master of the craft Rob Pearson for a dark & moody EP.
Opener “Odd Job Mischief” bends itself over dubbed out low end pressure as echoic LFOs rip through the groove. A2 “Dodgy Brass” doubles down, forcing hazy horns through truncated rhythmic cracks split from beneath its own weight.

On side B, “The Right Speed” is all gas, no breaks. A moody, stripped back weapon with detailed texture & the dark, tripped out aesthetics of Jayson Walker’s murmurs over the top. “Beautifully Mangled” wraps up the EP with a dark minimal groove & lush atmosphere that slowly builds into a warm driving force.

Third time’s certainly the charm on GT003, with Pearson pushing his productions into new territory with meaningful intention.

Hot’n’Spicy returns with Vol. 8, carrying the same DNA that built the label’s reputation: deeply curatedselections and HOLDTight’s very personal approach to late nigh grooves & timeless music.Side A opens with a warm late-night disco-boogie groove, wrapped in a beautiful vocal and a crispdriving rhythm. Unmistakably Hot’n’Spicy.A2 drifts into a different atmosphere with a romantic slow-disco mover around 105 BPM, glowing withquiet tension and late-night charm — a piece built for listeners who appreciate subtlety and emotionaldepth. On the flip, B1 lifts the energy with a vibrant high-energy disco cut featuring a superb vocal,full of colour, uplift, and that joyful spirit that makes disco endlessly addictive.Vol. 8 continues the Hot’n’Spicy story — carefully chosen grooves for selectors, vinyl collectors, andhappy diggers.

The Coyote-affiliated Magic Wand wafts its mercurial charm over a series of mega-useful and equally effective edits here. Robot 84 kicks off with a slow, cyborg-infused and digitally finished dub of a Prince classic and Ali Renault brings sugary synth charm to 'Indovina Key'. Bratley himself then steps up with the whacked out piano house of 'PNO', a slow jam with oversized impact. 'Song To The Hills' gets a Secret Soul Society mix that's infused with subtle psychedelic charm and fresh disco chug.4 new heavyweight reworks from Secret Soul Society, Robot 84, Ali Renault and Craig Bratley.

When funk music exploded onto the global pop scene in the late sixties, many of Jamaica's leading music-makers were inspired to incorporate elements of the exciting sound into their work. The result was the fascinating and compelling funky reggae style that proved immensely popular with record buyers on both sides of the Atlantic throughout the early ‘70s.

Pioneers of the sound included such celebrated producers as Lee ’Scratch’ Perry and Lloyd Charmers, whose recordings are heavily represented on both the CD and LP versions of this irresistible collection.

Collected here are some of the finest examples of the funky reggae, performed by some of reggae music’s most accomplished artists, from Ken Boothe and Lee Perry’s Upsetters to British-based acts, Greyhound and The Marvels.

Nick Bike rides again with a new trip out on his Chosen Spokes label, and as always, these are on the money mixes for dub disco heads. 'Kiss Me Say It' is devilishly slow and purposeful with rotation dub and funky bass riffs rising and falling to irresistible effect. The strings bring sophistication and the chords a golden charm that swells the heart. The groove feels ever on the rise but never boils over. The flipside dub is even more focused, with the diva vocal doused in echo for a spaced out vibe. Pure perfection.

■ Human is a deeply “human” cover album by Gota Nishidera (NONA REEVES), focusing on the world of 80s–90s Japanese kayokyoku and new music.
Following his well received 2023 solo cover album Sunset Rain, this new release features an unprecedentedly wide ranging selection of songs spanning works
by Kyohei Tsutsumi, Reiko Yugawa, and Eiichi Ohtaki, all of whom Nishidera either learned from directly or profoundly respects for their devotion to the study and
practice of pop music.

■ After experiencing major success across Asia including two China tours with NONA REEVES and solo performances in Taiwan Gota Nishidera revisited the essence
of Japanese pop music from a renewed perspective. The result is a meticulously crafted collection of eight ultimate tracks, tightly packed with the charm of Japanese
pop. Born in 1973, Nishidera absorbed the new wave of Japanese music that began in 1980 in real time, and here he updates that experience for the present day.
With arrangements and vocals filled with deep affection for the originals, he offers a modern and fresh reinterpretation of these classics.

■ The album is produced by long time collaborators Yuzuru Tomita, Tomoya Yamagata, and rising talent Yudai Ohi. On the track “Woman (from W’s Tragedy)”,
Nishidera performs a duet with Megumi Mashiro of Hicksville, a vocalist he has worked with for many years on NONA REEVES recordings and live shows.

■ Mastering is handled by ambient/balearic maestro Calm, delivering a stunning final sound.

■ The jacket design is created by Keita Fukumi, producer of the YouTube channel Gota Nishidera Channel NGC. Shot at Nishidera’s local barbershop in Sangenjaya
during his usual haircut, the artwork vividly captures the “human” essence at the heart of this project."

Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

Enter the debut LP of the now Spatial regular Chronicle - Expect a joyous, varied blend of old school brand new atmospherics from one of the scene’s most talented producers. A1 - 20th Century Man Straight into the beats for the deliciously cheery opening, 20th Century Man encapsulates so much of what Chronicle does best - old school breakbeat sensibilities delivered with an inimitable atmospheric charm, strongly reminiscent of that peak Good Looking era we all adored. Incredible synthwork and analogue drums layered with danceable 2-step breaks and melodies take your mind exactly where you want to be. A2 - Terraformers Seminal synths and birdsong effects prepare us for an impossibly crisp breakbeat and 808 bassline to drive this track along, coloured by a myriad of subtle blips and bleeps, delicately flecked across a detailed and optimistic soundscape. Very DJ-friendly from the first to the final bar, the purity of Chronicle’s approach to atmospheric drum & bass is once again at its best here on Spatial. B1 - Boundless Space Playful twittering birds, gentle hi-hats and panning synths introduce Boundless Space, a blissful, serene treat for the senses which soon kicks into flourishing life with the timeless Circles break. Vocal samples punctuate the soothing breakdown with exquisitely programmed effects dotted here, there and everywhere, completing a stunning composition that both reflects on the past and looks forward in equal measure. B2 - Ephemeral Style A light, delicately calming pad-laden intro with echoing melodies opens Ephemeral style, soon punctuated by a sublime 808 bassline preceding the drop. Chronicle showcases his dancefloor breakbeat prowess with an energetic 2-step break pattern, expertly programmed and riddled with detail and density, creating a wonderful collage of sound and a perfect addition to any era-spanning atmospheric set. C1 - Modular Expansion Eerily reminiscent tones harking back to the golden, ultra-classic Good Looking era introduce us to Modular Expansion, a track which quickly adds layer upon layer of original identity to the vibe with crisp breaks, a wonderful metallic backdrop snare and subtle vocal samples. The joyously retrospective breakdown complements the energy of the track beautifully, capping off another gem for the record box. C2 - Limbic System Chronicle introduces Limbic System with swathes of swirling pads and synths, straddled with a subtle yet enigmatic melody carrying us through the drop, where we are treated to a lusciously constructed old school break pattern with a modern twist. Enter the breakdown and the keen ear will spot sampled quotes from Total Recall, which fit the vibe perfectly. “You went to Recall?” - yes, we sure did. And we enjoyed the trip! D1 - Non-Euclidian Continuing the blissful retrospective atmospheric tone of the album, Chronicle serves up Non-Euclidian which opens with a wonderfully synthy intro flecked with old school break samples and an earworm melody, before the onslaught of layered breaks provides variety as well as a thoroughly danceable pattern to unleash on the discerning dancefloor. Trademark dotted effects punctuate the track throughout. D2 - Deep Thought Capping off the LP we have Deep Thought, setting a calming and quietly brooding vibe before impossibly crisp beats kick in and elevate proceedings nicely. Chronicle effortlessly leads the listener through the drop with an analogue punch, earthy basslines and fluttering effects with the kind of flair we’ve come to love from such a vastly experienced and talented producer - perfectly complementing the vibe here at Spatial. Words by Chris Hayes (Spatial / Red Mist)

The master of ambient soundscapes, intertwining authentic old school breakbeats with his inimitable style returns with a fresh album of choice cuts for the Spatial crew. A1 - Form of Defraction Opening the LP in his gloriously unique style, Aural Imbalance sets the tone with a powerfully ambient intro of padwork and delicately filtered breaks before dense, analogue old school breakbeats roar to life sending the track skyward. The sublime 808 bassline simmers beneath an ever-evolving soundscape of twinkling melodies and strings, the very essence of serenity captured in just under 7 minutes of audio bliss. A2 - Discreet Function Enveloping the listener with a warm blanket of silky ambience, Discreet Function soon jolts to life with a crunchy breakbeat that counteracts yet compliments the pads and myriad of delicious micro melodies so well, you wonder how it’s possible to take such extremes and mix them down so expertly that our ears accept it as one. After a relatively brief breakdown the track rolls out before the breaks are snatched away at the death - capping off a quite unique composition. B1 - Softlight Light cymbals and delicate textures introduce us to Softlight, a track which sees Aural Imbalance guiding the listener through the clouds to a haven of gentle serenity where your troubles simply fade away, punctuated by a stunningly programmed and memorable Hot Pants break pattern, timid classic basslines and an overall plethora of sun-baked energy - perfect for the headphones and the record box - as always. B2 - Airwave Immensely old school vibes are immediately present in Airwave, with analogue breaks and succinct female vocal samples that mingle with echoing melodies and synthwork to create a beautifully flowing and unique slice of atmospheric gold. Additional breaks are fused into the mix as the track progresses, elevating the piece to the heights we have come to expect from Aural Imbalance, yet never cease to amaze. C1 - Speed of Light Gentle cymbals and filtered breaks open Speed of Light, before a crisp barrage of amen goodness descends and dominates proceedings - just as a good amen should! Programmed to perfection with an immensely danceable rolling pattern, the amens lead us through a sea of washing synths and delicate melodies, intertwining and frolicking in the mix, completing a charming and memorable piece. C2 - Fading Star Playful strings and a luscious 808 bassline play with sumptuous padwork in the intro to Fading Star, a track which sees Aural Imbalance capture the essence of 90’s jungle and it’s symbiotic relationship with atmospheric drum & bass perfectly. Developing throughout with an array of unassuming effects and a quietly moving vibe, Fading Star is the perfect addition to sets spanning the entire history of this music. D1 - Drifting Under Bright Skies Aural Imbalance resurrects the excellent break last featured on Spatial in his sublime track Surface Area, this time chopped and sliced to a different vibe, with kickdrums at the forefront and that fantastically crunchy snare deployed more sparingly. Shimmering padwork and light melodies dance across the mix throughout to leave us with a refreshingly unique and memorable track you won’t be able to get enough of. D2 - Violet Completing this fine LP of old school ambient breakbeat mastery, Aural Imbalance deploys Violet to see us out - a climactic-feeling romp that opens with quiet intent before launching the listener through cheery melodic tones and bustling soundscapes, sprinkled liberally with airy pads and fluttering micro melodies that zip and whoosh around thick analogue breakbeats. A fitting end to a thoroughly enjoyable album. Words by Chris Hayes (Spatial / Red Mist) credits

Pour Me, My Friend, The Nectar of Dionysus PCM004 is a vibrant four-track exploration of deep tech house, crafted with elegance, groove, and an undeniable sense of joy. Rooted in musicality and designed for the dancefloor, this release blends warm, jazz-tinged elements with modern production finesse, offering a rich and uplifting listening experience from start to finish.

On Side A, A1. Andrey Djackonda – Never Disappear and A2. Deep District – Back Room introduce a welcoming atmosphere built on smooth progressions, refined hi-hat work, and dreamy pad textures. The grooves are fluid and inviting, supported by strong basslines and a playful spirit that sets a positive tone from the very first moments — perfect for drawing people onto the dancefloor with ease and charm.

The B-side raises the intensity. B1. Anirr – Still Trying to Be Perfect and B2. Andrey Djackonda – Refresh shift into a more driving, peak-time energy, where tighter rhythms and increased momentum take control. These tracks carry a confident push, designed for those moments when the room is fully alive and the energy calls for a stronger, more direct connection.

Balancing warmth, groove, and power, PCM004 is a well-rounded and versatile EP — an essential addition for those who appreciate house music in its most expressive, dancefloor-ready form.

Panna Cotta Music is a division of MixCult Records

Once I Was Young and The Airplane Album find the producer taking yet another sonic right turn. "These records were made in the same year with a very similar creative process. I moved almost completely away from sampling, experimented more than ever with ambient and techno elements and used the album format as a way to tell a story about moments in my life." Once I Was Young is a storytelling work that journeys through analogue synth-pop, modulated techno and raw, dusty drums with otherworldly melodies. Moments of beauty come through escapist, naturalistic ambient tracks and fusions of Kraftwerkian sequencing with more classical piano, while stark, clubready grooves keep things moving. Airplane contrasts similar shades of light and dark, synthetic and organic, rough and smooth. Glitchy, imperfect analogue sounds, knackered drum machine grooves and eerie synth phrasing evoke a post-human world with icy atmospheres. Elsewhere, warmth comes from bittersweet melodies and loose, funky drums that ooze retro-future charm.
Once I Was Young and The Airplane Album show a diff erent side to Escobar, one that embraces introspection and experimentation while exploring a whole other world of meaningful machine soul

Bolka is known as the man with the cap. His cap has lived through a lot: his glitchy and microtonal experiments, studies at Institute of Sonology in The Hague or through countless performative works. A few years ago, Bolka’s cap fell apart. By that time he was already a fixture on the slovak experimental scene, but only releasing his debut album, “smutné stropy.” He started wearing new caps from then: somehow reminiscent of the old one, but much more varied — same as “smutné stropy,” bubbling with motifs, charming humour and pop sensitivity layered over detailed soundscapes popping with surprises.

On schwarzkopf, Bolka returns wishing for a thick black hair. With his charming love songs, that are positioned somewhere between a tightly run freak folk orchestra, deconstructed ballads and colorful ecstatic melancholy, he creates an album that thrives on juxtapositions that are completely unique, yet strangely familiar. Bolka’s songwriting is at once tender and irreverent — lovestruck whispering suddenly tripping over absurdist jokes and surreal images that fizz like soda. His songs move in that strange space between vulnerability and mischief, where intimate confessions collide with radical playfulness and the poetic rubs shoulders with the delightfully ridiculous.

On schwarzkopf, Bolka expands his world with a wide circle of collaborators and an even richer sonic palette. The album is meticulously detailed yet carefree: delicate moments sit next to sudden explosions, drifting from gentle pop to bursts of noise. Toward the end, the album even slips into a footwork-infused remix by Kodiki, passes through Julek ploski’s signature neon-baroque string perspective, and briefly wanders into Lénok’s cinematic sonic world. Bolka sings that he wants to dissolve into a healing ointment, to be ground in a mortar with calendula — and he invites us into this musical spa with him: a place that stings a little but ultimately soothes, a gorgeous soundscape that is both painful and joyful at the same time.

Real heads with good memories and a lifelong love of good grooves might remember that the original mixes of 'Disco Glory' first appeared on DJ Garth's Wicked imprint in 1996. Top DJ dogs like Danny Tenaglia, Francois K and Doc Martin all used to drop them on the regular and ensuing remixes even made their way onto Sony Pictures' 'Groove' soundtrack. The DJ Garth & ETI mixes have long been out of print, so fetch a pretty penny on the second-hand market, which means it's great news that the 30th anniversary is marked with a fresh return to wax. The Acid Rock mix is psychedelic and trippy, the Look To The Moon dub is a dark and dubby tech sound that could be brand new, and the Ye Olde Organ Grinder mix has a moody and retro house charm.

Editing is a specialist game that is easy to play but difficult to master. King Most is more adept than many, as he shows with a third outing here on his own KM label. This one finds him spreading his wings a little, flying away from r&b and hip-hop and migrating towards more worldly grooves with Afro and Latin undercurrents. 'Tony Trinidad' brings swirling guitar echo and coconut percussion to a crispy slow jam, then 'Hermanos Cub' pumps up the funk with blazing horns and vocals. There's lush polyrhythmic looseness and string melodies to 'Zimbabwe Thorn' and earthy disco charm to 'Bebe Cameroon' with its seductive vocal leads. Cultured cuts.

Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.

Les Rallizes Dénudés returns with Disque 4 -’76 Studio et Live-, the latest in the ongoing series of official archival releases from the celebrated Japanese underground band.

In 1991, Les Rallizes Dénudés released what would become the only official albums issued during the band’s lifetime: ’67-’69 STUDIO et LIVE, MIZUTANI / Les Rallizes Dénudés, and ’77 LIVE. What no one knew at the time was that Takashi Mizutani was already deep into preparing another record.

Disque 4 reconstructs the track list Mizutani had put together for that fourth album. This includes the single “White Awakening," recorded in 1976 at the studio in Takadanobaba BIG BOX as part of the sessions that would become known among collectors as the “Virgin Demos.” Production and mastering of this archival release were handled once again by Makoto Kubota, assembling the album from the masters left behind by Mizutani, utilizing newly discovered tapes as additional sources.

Prepared by Mizutani using a variety of formats, including U-Matic, open reel, and DAT, the tracks were originally labeled with working titles such as “Disque 4” and “Record No. 4,” indicating that Mizutani intended them for inclusion on a possible fourth album. The recordings were taken primarily from studio sessions that all seemed to have taken place around 1976, which aligns with the claim that Mizutani himself once made that “there exists an album of studio recordings made with the same members as ‘77 LIVE.” His notes also suggest an attempt to sequence the tracks as a vinyl LP, splitting them into A and B sides. It's not hard to imagine that in the era of CDs in the early 1990s, an album on analog LP would have been an extremely difficult sell. Thus, the “Fourth Album” had become another lost piece of the intricate Rallizes myth.

Les Rallizes Dénudés may be notorious for the colossal volume and extended song lengths in their live settings. But this work, centered around studio recordings and condensed onto a single LP record, transcends the common impression of the band’s aggressive flood of noise. Instead, the “lyricism” at its core emerges with striking clarity. And needless to say, this is precisely the charm of the Rallizes that continues to captivate fans worldwide today.

Der aus Sydney stammende Soul-Revival-Troubadour Don West – mit knapp 3 Mio. monatlichen Spotify-Hörern - veröffentlicht sein Debütalbum "Give Me All Your Love" parallel zu seinen ausverkauften Tourneen durch Europa, UK und seinem Heimatland Australien. Australiens einziger Spotify Radar Artist für 2025 wurde bereits für die Australian Independent Records Awards in der Kategorie "Beste Soul/R&B-Veröffentlichung" und für den APRA AMCOS Award in der Kategorie "Meistgespieltes Soul/RnB-Werk" nominiert und erreichte Platz 6 der australischen ARIA-Charts.

"Wenn Sie sich ein Gedankenexperiment gewünscht haben, das berauschend sinnliche Soulmusik aus der Blütezeit von Stax und Motown mit dem Charme eines angesagten Frauenschwarms verbindet, dann hat Don West die harte Arbeit für Sie erledigt; er ist die Antwort." – Onestowatch

"This majestic Italo-Disco tune, arranged by Pierluigi Giombini, possesses something magical and mysterious. "On Ice" begins with Natasha King's a cappella vocals and a sweet piano melody by the same composer who wrote "Masterpiece" and "I Like Chopin" for Gazebo. A classic Italo-Disco piece from the mid-1980s, which, more than its sales, achieved success in live performances and on TV shows for the grace and charm exuded by the artist, who was also a dance teacher at the time. The elegance and precision of every move are the foundation upon which Natasha builds her technique. The reissue of "On Ice" was never fully embraced by lyricist Natascia ''Nati'' Maimone, straying from her tastes in soul, blues and jazz. It was also overshadowed by her previous hip-hop track, "AM-FM" - released from Best Record in 1983 - which made the artist world-famous at the age of twenty. This reissue in both original versions was also created to allow new generations to relive, at least in part, the great musical era of the 1980s, a period of incredible musical richness combined with a carefree spirit."

VERY LIMITED TRANSPARENT PURPLE COLOURED VINYL - 100 UNITS ONLY FOR EUROPE


Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex's fifth album, DSU. Recorded prior to DSU and previously only available via Alex's Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Rules is soaked in the distinctive personality that is Alex G, the professionally mastered versions of these tracks further highlight that Alex has a serious knack for melodic songwriting.

In addition, Lucky Number are also thrilled to be releasing Trick, Alex's fourth album. Written and recorded just a few months after Rules, they both harbour a similar charm that makes it feel right for them to be released together.

Both Trick and Rules continue to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.

The second VA release from Méchante Recording continues with a new identity, bringing together a refined selection of artists across different generations. At its core, a reissued and repress of a 1994 track by Jay Tripwire creates a timeless bridge between past and present.

Alongside this piece, UK producers Quidders and Ferg deliver fresh and captivating productions, as well as Arion, a prodigious talent from Lyon, who charms us with each of his tracks and brings depth and character.

This Various Artists blends dub tech house and progressive minimal, offering hypnotic, groove-driven tracks designed for both listening and the dancefloor, while affirming the evolving sonic identity of Méchante Recording.

French producer Yse Saint Laur'ant is exactly the sort of artist you want to hear from as the sun begins to shine more often. He's a master of escapist, beauty, classy grooves that marry disco and Balearic into pure magic. 'Space Ride' does that on a bubbly groove with a cosmic edge and 'Saint Tropez' brings loose-limbed funk and boho percussion to a Provencal sound. 'Monaco' is bathed in sunlight and made all the more classy with some gorgeous stings and mellifluous chord work then 'Esplanade' shuts down with a dubby, flute-led sound with a whimsical charm. Twenty First release on the much sought after Vinyl Only label.

Lewis Taylor is a rising 20-something house head from Newcastle who shows off his chops on this new one from Ebullience. Ebullience is a good way of describing his take on tech and minimal, too. There is plenty of cheer in the lively synth work of opener 'Do You Wanna Come Party', to which the answer is yes, please, very much so. 'Satisfaction' has its head up in the clouds with more wispy cosmic synth motifs, zippy grooves and silky pads that are luminous and pure. 'Optimism' strikes that same balance between low-end oomph and celestial melodic charm - a fresh, future blend that is perfect for summer. 'Still Dreaming' closes with more mature melodies and accomplished arrangements that quietly buzz.

We can't resist the carefully fused and treated sounds of The Reflex who shows his class again here with more multitrack remixes that bring vintage grooves bang up top dates without stripping them of their seasoned charms. 'Cherry Dub' is packed with big riffs and well known vocal-hooks but is dubbed out top perfection with screeching guitar solos destined to send dancers wild. The flip side is a more warm and breezy roller for sunny days and cocktail sessions, again with an iconic vocal and top line adding that familiarity that always unites dancers.

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”.

The artists at Stax Records were no more immune to the Beatles’ charm than the rest of the United States. From the mid-1960s onward, numerous Beatles covers were laid down for the label. Available wide on vinyl for the first time, this 8 track LP collection includes vocal and instrumental performances that deliver an eclectic cross-section of soulful Beatles covers by legendary Stax Records artists, including Otis Redding, Booker T. & the M.G.’s, Isaac Hayes, Carla Thomas, and David Porter.

2025 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

Wolfgang Haffner is one of Europe's most respected jazz drummers, known for his impeccable sense of timing, groove, and atmosphere. Though rooted in jazz, his musical language transcends genre boundaries, guided by pulse and subtle nuance rather than tradition alone. For Cocoon Recordings, he now enters an entirely new dialogue, offering warm, organic reinterpretations that honor the spirit of the source material while opening a fresh sonic horizon. The result is a meeting of two artistic worlds where Sven Väth's timeless energy and Haffner's refined touch flow naturally into a new musical form, an encounter between two artistic universes, merging into something both unexpected and deeply musical.

Fusion is a groove driven piece built around a clear, flowing melody, allowing Haffner to reinterpret it acoustically through a jazz lens. Its straight, driving pulse lets him explore the track's rhythmic and melodic interplay with clarity and nuance.

L'Esperanza, originally a dreamy, trance like track, envelops listeners in strings, filtered downbeats, and a playful synth melody, a perfect canvas for Haffner's warm, organic touch. Its ethereal layers and subtle tension allow him to explore the track's emotional depth while preserving its entrancing charm.

Barbarella, emblematic of Sven Väth's early 90s vision, carries the energy and innovation of a club classic. Haffner's reinterpretation transforms it into a rich, acoustic exploration that honors its hypnotic essence. By emphasizing the track's iconic motifs and underlying drive, and by drawing out the track's essential elements, he bridges its electronic origins with a new, organic perspective.

Together, these three reinterpretations form a cohesive journey that celebrates the timeless essence of Sven Väth's music while revealing a new dimension through Haffner's masterful touch, a release that invites listeners to experience familiar classics in a completely new light.

A fresh breeze of color, groove, and charm marks the first outing of OKAY OKAY, a new label from Germany that celebrates playful, soulful, and dance-ready sounds beyond genre borders.
With Marmelade Dew EP, Gelée serves up a vibrant debut full of disco shimmer, Italo-house warmth, and a sweet dose of pop sensitivity. It’s a record that feels both nostalgic and daring, sun-kissed melodies meet tight rhythm work and carefree emotional drive.
From early-morning club sets to slow-burn afterhours, Marmelade Dew EP is an invitation to smile, move, and surrender to simple pleasure. A lovingly crafted 12″ for those who like their house music playful, tactile, and just a little bit sticky.