Buscar:daniel t

Daniel Terndrup Is A Los Angeles-based Dj And Producer. A Longtime Record Collector And
Digger, Daniel Has Become A Local Authority On Bygone Music. He Hosts Regular Radio Shows
On Dublab (crosseyed & Painless) And Nts (heat-wave) While Also Throwing A Weekly Party
For Heat-wave In Collaboration With Wyatt Potts At Former Hollywood Stripclub, Gold
Diggers. Daniel Started Making Music A Decade Ago As One Half Of Cosmic Kids. Alongside
Ron Poznansky, He Made A Name For Himself Producing Heady House And Astral Dance Tunes,
And Releasing Records With Cult Labels Throne Of Blood, Let's Play House And Dfa. In Addition
To Racking Up Plays On Original Cuts, The Duo Was Regularly Tapped To Deliver Remixes For
Heavyweights Like The Rapture, Holy Ghost!, Poolside And Superhumanoids.
After A Handful Of Releases With Cosmic Kids, Daniel Pivoted Toward His Own Project As Daniel
T. His Solo Output Is Inspired By Everything That You Might Find Leafing Through His Record
Collection: Funk, Post Punk, New Age And Pop Of Yesteryear (think: Compass Point All Stars To
Yellow Magic Orchestra). The Music He Releases As Daniel T. Is A Reflection Of His Global Taste,
But Indelibly Filtered Through His Southern California Surroundings

Blurb Attached
Following His 2015 Solo Debut Tetrachromat, Released On Friends Of Friends Sister Label
Young Adults, Daniel T. Returns With A New Album Called Heliotrope, Out This Summer On
Cascine. In Contrast To The Steady Dance-oriented Tempos Of Tetrachromat, Heliotrope
Moves Across More Dynamic Landscapes, All United Under Daniel's Sun-soaked Sensibility.
From The Breezy Bounce Of call,' To The Lithe Cover Of Tatsuro Yamashita's Classic windy
Lady,' He Effortlessly Wades Into Pop Territory. Elsewhere, On The Neon Glow Of moonlight
Bounce' (inspired By Dan's Near-religious Love Of Roller-skating) And The Ebullient First Single
'heat-wave', His Trademark Mid-tempo Swing Shines As Bright As His Synths. Heliotrope Is A
Reflection Of His Global Taste, But Indelibly Filtered Through His Southern California
Surroundings

Daniel.T. has been subtly making waves over the past few years as one half of the LA duo Cosmic Kids with releases on labels including Throne Of Blood, Let's Play House and DFA.
A record collector and selector at heart, 2015 has seen him flesh out his solo productions with world-leaning contributions to Chit Chat's Brazilian tinged 12 and American Standard's African summer stunner.Young Adults brings Daniel into the fold for his debut Tetrachromat mini-LP spanning a sprawling spectrum of sounds, but unified by a signature West-Coast sheen.
Opener 'Mission Hill Morning' stretches its arms in the early AM mist, 'Tetrachromat' jogs steadily toward the horizon and 'Planetesimal' accelerates the MPH in the drop top down PCH.
On the flip, 'Laced' takes a smoke break down a dusty dirt road, 'Akoussah' sprinkles some sultry spice and 'The Sun & The Sky' sits back while the sea sips up the last remaining daylight.

The first "Last Gas Station" compilation includes 12 new tracks and aims to showcase artists that the site has followed for many years, as well as promising talents to keep an eye on. Featuring LA's "daytime disco" duo Poolside,Vampire Weekend's bassist Baio, Italian duo Marvin & Guy, Brooklyn's duo Vito & Druzzi, Adelaide-based producer James Curd and Turbotito, California Balearic duo Woolfy Vs Projections, Disco Halal's Moscoman, Mexico's finest Zombies in Miami, NY unstoppable disco funkers Midnight Magic, DFA's Greek mastermind Larry Gus, Crew Love's David Marston, and - last but certainly not least - Peaking Lights Acid Test. This will be a ride to remember...

The Cosmic Pint Glass Keg series continues its secret vinyl only 10 addition, pressed to 200 copies. This time Daniel T supplies the dancefloor fun times by adding some tropical funk to Maricopa's Ascent and turning it into some mutant disco party jam. On the flip Miskotom adds a hefty dollop of atmosphere to the already atmospheric Volcanic Glass to provide a stunningly laid back finish. Get these while they're hot!

Hailing from Aachen, the Brandwerk resident Danieli is less a producer and more a sound archaeologist. An artist who uncovers the hidden rhythms of nature and translates them into deep, textured techno. His debut EP on a.r.t.less, "Shifting Clouds," is the consistent continuation of this path. The title is not just a name, but a mission statement and a metaphor for his entire approach: music that is organic, fleeting, and full of emotional depth. The four tracks are a journey through soundscapes distilled from field recordings, synths, percussion with analog warmth and dub ethos. From the atmospheric melodic expanses of the title track, "Shifting Clouds," and the almost microscopic detail of "Minutiae," to the hypnotic evolving pull of "Between Layers" and "Reduce", this EP is a masterclass in subtle dynamics. For Mojuba sublabel a.r.t.less, this release is a more than welcome extension of its own sonic cosmos as well as its artist roster.

LP auf wolkenweißem Vinyl! Original-Soundtrack für den Film "Past Lives" (2023) kommt von Christopher Bear und Daniel Rossen, die gemeinsam die Indie-Rock-Band Grizzly Bear bilden und deren Musik zuvor in zahlreichen Filmen und Fernsehproduktionen verwendet wurde. Der Originalsong "Quiet Eyes" ist von Sharon Van Etten. Das Artwork enthält Originalgemälde der renommierten Künstlerin Na Kim. Der Debütfilm der Regisseurin Celine Song feierte im Januar 2023 beim Sundance Film Festival seine Premiere und erhielt viel Lob seitens der Fachkritik. In Deutschland wurde der Film erstmals im Rahmen der Berlinale im Februar 2023 vorgestellt. Dort konkurrierte Past Lives im Wettbewerb um den Goldenen Bären, den Hauptpreis des Festivals. Der Kinostart in Deutschland fand am 17. August 2023 statt.

after strong debut "twister ep" here comes shot 2 with markus lange & daniel dexter (craft music, whirlpoolsex, dirty dancing records), lanetic-head rec de weirl and label-boss audiophile !!! don´t miss that one !!!

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

'This is a journey into sound...,' These familiar words, accompanied by the rumble of a distant train, signal the opening of 'Let's Take A Trip', the sophomore album from Terrel Wallace aka Tall Black Guy. Since 2013's '8 Miles To Moenart' TBG has cemented his position as a standard bearer for the current hip-hop / beats scene. Born in Detroit and now residing in the UK, Wallace's signature style of incredibly clever sample flips and deft production chops has won fans across the globe including Gilles Peterson, Lefto, Jazzy Jeff and House Shoes.

Since his debut release in 2011 (a daring and addictive flip of Fela Kuti), TBG has become revered for his unique take on soulful hip-hop production. The swing of the drums, the textures of the instrumentation as well as a fearlessness in taking on the classics (his Soundcloud page includes flips and chops of tracks from James Brown, De La Soul and Michael Jackson) have marked him out from the crowd. One of the best-kept secrets in the scene, his singular talent is now beginning to get the recognition it deserves. In the last 12 months he has remixed Little Dragon and been invited to take part in Jazzy Jeff's Playlist Retreat alongside the likes of Eric Lau, James Poyser, Ali Shaheed Muhammed, Questlove and countless others.

For this album Wallace had a simple inspiration: 'This album is all about taking a journey. As simple as that. Be it physical, emotional or spiritual. It's asking and answering personal questions from myself within some of the tracks and also touching on social issues i.e. racism, inequality and privilege...that have been at the forefront of my mind over last three years.' Sonically there is also a shift: 'Jazz has definitely been more of an influence in this project, as I have been really inspired by so many up and coming musicians who I've been blessed to connect with'. Some of these musicians, including Kenny Keys, Miles Bonny, Diggs Duke and Dee Jackson feature on the project as well as regular collaborators Ozay Moore and Mario Sweet and fellow Playlist alumni Daniel Crawford and Masego. But this is one man's vision, and for Tall Black Guy this trip is just the beginning...,.

Daniel Steinberg debuts on Rekids the Berlin-based Arms & Legs boss drops the ‘Free Living’ EP

Berlin-based producer and DJ Daniel Steinberg lands on Rekids for the fi rst time with the ‘Free Living’ EP, 13th March 2026. Active for over two decades and emerging at the height of the stripped-back, funkier end of minimal house, Steinberg has built a reputation for pairing infectious hooks with tightly programmed grooves, and has ploughed his path via his label, Arms & Legs Records, as well as labels like NuGroove, Front Room, and Southern Fried.

The title track of Daniel Steinberg’s ‘Free Living’ EP sets the tone with slow-slung, dusty House pressure, where restraint and subtlety shape a deep, immersive groove. Blues-tinged vocal fragments sit low in the mix alongside understated trumpet motifs and tender chords, forming a warm-up cut that gradually raises the energy. ‘Concrete Master’ shifts gear entirely, delivering raw, in-your-face house driven by sleazy rap snippets and snarling hits, built for peak-time impact. ‘Seven Sense’ follows with turbo-charged momentum, pairing vamping piano lines with gospel-leaning vocal stabs for hands-in-the-air release, before ‘Perfect Catch’ closes the EP with loopy chords, chopped grooves, and a playful, party-starting sensibility, delivered with characteristic precision. Founded in 2006, Radio Slave’s Rekids expanded with the techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as sole A&R, Rekids continues to champion emerging and established artists alike, remaining a trusted home for house and related sounds, with recent releases from DJ Minx, Echonomist, Tal Fussman, and more.

For this edition, the label meets this duo of producers, that has been created by the musical synergy between Zonker and Daniel Gorziza, who go by the name – “SameSame”. This disc has been titled “Unconditional Society” and has been crafted with a mission to be brought to the worldwide dancefloors and to be foreseen by the adepts of the sound it conveys. The A side is opening with a deep trancey burner “Suspect Zero”, with time passing this side of the record is morphing into the prime-time speaker ripping sound of “Rip the Jacker. The B side will see more mellow feel to it and sometimes even could be said that the vibe turns relatively melancholic by the time the record reaches its natural conclusion. The words that have been shared do not translate the profoundness of the subject that the artists have carried through, but then again, sometimes them letters have to be present even if they are kept to the slightest. The frequencies communicate much superior to the words and by now you can stop reading this and immerse yourself into the sound.

Following his debut on ICONYC in late 2024, Italian producer Daniel Tagliaferri returns to the label as Ivory with "Want", a four-part suite that deepens his sonic language and sharpens his emotional vocabulary.

With a precise command of space, rhythm, and tension, "Want" feels less like a follow-up and more like a statement of intent, one that situates Ivory among the most sensitive sculptors of the modern dancefloor.

There are two versions of the vinyl edition: classic 140g black record or limited (Universe Edition) 140g black + 7" black vinyl with two bonus tracks.


WE ARE THE BIOBOTS is an album by Michal Baj (DJ Eprom), who has ties to Silesia. It will be released on 21th January 2026, by the legendary Polish label JuNouMi Records (est. 2002). WE ARE THE BIOBOTS is an album that not only talks about technological progress, but also touches on the digitization of human consciousness in the 21st century. Although it discusses the dangers of AI development, no artificial intelligence was used in its creation.

The album features legendary hip hop DJs, including the art of scratching. The album will feature the most outstanding DJs from Poland, England, the USA, and Japan. Thanks to this, the album has a chance to gain a broader, international context. Eprom's professional experience to date has allowed him to bring together such a wide range of artists and bring them together on the album, including:

DJ D-Styles – a legend of scratching from the USA. A pioneer of the genre. Member of groups such as The Beat Junkies and Invisibl Skratch Piklz, creator of many scratching techniques still used today.
DJ Prime Cuts – founder of the legendary Scratch Perverts from London, multiple world champion and creator of unique scratching techniques.
DJ Flip Flop, Prolifix – representatives of the DJ community from the US coast.
DJ Tigerstyle – a leading representative of the DJ community in England, multiple world champion in scratching.
DJ IQ – the most successful scratching champion in the world.
DJ Miyajima – the unrivaled master and creator of the Japanese school of scratching.
DJ Melo-d – co-founder of The Beat Junkies collective, multiple DJ champion hosting a legendary show on Radio HOT 97 in the US.
DJ Ben, Krootki – co-founders of the Modulators group from Poland, World Champions in scratching.
Daniel Drumz – Polish DJ and music producer known worldwide.
Mr Krime – pioneer of DJing and turntablism in Poland.


Michal Baj is a multi-talented musician, artist, and music producer born in Jastrzebie-Zdroj, as well as the owner of the analog Eprom Sounds Studio, where tracks based on mixing and mastering are produced and gain worldwide recognition.

The inspiration for the album is Eprom's connection to Silesia. His work at the KWK Borynia mine, surrounded by heavy equipment and mining technology, became a direct inspiration for creating a musical story about people, machines, as well as the directions of technological development and the impact they have on society.

The album is released by JuNouMi Records, a label specializing in vinyl records, founded in 2002. Your wax supplier.

Hip Horns Brass Collective presents Brassvillain, a tribute to the cult album Madvillany by MF DOOM and Madlib with the collaboration of Las Ninyas del Corro, Ana Tijoux, Escandaloso Xpósito and Rodrigo Laviña. The catalan brass band covers iconic songs like Figaro, Meat Grinder or All Caps, with the metallic explosion that characterizes them and the voices of some of the best artists on the current rap scene. Daniel Dumile, aka, MF DOOM is not only a musical reference, but also the illustrations that accompanied his project have a great role in the history of hip hop. For this reason, Brassvillain is also a great graphic epic where the versatile artist Hermes LeBleu displays all his versatility. In the featurings appears HO$$$ Benítez, one of the most renowned drummers on the hip hop scene, who has already accompanied them on their previous releases, “The Dream” and “Thunder”. The production is by Hip Horns together with one of the best bassists and musicians in our country, Tito Bonacera, making this tribute a multidisciplinary meeting point between artists who grew up with the masked hero. On the B side we have two new singles from the band, BRAM! and Mulligan, in which they unleash their full potential both in composition and in execution to prove once again that they are one of the leading brass bands of the moment.

2024 Reissue

Transparent grünes Vinyl! Wieder lieferbar! Zum ersten Mal überhaupt seit der digital-only Veröffentlichung 2011 erscheint nun der erste "Minecraft"-Soundtrack in physischer Form. Die Vinylversion enthält zwölf Tracks! "Minecraft - Volume Alpha" ist das Werk des deutschen Komponisten und Musikers Daniel Rosenfeld. Unter seinem Künstlernamen C418 erschuf Rosenfeld den weitreichenden Soundtrack und das lebendige Sounddesign, das das auf Voxel aufgebaute Universum von "Minecraft" zum Leben erweckte. Fans und Kritiker waren durch die Bank weg begeistert von seinen beatlosen, ausgewogenen Electro-Stücken. Die bekannte Gaming Seite "Kotaku" führte den Soundtrack unter der "Best Game Music" 2011 und nannte die Musik "beeindruckend beruhigend", während The Guardian die zerbrechlichen Stücke Rosenfelds aus Klavier und minimalistischem Ambient mit den legendären Künstlern ERIK SATIE und BRIAN ENO. In einem Interview destillierte Polygon "Volume Alpha" auf seine Essenz hinuntern: "Der Soundtrack ist nicht gebunden an die Retro-Ästhetik der Minecraft Graphik. Der Soundtrack setzt sich über sie hinweg. Das Album ist ein Versuch, die kombinierte Game/Music Erfahrung in etwas Himmlisches zu übersetzen."

BRIXIA is a music collaboration project that began in Prague, founded by Czech multi-instrumentalist Max Lipovsky and Chilean synth aficionado Daniel Rodriguez. From the depths of a cold basement in Prague's Žižkov district, the duo crafted hypnotic rhythms and a fusion of cosmic, tropical, and oriental sounds during their never-ending live jam sessions—until they were finally ready to hit a record button.

Seeking a change of scenery, they packed up their instruments and drove 1,500 kilometers to Rome, where they recorded their music in the vibrant heart of Pigneto. There, they met Jonida Prifti, an Italian poet of Albanian heritage, and invited her to layer her poetry onto their tracks.

The result is both unexpected and deeply captivating. The title track is a dub-infused, ever-evolving piece of shamanic minimalism, laced with Balearic guitars and swirling synths that emerge only to fade back into the depths. Jonida's whisper-like vocals drift above it all—so ethereal they almost feel imagined.

In contrast, Vortice jolts you awake. This one will surely find its way into the bags of more adventurous DJs out there, with its driving post-punk bassline and near-harmonica melodies, it feels like a journey through uncharted territory. Jonida's voice guides you like a navigator, and suddenly, you've arrived.

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.

New single by Romperayo on 7-inch vinyl spinning at 45 rpm, released by the Austrian label discos
elgozo.
This record is a tribute to the sound of Cumbia Sabanera de Acordeón from Colombia, in dialogue with
Mexico’s Cumbia Sonidera. It also pays homage to the melodic line of the first generation of
Colombian accordion masters of Cumbia Sabanera such as Joaquín Betín, Emiro Caicedo, and
Policarpo Calle.

The two tracks are built on a solid rhythmic foundation of bass and percussion, accompanying a
melodic interplay between accordion and analog synthesizer.Mixed and produced by Pedro Ojeda Acosta at Romperayo Studios, both songs were recorded live, in
quartet format, at Mambo Negro Studios in Bogotá, Colombia, by Daniel Michel, featuring Iván
Medellín on accordion, Nicolás Eckardt on electric bass, Juan Manuel Toro on analog synth, and Pedro
Ojeda on percussion.
This single offers a first taste of Romperayo’s upcoming LP, set for release in early 2026 — once again
on discos elgozo.

Hurts Like Hell ist Charlotte Cornfields sechstes Album und das erste, das sie seit der Geburt ihrer Tochter aufgenommen hat - ein Wendepunkt für sie als Mensch und Künstlerin. Die wiederkehrenden Themen des Albums - persönliche Entwicklung und Erneuerung, die Beständigkeit der Liebe trotz Schwierigkeiten, Scham und Unbeholfenheit - haben dort ihren Ursprung. ,Diese Erfahrung hat mich aus mir selbst herausgeholt und mir eine andere Sichtweise auf die Dinge gegeben", sagt sie. ,Die Verletzlichkeit, Zerbrechlichkeit und Wildheit des Ganzen haben dazu geführt, dass ich mich weniger auf mich selbst konzentriere und mehr Abstand gewinne." Hurts Like Hell ist das offenste und stimmgewaltigste Album ihrer Karriere und auch dasjenige, an dem am meisten mitgearbeitet wurde. Cornfield zog sich in Philip Weinrobes Sugar Mountain Studio in Brooklyn zurück und wurde von einer kompletten Begleitband unterstützt, darunter El Kempner von Palehound, Bridget Kearney von Lake Street Dive, Adam Brisbin und Sean Mullins, mit wichtigen Beiträgen von Núria Graham und Daniel Pencer. Cornfield holte dann Feist, Buck Meek, Christian Lee Hutson und Maia Friedman als Gastsänger für das Album dazu. Das Ergebnis dieses Prozesses wird sofort in der Lead-Single ,Hurts Like Hell" deutlich, einem von Country-Klängen durchdrungenen Sehnsuchtslied, das Cornfield als ,eine Liebesgeschichte schüchterner Menschen" bezeichnet, wobei die Band Cornfields eigenwilligen Flow aufnimmt, als wolle sie das Herz ihrer Protagonistin wiegen. Dass der Song so verletzlich und so lebendig ist, ist eine Frage des Vertrauens zwischen Cornfield und ihren Bandkollegen, untereinander und in ihr Bauchgefühl. Ihr Sound liegt irgendwo zwischen Nashville Skyline und Harvest - eine warme, reichhaltige Antwort auf ihren verletzten, aber suchenden Ruf. Ein Großteil der Magie von Hurts Like Hell entsteht in dem Raum, den Cornfield für Harmonie schafft. Von Meek oder Hutson aufgegriffen, werden die Charaktere wie mit einem Pinselstrich zum Leben erweckt. Wenn Kempner oder Kearney hinzukommen, entsteht eine schillernde Facette der natürlichen, blitzartigen Chemie ihrer Band. In ,Kitchen" spiegelt Friedman Cornfields Erstaunen darüber wider, dass sie sich verliebt hat, und bringt die Emotion auf ihren ätherischen Höhepunkt. In ,Living With It" wird sie von Feist begleitet, die Cornfield über einen Gruppenchat für Mütter, die als Musikerinnen auf Tournee sind, kennengelernt hat. Cornfield ist mit den Narben ihrer Vergangenheit und der Hoffnung für die Zukunft zu diesem Album gekommen. Sie hat sich selbst von außen betrachtet und überlegt, was sie mit ihrer Musik nach der Geburt ihres Kindes erreichen will. Dabei war sie mutig genug, um Freiraum, Zeit und Hilfe von vertrauten und unerwarteten Quellen zu bitten - einem Gruppenchat, Songwritern, die sie bewundert, aber nicht persönlich kennt, Freunden, deren längst vergessener Song ihr den Refrain für einen neuen Song geliefert hat. Jedes ,Ja", jede Sprachmemo, jede geteilte Datei, jede offene Tür führte zu diesem Moment in Charlotte Cornfields Karriere. Nenn diesen Moment, wie du willst - eine Erweiterung, eine Wiedergeburt, ein Durchbruch - Hurts Like Hell ist groß genug, um ihm gerecht zu werden, und hat nichts von Cornfields Charme, Witz oder Dringlichkeit verloren. Es ist gleichzeitig eine Bestätigung ihrer Stellung unter den großen Singer-Songwritern ihrer Generation und die erste Formulierung ihrer Zukunft, egal welche Unsicherheiten und welche Liebe sie mit sich bringen mag.

Hurts Like Hell ist Charlotte Cornfields sechstes Album und das erste, das sie seit der Geburt ihrer Tochter aufgenommen hat - ein Wendepunkt für sie als Mensch und Künstlerin. Die wiederkehrenden Themen des Albums - persönliche Entwicklung und Erneuerung, die Beständigkeit der Liebe trotz Schwierigkeiten, Scham und Unbeholfenheit - haben dort ihren Ursprung. ,Diese Erfahrung hat mich aus mir selbst herausgeholt und mir eine andere Sichtweise auf die Dinge gegeben", sagt sie. ,Die Verletzlichkeit, Zerbrechlichkeit und Wildheit des Ganzen haben dazu geführt, dass ich mich weniger auf mich selbst konzentriere und mehr Abstand gewinne." Hurts Like Hell ist das offenste und stimmgewaltigste Album ihrer Karriere und auch dasjenige, an dem am meisten mitgearbeitet wurde. Cornfield zog sich in Philip Weinrobes Sugar Mountain Studio in Brooklyn zurück und wurde von einer kompletten Begleitband unterstützt, darunter El Kempner von Palehound, Bridget Kearney von Lake Street Dive, Adam Brisbin und Sean Mullins, mit wichtigen Beiträgen von Núria Graham und Daniel Pencer. Cornfield holte dann Feist, Buck Meek, Christian Lee Hutson und Maia Friedman als Gastsänger für das Album dazu. Das Ergebnis dieses Prozesses wird sofort in der Lead-Single ,Hurts Like Hell" deutlich, einem von Country-Klängen durchdrungenen Sehnsuchtslied, das Cornfield als ,eine Liebesgeschichte schüchterner Menschen" bezeichnet, wobei die Band Cornfields eigenwilligen Flow aufnimmt, als wolle sie das Herz ihrer Protagonistin wiegen. Dass der Song so verletzlich und so lebendig ist, ist eine Frage des Vertrauens zwischen Cornfield und ihren Bandkollegen, untereinander und in ihr Bauchgefühl. Ihr Sound liegt irgendwo zwischen Nashville Skyline und Harvest - eine warme, reichhaltige Antwort auf ihren verletzten, aber suchenden Ruf. Ein Großteil der Magie von Hurts Like Hell entsteht in dem Raum, den Cornfield für Harmonie schafft. Von Meek oder Hutson aufgegriffen, werden die Charaktere wie mit einem Pinselstrich zum Leben erweckt. Wenn Kempner oder Kearney hinzukommen, entsteht eine schillernde Facette der natürlichen, blitzartigen Chemie ihrer Band. In ,Kitchen" spiegelt Friedman Cornfields Erstaunen darüber wider, dass sie sich verliebt hat, und bringt die Emotion auf ihren ätherischen Höhepunkt. In ,Living With It" wird sie von Feist begleitet, die Cornfield über einen Gruppenchat für Mütter, die als Musikerinnen auf Tournee sind, kennengelernt hat. Cornfield ist mit den Narben ihrer Vergangenheit und der Hoffnung für die Zukunft zu diesem Album gekommen. Sie hat sich selbst von außen betrachtet und überlegt, was sie mit ihrer Musik nach der Geburt ihres Kindes erreichen will. Dabei war sie mutig genug, um Freiraum, Zeit und Hilfe von vertrauten und unerwarteten Quellen zu bitten - einem Gruppenchat, Songwritern, die sie bewundert, aber nicht persönlich kennt, Freunden, deren längst vergessener Song ihr den Refrain für einen neuen Song geliefert hat. Jedes ,Ja", jede Sprachmemo, jede geteilte Datei, jede offene Tür führte zu diesem Moment in Charlotte Cornfields Karriere. Nenn diesen Moment, wie du willst - eine Erweiterung, eine Wiedergeburt, ein Durchbruch - Hurts Like Hell ist groß genug, um ihm gerecht zu werden, und hat nichts von Cornfields Charme, Witz oder Dringlichkeit verloren. Es ist gleichzeitig eine Bestätigung ihrer Stellung unter den großen Singer-Songwritern ihrer Generation und die erste Formulierung ihrer Zukunft, egal welche Unsicherheiten und welche Liebe sie mit sich bringen mag.

'At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.
'In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

'Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender… Lancaster?) and the evergreen Steve McCall on drums.
'On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music!'

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

180g, Gatefold, schwarzes Vinyl. Fünfzehn Jahre nach Personal Jesus kehrt Nina Hagen mit HiGHWAY TO HEAVEN zu ihrer großen Gospel-Leidenschaft zurück. Gemeinsam mit Produzent Warner Poland, ihrer Band sowie Freundinnen wie Nana Mouskouri und Gitte Hænning interpretiert sie Klassiker neu - von Mahalia Jackson über Sister Rosetta Tharpe bis zu Kitty Wells. Das Album verbindet Southern Gospel, Americana, Reggae und Punk: Von der kraftvollen Neubearbeitung von "Somebody Prayed for Me" bis zur Americana-Version von "Never Grow Old" und einer deutschen Fassung von "Everybody Wanna Go to Heaven". HiGHWAY TO HEAVEN ist ein lebendiges, genreoffenes Gospel-Rock-Pop-Album, voller Spielfreude, Spiritualität und unverkennbarer Nina-Hagen-Persönlichkeit.

180g, Gatefold, White Vinyl, limitiert auf 1000 Exemplare. Fünfzehn Jahre nach Personal Jesus kehrt Nina Hagen mit HiGHWAY TO HEAVEN zu ihrer großen Gospel-Leidenschaft zurück. Gemeinsam mit Produzent Warner Poland, ihrer Band sowie Freundinnen wie Nana Mouskouri und Gitte Hænning interpretiert sie Klassiker neu - von Mahalia Jackson über Sister Rosetta Tharpe bis zu Kitty Wells. Das Album verbindet Southern Gospel, Americana, Reggae und Punk: Von der kraftvollen Neubearbeitung von "Somebody Prayed for Me" bis zur Americana-Version von "Never Grow Old" und einer deutschen Fassung von "Everybody Wanna Go to Heaven". HiGHWAY TO HEAVEN ist ein lebendiges, genreoffenes Gospel-Rock-Pop-Album, voller Spielfreude, Spiritualität und unverkennbarer Nina-Hagen-Persönlichkeit.

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

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

“II” is the second album by Californian post-punk heroes Alone in My Room. Continuing their exploration of isolation and urban tension, the band sharpens their stark, stripped-down sound, blending cold-wave severity with lo-fi intimacy. Pulsed basslines, detached vocals, and raw, close-mic’d production create an atmosphere that feels oppressive yet deeply personal. Following their 2020 debut Alone in My Room—a claustrophobic, late-night statement—the band pushes further into darker, more confrontational territory, solidifying their place in modern underground post-punk. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

“Música Para Caminar” is the new album by 80%Baul, and the record that confirms his definitive leap from revelation to legend. Following the critically acclaimed debut Ayer y Ahora, this release positions 80%Baul alongside the great names of Spanish post-punk, standing shoulder to shoulder with seminal acts such as Décima Víctima and Parálisis Permanente. Rooted in a dark, introspective sensibility, Música Para Caminar also connects seamlessly with the vitality of today’s Spanish underground, aligning with the current wave of forward-thinking artists, including labelmates like Yvgoslavia. But this album is not defined by sound alone. Once again, 80%Baul surprises with songs that function as poems—bleak, incisive reflections on a decaying, dystopian present. More than music, Música Para Caminar is a statement: music with intention, depth, and meaning—an artistic vision that transcends genre and cements 80%Baul as one of the essential voices of contemporary Spanish post-punk. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

In just five years, The Spy has gone from underground newcomer to one of the most talked-about names in the European electro and EBM dark electro scene. Early releases on Osáre Editions and Mechatronica quickly placed him on the radar of forward-thinking clubs and selectors across Europe. Now landing on Oráculo Records, he presents his most wave-driven and club-oriented material to date: pure, physical electro built for dark rooms and late hours. Driving basslines and sharp machine rhythms—infused with subtle, classic post-punk tension—define a sound that connects the dancefloor with the shadows, drawing clear parallels to artists like L.F.T, Credit 00 or Gesloten Cirkel. This is music made to move bodies without sacrificing attitude—raw, confrontational, and far removed from formulaic club clichés. Five years in, the message is clear: this is not hype, but momentum—an artist fully in command of a modern electro language built for the underground. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

The origins of Body System date back around 35 years. Dissatisfied with previous experiences, the project was conceived as a meeting point between Sheffield and Detroit techno and German and Belgian body music. At the time, it never fully developed and remained largely an idea, with only a few sketches recorded on DAT. More than three decades later, that original concept has been revived. Following an invitation to contribute the track In Your Mind to the soundtrack of Electronic Body Movie, directed by Pietro Anton, the project was reopened and reworked, taking shape in the present while remaining rooted in its initial vision. These five tracks reflect an awareness of both past and contemporary electronic music, filtered through an undiminished experimental approach and a conscious refusal to adhere to stylistic conventions or predefined genres. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Groovy, functional and elegantly reduced Micro House. AFRV008 brings Dubfound for a tight, late-night or early mroning leaning 12" on Aforisme. Freak Love EP moves with that signature micro-house precision: crisp drums, warm low-end pressure and hypnotic groove shifts that keep the floor locked without ever overdoing it. On the A-side, “Freak Love” sets the tone with elastic rhythms and a stripped-back, forward-driving pulse. Flip to “Hold Me Up” for a deeper, more rolling mood, minimal elements arranged with maximum impact. Maher Daniel closes it out with his remix, adding extra swing and a refined, spacious touch that feels made for long blends and after-hours moments.

Launched in 2000, Post Office quickly became a landmark compilation series, featuring artists such as Ricardo Villalobos, Daniel Bell, Robert Hood, Dimbiman, Matthew Dear, Seth Troxler, Craig Richards, Losoul, Ark, Mr Oizo and many more. Each new edition stands as both a milestone in Logistic Records’ story and a forward-looking vision of the global electronic scene.

Time for more tracks from around that different corner! The EP kicks off with Reel Des Jumelles, some kind of hommage to accordion dance music that moves with a steady forward leaning house beat, winding staircase melodies and some well-paced tom fills. Arrak is more of a slow, howling midnight creeper. The B-side consists of two cuts from Anders’s live repertoire, meaning deep modular bass n’bleeps, dubby chords and some drum box autorhytm presets (merengue, salsa…) thrown in for good measure. Includes digital download code, and the digital version comes with two fabulous remixes by HEROES. Alexi Delano and Daniel ”Fagge” Fagerström! Edition of 100, mastered by Andrea Merlini.

Fantastic Friends Recordings drops a new 12” bringing together long-time label pillars Daniel Meister and Brizman, alongside first-time vinyl appearances on the label from Ilario Liburni (Italy/Belgium) and San Dee (Miami). Moving across deep house, minimal, subtle techno and electro influences, each artist delivers a distinct sonic identity while contributing to a cohesive overall vision. The EP reflects the collaborative and eclectic spirit that has defined Fantastic Friends since its early days, with tracks built around groove, tension and durability on the dancefloor. A timeless vinyl EP for lovers of deep, minimal and forward-thinking club music.

Second release from The Temple And The Low Dive by SELD, following on from there first release Featuring MUTE headman Daniel Miller and Nicolas Bougaïeff as 'Populist'. Grinding heavy techno...

Limite is the genre-defying ensemble led by Brussels-based bassist Jordi Cassagne. Alongside him are several familiar faces from the W.E.R.F. Records family, including guitarist Benjamin Sauzereau (REMORQUE) and keyboardist Camille-Alban Spreng (ODIL).

Limite's music embodies a distinctive blend of alternative rock, no wave, and idiosyncratic folk, drawing inspiration from artists such as Blonde Redhead, Big Thief, Daniel Rossen, Joanna Newsom, Leonard Cohen, DavidBowie, Deerhoof, Sonic Youth, and Jim O'Rourke.

Lungfish's sixth full-length LP, released in 1998.

Daniel Higgs vocals
Asa Osborne guitar
Nathan Bell bass
Mitchell Feldstein drums