quête:david spanish

90's techno tracks from this Rotterdam techno pioneer David Spanish (also one half of Im Kellar). This is a worthy re-issue a mid 90's release on the Communique sub-label founded by Woody McBride. Including 3 previously unreleased tracks found on the original session tapes. Excellent and relevant house and techno tracks.

Frame Of Mind returns with yet another amazing outing. Previously unreleased tracks by David Spaans. Recorded in the mid 90's, a period during which David created his classic Roadrunner, 3D Bingo and Festival la Freak EP's. Expect a combination of Detroit orientated techno, Moody electro and tough acid. Big 6 tracker!

Distangled brings us this re-issue of the highly sought-after House & Techno EP called Roadrunner by Dutch producer David Spanish. Originally released in very limited quantities back in 1996, this record now changes hands for quite some $$$. The tracks off of the Distangled release are re-mastered from the original master tapes and the EP includes 3 previously unreleased tracks. A very versatile 6 tracker!

The fifteenth release from electro label Gladio Operations once again brings us a multi-artist format, featuring new faces and a distinctly Spanish flavour.

This EP opens with the return of producer Cycloplex, with his characteristic minimalist sound.
This track, titled ‘EP01-A’, once again showcases his powerful and aggressive bass lines.
From Gerona comes one of the new and talented artists on the Spanish electro scene. David Pasajero makes his debut on Gladio Operations with ‘Dislektro’, a fluid journey of melodies and warm textures infused with acidic touches.

On the B-side we find Barcelona producer Dark Vektor, who needs no introduction, as he is one of the Spanish icons of electro sound. This artist also makes his debut on the label with ‘Te Voy A Dar Ahhhhh’, a dizzying track with suspenseful melodies and a powerful bass line that will keep you on the dance floor no matter what.

The Spanish duo Slit Observers is another of the label’s new faces and treats us to this vibrant track titled ‘Green Machine’, where we encounter dark passages with a perfect dose of acid and embellished with subtle vocoders.

The EP closes with a collaboration between German producers Intergalactic Noize Commander and Elektrotechnik, the latter an artist who has released music previously. ‘Informationen’ is a rough track, created in the most hidden German bunkers, featuring arpeggios and robust bass lines that dominate throughout the whole track, accompanied by gloomy vocals.

WILDSTYLE HOUSE is a new compilation series where Toy Tonics invites producers and DJs that have a very special, funky, unique sound to make one new track. The compilation should show the variability and diversity of house and disco TODAY. Like the wild music mix you can hear at the Toy Tonics events and the way Toy Tonics DJs combine many different styles of "4 to the floor" music into one new soulful, multi-style, and warm-sounding blended "genre." It's about the groove, about a new soul sound, the human feel, the organic and Y2K-inspired dance music that is growing and appeals to a new generation of dance music lovers.

This first part of the compilation includes unreleased music by:

Afro-funk and salsa-house producer talents ELADO, MUSTA, and ALMA NEGRA.

Garage house maestros MELON BOMB and Italian musician DANIEL MONACO (known for his New Wave disco and proto-house releases on Rush Hour and his work for Antal).

MARLA KETHER, the London bass player and DJ, who is known for her work with Little Simz, Oscar Jerome, and Loyle Carner, and has now started to release her own tracks.

Argentinian singer, musician, and DJ ALOT, combining proto-house vibes with Spanish rap.

Funk house producer and edit maestro PAUL OLDER, who is starting to become one of the key names of the new soul house scene (supported by DJs like Folamour, David Penn, Seth Troxler, Kirollus, Breakbot...).

And also Toy Tonics' own GEE LANE, KAPOTE, and ARPY BROWN contributed new tracks.

Back in 1990 the New Bomb Turks got together as four Ohio State University students who just wanted to rock. 10 years later they are already on their 7th studio album: Nightmare Scenario.

New Bomb Turks return to their snaggle-toothed first mistress — hard-driving, no-holds-barred American punk rock. With the guitar jive of Chuck Berry, the blinding ferocity of Motörhead and the snot of The Dead Boys, singer Eric Davidson and his backing trio fire off a dozen grenades of authentic old-school three-chord riff-rock in little over a half-hour, with nary a pause for breath between tracks. You can’t quibble with the four-on-the-floor intensity of tunes like opening salvo Point To A Point Blank. It was recorded over four days and nights, the only break being a jaunt over to a bar to see a reunited Real Kids, their first show in years, which floored the band and only added more mezcal to the fire.

Nightmare Scenario is available as a limited edition of 500 individually numbered copies on violet vinyl and includes an insert.

Repress!

It’s almost hard to believe that a record with anthem status like Pete Heller’s ‘Big Love’ was created out of a happy accident, but that is exactly how it happened. Left to his own devices as his studio partner Terry Farley went to watch a Chelsea game, Pete Heller was playing around with his Akai sampler when he produced what is arguably one of the most recognisable pieces of dance music of the 1990’s. Earlier this summer Urbana Records boss and Spanish powerhouse David Penn took to remixing this enduring classic. Winning over dancefloors in Ibiza and beyond with his signature rolling bassline and infectious groove, the record soaring to both Beatport and Traxsource #1. Now Defected present a special 12” package that features David’s remix, joined on the A-Side by The Dronez Remix, where house masters Erick Morillo, Harry Romero and Jose Nunez lend their classic house capabilities to the track. On the B-Side is Pete Heller’s original, sounding as incredible as ever over twenty years after its original release, once again proving the timelessness of ‘Big Love’.

Junior Jack’s timeless 2004 disco/house fusion ‘Stupidisco’ receives a spread of dynamic remixes from some of the most talented remixers around.

Kicking things off is Spanish DJ and producer David Penn, who takes the stems and gives them an immaculate polish! Taking JJ’s Pointer Sisters sampling goodness and working into a re-sliced, disco-house filter journey with punchy kicks, tremulating basslines and an anthemic piano that is guaranteed to bring the sun out from the clouds.

Next up is Germany's Deeperlove with the toughest mix in the package with it's tech house inspired drums and bassline.

On the flip side, Aussie based Kiwi Jolyon Petch jumps in, delivering 2 killer remixes with his Italo inspired Jolyon Petch Remix and a nu-disco treat under his Elektrik Disko alias.

Igor Tamerlan is a stranger in his own land. Born in 1954 the Hague and spent most formative years in Paris, Igor suddenly had the urge to relocate to Bali in 1986. “I want to settle in Indonesia and marry a local girl,” he told his sister shortly before flying out.

His next journey would be as audacious as his time in the Fifth Republic. Born from a prominent Indonesian expatriate family in Paris with ties to Indonesia’s first prime minister Sutan Sjahrir, Igor earned a degree in architecture at Ecole nationale supe´rieure d’architecture de Paris-La Villette.

He could have been a brilliant architect or a political scientist (he was accepted to Sciences Po), but his passion for music distracted him from his academic works. He was after all named after Russian composer Igor Stravinsky.

During his brief stint at Sciences Po, Igor spent most of times hanging out at recording studios and rub shoulders with the likes of singer-songwriter Jean-Jacques Goldman and Michel Polnaref. He had a brief encounter with The Rolling Stones at the Cha^teau de Thoiry studio in the early 1970s.

But Igor’s musical education and his occidental eyes appeared to be ill-suited for Indonesia. His first record, titled Langkah Pertama (First Step) on the mainstream label Musica was met with a shrug and was a commercial dud. An experimental record blending the influence of Spanish motifs, Francophile production and a whiff of hip hop and ska was seen by critics as being too alien. His sarcasm-laden lyrics and his biting critique of excessive materialism among the upper tier of Indonesia’s nouveau riche in the album was met with confusion from the audience. He was just too far ahead of his time.

He left the label Musica – or may had been dropped – soon after Langkah Pertama and decided to go independent. He then relocated to Bali and set up a state-of-the-art recording studio in Sanur, across the street from Southeast Asia’s first boutique hotel where luminaries like Mick Jagger, David Bowie, Sting, Yoko Ono and Ringo Starr stayed for their holiday.

From the studio, Igor recording everything from the sounds waterfalls, geckos, minibuses to motorized rickshaw and mix them with hip hop, jazz, electronica, dub and Balinese gamelan. A visionary, Igor was the first musician to use MIDI, which started to be available globally in the early 1980s.

On paper, songs like “Bali Vanilli” should not work, a mish mash of disparate elements mentioned above, sung in three languages, Balinese, English and Bahasa Indonesia while tackling the subject of overtourism. The song was also the first to introduce rap to an unsuspecting audience. But for some strange reason “Bali Vanilli” became a sensation and overnight Igor became household name. And in 1987, long before overtourism was an issue, Igor broached the subject to a national audience in Indonesia on the possible destruction of nature and culture from tourism.

Ever an iconoclast, Igor decided to step out of the limelight following the success of “Bali Vanilli” and in early 1990s he relocated to Indonesia’s cultural capital, Yogyakarta. Here, he worked on some more experimental music while juggling as music video director. He passed away in 2018 at the age of 64.

The 10 songs in this compilation, Bali Vanilli: Experimental Pop from Paradise Island (1987-1991), are some of Igor’s best works, music that would have gone into obscurity had it not been for the diligent work of film director Alfred Pasifico Ginting, who managed to track down some of the master tapes while researching on a documentary on the musician.

These recordings have never before been released outside of Indonesia. Igor would have been proud with this reissue project.

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

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

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

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

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

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

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

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

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

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

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

Mod Mod Ranglin is a fusion of Ska and Caribbean instrumentals by Ernest Ranglin recorded in 1966 while Ska was changing towards Rocksteady. Although Ernest Ranglin recorded 8 solo albums at Federal Records, Mod Mod Ranglin was the only album with Ska instrumentals, interestingly. The album consists of classic Ska, Mento and Carribean songs of all times. From the start to the end, Ernie's guitar playing flutters like Caribbean breeze. The instrumental song entitled 'Felicia' is a perfect number for all Ska lovers.

---

Produced By:Richard Khouri

Recorded At:Federal Studio

Engineered By:Louis Davidson

Mannequin Records proudly presents the debut release from Children Of The Night, a dynamic duo whose music is rooted in cinematic soundscapes. The project brings together Mexican techno producer Alejandro Barba, also known as Dellarge, and French documentary/film producer Pierre Labret, forging a distinctive creative partnership. Their collaboration masterfully combines dark, atmospheric elements with driving electronic rhythms, drawing heavily from the worlds of classic horror and psychological thrillers. The result is a collection of soundscapes that are as eerie as they are captivating, creating an immersive and haunting listening experience.



This album stands as an unconventional horror soundtrack for a film that never came to be—a tribute to the legendary Spanish filmmaker Jess Franco, known for his prolific work in the exploitation and horror genres. Born out of the quiet chaos of the pandemic, this project was originally intended to accompany a slasher film that was halted due to financial constraints. Despite the film’s cancellation, the duo pressed forward, turning the unfinished narrative into an imaginative auditory experience. The soundtrack will serve not only as a homage to Franco but also as a nod to Juan Mendez, better known by his alias Silent Servant, whose dark, minimalist electronic productions have left a deep mark on the underground music scene.

Dellarge and Labret’s creative process is shaped by an eclectic array of inspirations, pulling from both literature and cinema. They’ve cited films such as Franco’s "Paroxismus," "Gritos," and "Faceless" as vital to their sonic direction, as well as the eerie black-and-white imagery of F.W. Murnau's "Nosferatu." Additionally, the duo draws on the disturbing psychological tension of Stephen King’s "Carrie" and "Misery," and the surreal dystopian world of Stanislaw Lem's "Congreso de Futurología." The giallo horror aesthetics of Dario Argento's "Deep Red" also serve as a significant influence, merging surreal visuals with nerve-racking, visceral soundtracks—elements mirrored in Dellarge and Labret's own compositions.



The LP is not only rich with atmospheric storytelling but also boasts a range of remarkable remixes by prominent artists in the electronic music scene. Contributions from Alessandro Adriani, David Carretta, Legowelt, and Broken English Club inject new life into the original tracks, offering reinterpretations that span from industrial techno to Italo disco, further enhancing the project’s depth and versatility. Each remix complements the overarching horror theme while adding a modern, avant-garde twist to the duo’s work.



This debut album promises to be more than just a musical release—it's a vivid exploration of the horror genre through sound, creating a sensory experience that brings forgotten films, unrealized visions, and nightmarish stories to life through music. As the lines between fiction and reality blur, Dellarge and Labret invite listeners into a world where the echoes of lost films can finally be heard.

1/4" / 15 IPS / Dolby A Analogue Copy to DSD 256 to analogue console to lathe

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.

Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight.

The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy.

Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn.

On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza.

Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate.

Now on our sixth release & going strong, Brooklyn Sway returns with a heady combination of local producers, further-afield figures and scene-setting interludes to get that real Bucktown mood, accompanied by bold new artwork from NYC "Grafstract" muralist Fumero.

After words of wisdom from originator David Morales, St. Xose, patron saint of afterhours, re-rubs his own entry from BKS-01 into an electro flip with a forceful but smooth strut, Nathan Nothing's ephemeral vocals vanishing in spaces between steady bass pulses and broken beats. Those looking for late-night addresses check Noha's 'Madison Street 932', where the PanickPanick! label head proves his local cred with a funky, vocal sample-driven house jam equally at home on its eponymous street corner or somewhere later, darker, and preferably inside.

Label regulars DeWinter & Emma return with 'Unity', the spoken word Spanish vocals interweaving with choppy snare patterns and a room-filling reverberating bass roar that hits paydirt when English vox and a kick hit late in its second half. C&K are local legends Connie & Karina, and while that may not be some punters' first guess for their moniker's meaning, the track is an exercise in restraint and class, jaunty house swathed in dub echoes and hand drums that positively sways when the trombone lead swings in to carry the tune.

Zur Feier des 35. Jahrestages von Chris Isaaks bahnbrechendem Album ”Heart Shaped World” erscheint
nun eine 12” Reissue. Sein drittes Studioalbum, das im Sommer 1989 veröffentlicht wurde, enthält seinen
Durchbruchshit ”Wicked Game”, der auf Platz 6 der Billboard Hot 100 landete. Lee Chesnut, Musikdirektor
bei WAPW in Atlanta, spielte den Song zwei Wochen lang wiederholt, nachdem er eine Version auf dem
Soundtrack zu David Lynchs Film ”Wild at Heart” von 1990 gehört hatte.

"'Hey Babe' sounds like classic Trummors – their voices a perfect match for one another, Dan Horne’s lingering pedal steel adorning the piece like chapparal, just an ambling walk through life together." - Petal Motel "Is there a scientific formula for creating the perfect country rock record? If there is, the Taos, NM duo of Anne Cunningham and David Lerner — AKA Trummors — have cracked it." - Aquarium Drunkard "Trummors capture a classic country sound — flirting with the heavy-hearted, but formative voices that lent credence to the ‘70s crossover out of psychedelic troupes." - Raven Sings The Blues Trummors are excited to announce their new album 5 out April 12 on Ernest Jenning Record Co.

This LP reveals the extraordinary diversity of research - almost all hidden - by Spanish musicians in the '50s and '60s. Five composers who most often work outside the rules and without the possibility of help from their own country. Those pieces were composed while the country was under the tyranny of Francisco Franco. It is truly the ultimate grail, developed by musicologist Miguel Álvarez-Fernández, he is its curator, editor and commentator. This undoubtedly marks a major step in the approach and understanding of this music which had to fight to exist before the death of Franco in 1975. Miguel Álvarez-Fernández (Madrid, 1979) is a writer. He hosts the weekly radio broadcast Ars Sonora - dedicated to sound art and experimental music, and offering hundreds of freely available podcasts on Radio Clásica (Spanish National Radio).

Jose Val del Omar (1904-1982) is essentially a creator, a filmmaker developing a dreamlike art - not without links with Federico Garcia Lorca or Luis Buñuel.

Eduardo Polonio (1941- ) between 1966 and 1970 at the Institute of Psychoacoustics and Electronic Music-IPEM of the University of Ghent, Belgium. Eduardo Polonio, has published, in forty years, more than a hundred works.

Josep Maria Mestres Quadreny (1929-2011) in 1952 he joined the Manuel de Falla Circle and in 1974 he founded the Laboratori de Música Electroacústica Phonos. During his life he collaborated with Joan Miró and Antoni Tàpies.

Juan Hidalgo (1927-2018) in 1957 he participated in the music festival XII Internationale Ferienkurse Fur Neue Musik in Darmstadt. The following year he met the American composers John Cage and David Tudor. Member of Fluxus, in 1966 he participated with Gustav Metzger, Otto Muehl, Wolf Vostell and Hermann Nitsch in the Destruction in Art Symposium in London.

Cristóbal Halffter (1930-2021) was soon considered one of the most important composers of his generation. As a lecturer at the Internationale Ferienkurse für Neue Musik in Darmstadt, he worked with Pierre Boulez, Karlheinz Stockhausen and Luciano Berio.

2024 Repress

Another episode of the notorious 'You Can Trust A Man With A Moustache Series. Containing 4 crazy electro house energizing nu-italo top hits! A1 The mysterious super hit wanted and sought after by many DJs, played at numerous clubs and festivals by Moustache records label boss David Vunk, the mega anthem by the super collective ; Tending tropic - Hondebrok!!! A2 Cafius the super talented electronic music producer hailing from Ukraine is part of Moustache family now. He Delivered a massive club banger for the dancefloor: Cafius - Tonight is the night. Already played by DJs around the glove! B1 Im Kellar the infamous project by 30 years friends David Spanish and David Vunk ebm electro, dark and pure from the analogue cellars of downtown Rotterdam city, Im Kellar known for their super rare always sold out 12inches. Im Kellar - Not to be compromised dont miss this killer track with that strange melodie ;) B2 Moustache is super pleased to have the boss of Barca on board. Italo moderni label ceo Adrian Marth with his electro house hi energy track: Icon of the night! Expect deep basslines and peaking party drops. You can trust a man with a Moustache Vol. 5 comes in a super great designed 12inch sleeve full colour Artwork. Dont sleep on this ultra rare vinyl super limited only 500 copies no repress! Don't play this record underwater!

DJ Support: Richard Dorfmeister, Luke Una, Chris Coco, Phil Mison, Mickey Brown, Erki Pruul, Marco

The sweeping poem ‘Cofio’ by the great Welsh poet Waldo Williams has inspired a remarkable collaboration between Ibiza-based record label NuNorthern Soul, Welsh DJ, performer and cultural commentator Gareth Potter, composer and musician Joan Bibiloni, poet and actor Pep Tosar Vaquer, actor Rhys Ifans and musician James Baron aka JIM / Ron Basejam.

1st March is St Davids Day and Balearic Day. St David’s Day honours the death of the patron saint of Wales and the Day of the Balearic Islands the day when islands Ibiza, Mallorca and Menorca became an autonomous region of Spain.

Cofio Recorda Remembrance is made up of two powerful and haunting tracks drenched in NuNorthern Soul’s unique take on the globally popular Balearic Chillout style. Un Adéu features music by Joan remixed by James Baron with Pep reading the poem in Catalan and Spanish. Badia Onírica is a tremendously atmospheric reading of ‘Cofia’ in Welsh and English by Rhys with music again arranged by James.

It connects Wales and Ibiza but, on a more universal level, Cofio Recorda Remembrance links the fundamental aspects of human existence, of, as Waldo Williams puts it ‘earth’s innumerable generations’.

a A1: 'Badia Onírica' Welsh Version
b A2: 'Badia Onírica' [English Version]
[c] A3: 'Un Adéu' [Instrumental Version]
[d] B1: 'Un Adéu' [Catalan Version]
[e] B2: 'Un Adéu' [Spanish Version]
[Instrumental Version]

David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I hope you enjoy listening to the album, that it brings you some dreamy moments, and that it sends you back to happily explore the originals. I had a great time recording it. Naturally, I can't put the experience adequately into words but that's the whole point. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering."

Serie Noire Is a Brand New Skylax Records Sub-Label Dedicated to What Can Be So Called Indie Dance, Dark Disco & Italo-Disco, Genre That We Have Promoted & Pioneered for Years. in This First Part, You Will Be Able to Find the Explosive &Ldquo;free Gluten” Signed David Body, the Very Mental &Ldquo;waves” by Facets, the Fabulous Neurotiker &Ldquo;bdsm” Which Reminds Us of the Best of Viewlexx and on the B Side Our National Signal St, With a Title Dedicated in Tribute to Our Label, an Improbable Collision of House Music & New Order (Our Lifelong Love) and to Close It All Silicodisco With “Mirror Constellation”, an Incredible Spanish Producer Who Reminds Us at Times Waxtrax but Also the Sepulchral Atmospheres of the Cure's Disintegration....

FIVE CLASSIC ARETHA ALBUMS PRESENTING AN EARLY-’70S PORTRAIT OF THE QUEEN!

Also Includes A SIXTH BONUS LP of Session Alternates, Outtakes & Demos!

Original Albums Remastered From the Analog Master Tapes by Grammy® Award-Winning Engineer, Chris Bellman at Bernie Grundman Mastering Produced by Grammy® Award-Winner Cheryl Pawelski with Liner Notes from Billboard’s Gail Mitchell & British Ambassador of Soul, David Nathan Includes the hit Young, Gifted, & Black, released in 1972, which hit #2 on Billboard’s R&B albums survey and #11 on the Billboard Top 200 as well as being certified GOLD.

Aretha won the 1972 Grammy Award for Best Female R&B Vocal Performance the album ranked at number 388 on Rolling Stone’s 500 Greatest Albums of All Time.

Also includes This Girl’s In Love With You which features the first commercial release of “Let It Be,” and came out 2 months ahead of The Beatles. Both this album and Spirit In The Dark feature the Muscle Shoals Rhythm section and an appearance by Duane Allman. Along with production on both from Jerry Wexler, Tom Dowd & Arif Mardin.

David Byrne is a modern renaissance man - and that’s not just a cliché. From the heady days as co-founder of the celebrated art new-wave group Talking Heads (1976-88) through his own constantly evolving and innovative solo music career, he has pursued his muse on many different artistic fronts. He’s been the driving force behind a body of work that has been both intellectually daring and commercially successful...and he shows no signs of slowing down decades later. This show, captured on November 28, 2001, came on the heels of his hit single, “Like Humans Do” and the release of the album Look Into The Eyeball, which was another typically eclectic musical stew reflecting a variety of styles and influences, from Philly soul to a D.C. Go-Go inspired groove and his first-ever Spanish composition, “Desconocido Soy.” Critics at the time called it his best work in years, and his performance on the Austin City Limits stage shows why. Joined by Austin’s own eclectic tango ensemble Tosca, Byrne takes us down many different musical roads in his ACL debut. Of course, besides the brilliant songwriter and performer that he is, he’s also an accomplished performance artist, photographer, web journalist, film writer / director, composer of motion picture soundtracks, and founder of his own world music label, Luaka Bop Records. He also has a collection of Grammys, Oscars and Golden Globes on his mantel. His music may be complex and poetic, but he makes no bones about his ultimate intent: “I want to move people to dance and cry at the same time. - Terry Lickona (Producer Austin City Limits)

"Es ist einer der herrlichsten musikalische Klänge, die es je gegeben hat", sagte Chick Corea selbst über den Sound großer Orchester.

Nur folgerichtig also, dass bei THE CHICK COREA SYMPHONY TRIBUTE. RITMO neben einem Jazztrio auch ein komplettes, 80-köpfiges Symphonieorchester in der Konzerthalle aufspielte - und den ikonischen Songs Coreas so eine ganz neue Klangfülle und Eleganz verlieh.
Unvergessene Stücke, die nicht zuletzt durch außergewöhnliche Solisten neue, schillernde Klangfarben bekommen.

Der Fokus der Songauswahl lag dabei auf einer Zeit, die wohl Coreas produktivste war, auf den Jahren 1971 bis 1976. In der Zeit komponierte der Pianist Songs wie "Spain", die innerhalb kürzester Zeit zu Jazzstandards wurden.
ADDA Simfònica interpretierte gleich vier Songs seines "My Spanish Heart"-Albums, auch mehrere der berührenden "Children's Songs" sind vertreten.

RITMO begeistert durch elektrisierende Bläsersoli von David Pastor, Antonio Lizana und Paquito D'Rivera. Der kubanische Saxophonist, ein fünfmaliger Grammy-Gewinner, sagte über das Projekt: "Wir alle
lieben Chicks Musik.
Die fantastischen Arrangements von Emilio, die Qualität und Hingabe eines sehr jungen, talentierten Orchesters und der typische Enthusiasmus der Spanier in einer prächtigen Konzerthalle - das alles
hat sich zu unserem Vorteil ausgewirkt."

Since its beginnings, Hypnótica Colectiva has always shown a special interest in the music recorded and released in the city of Detroit.

A place with which we have both a blood and spiritual bond because of what occurred there socially and artistically during the 20th century.

This love led us to become ambassadors of what was happening there on a musical level, holding cultural events to screen documentaries translated into Spanish, as well as a number of themed sets at our events, dedicated motor city sections in our record shop or recently lectures on the history of the city and its music at the Museum of Illustration and Contemporary Art of Valencia (Muvim).

The time has now come to bring all this history, this musical influence, to the editorial section of our label HC records.

Detroit Legacy was born from the idea of capturing these influences on vinyl. Seeking artists from all over the world who share this passion that inspires them to create their music, what we can define as the universal Neo-Detroit.

For this first edition or first volume, the collective has enlisted in its ranks creators affiliated to the label who have shown us in their careers, this influence and this feeling.

Paul Cignol opens the record with Distance. From Dublin he offers us a track of warm sequences inspired by Deep Techno, with deep pads responding to organ keys and a subtle touch of 303.

Mallorcan LLuis Barcelo Sureda is responsible for the second track Funk Station. With a Techno Soul character that we might hear from Detroitish labels like Acacia or producers like Blake Baxter.

A real eminence in Techno is the Catalan Don Alex Martín, who already released in the mid-90s on Monssieur Garnier's label (France Communications). The Barcelona native brings his wealth of experience and wisdom through Megatech, which transports us to the spectrum of Derrick May’s Transmat who, in his day, was nicknamed "The Innovator". This track provides agile sequences of complex syncopated rhythms, combining with a dreamy Michigan style synth.

The anthem of the album comes from Ghent. The sublime Belgian creator, Mariska Neerman, once again makes our hairs stand on end and our hearts melt with a heavenly composition entitled Stellium.

No one interprets Neo-Detroit quite like Mariska, whom we baptise as a sovereign heiress of the genre in the world. If we have to think of an influence for this piece, we go straight to the genius of Detroit, the one and only Jeff Mills, in his most symphonic and harmonic facet of tracks released on his label Axis Records such as "The March", A Universal Voice That Speaks To All That Will Listen or A New Found Sense Of Being.

Some of these songs have been re-interpreted by world class philharmonic orchestras such as the Montpellier Philharmonic Orchestra at the 2005 Blue Potential (Pont Du Garde). Mariska's score in this song fuses organ keys with harmonic layers and violin - favourite instruments of the Detroitian extraterrestrial - with a harmonic result of strength and hope. An authentic anthem of classic emotional Techno.

Old School electro takes centre stage with the Master from Terrassa Ivan Arnau a.k.a. Dark Vektor. In the influence of Juan Atkins (the creator) as Cybotron or Model 500 and later creators who developed this sound like Aux 88. Metaverso Frik is a great recital of a urban poetry created and interpreted by Ivan, to completely devastating effect.

Croatian Bojan Jascur a.k.a. N-TER, closes the vinyl with We Will Emerge, in a exercise of vindication, a common weapon in the context of Detroit music. Raging, trippy electro in the purest style of Cosmic Force or Dynarec.

This first tribute to 8 Mile doesn't end with the vinyl, as 2 digital bonus tracks are included in the release.

We return to Barcelona with Pastin Futon in another sequence of consecutive oscillated rhythms oscillated much like Kevin Saunderson (The Elevator) in his day and the Techno Groove that we know today.

The most robotic touch of the release is the closer with this synthetic jigsaw puzzle of a track with echoes of the 1967 Detroit Riot, the Detroit Rebellion. Again produced by another Barcelona native, The Bandit (Dj Spy / Util Records). The sequences are very reminiscent of Arpanet and Drexciya.

The idea for the cover comes from Motor City itself by Jon Yowell, first cousin of HC records founder and head of HC records David Verdeguer.

Born, raised and a lifelong resident of Detroit, Jon is an enormously talented musician capable of writing lyrics, performing them on the mic and manipulating a number of stringed instruments as well as the drums, where he is a true master.

The cover is a tribute to the formative backgrounds of many of the city's musicians in every sonic trend. Wayne State University in the capital of Michigan.

Founded in 1868, it has offered didactic teaching to many of the city's musicians.

Not all of Detroit's creators went to university, and even less so when talking about Techno, many artists are self-taught or learned in a non-academic way, but it seems to us a good base to begin to highlight the origins of the city's music in a historic building, where those who have the opportunity to learn about music have been and continue to be educated.

The adapted designs are the work of our image manager Dani Requeni.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK).

The Zephyrs release their brand new album “For Sapphire Needle” on January 27th 2023 alongside Spanish comrades Acuarela, their first since 2010. With only 2018’s double A-side single “The Witches” and “The Crown Prince of Lies” in between, this represents their first collection of new songs in 13 years: from short and tightly constructed country-folk introspections to sprawling, spaced-out psychedelia, including a couple of extremely sharp pop glimmers and a killer Morricone-like instrumental. Originally conceived of as a series of 4 track EPs based on the seasons in which they were created, the recordings spanned into a patchwork of sessions with long-time collaborator and producer Michael Brennan at his Substation studio, neighboring a naval port in Rosyth. The ongoing recording sessions were made possible with the kind support of Robert Dillam, drummer for The Zephyrs and ex-guitarist for Creation band Adorable. With songs ranging from short and tightly constructed country-folk introspections to sprawling, spaced-out psychedelia, what resulted was an album near to double length. The collection presented as “For Sapphire Needle” is a cut-down selection of these songs. The record opens with “Leatherback”, a Crazy Horse inspired wall of distorted guitars drawing on lyrics from The Zephyr’s first album and pre-history, followed by the four songs earmarked for the first of the seasonal EPs – Winter – whose artwork was photographed in the alley behind Traceyann Campbell’s (Camera Obscura) house in Glasgow. Elsewhere on the album, “I tell you what” had much of its writing and recording initiated in a wooden shack near Aviemore and “Bolder” tells the story of overheard bar-side conversations and delayed flights in Denver airport, where lizard people live underground and some say the new world order lays dormant. The domestic depression of “How have you been today” precedes closing opus “Aliens”, inspired in equal measures by the maturation as social control science fiction of The Tripods and the schlock b-movie imagery of Rocky Erickson’s The Evil One. The album is the work of older and more consistent The Zephyrs. Stuart, David and Robert joined by collaborators: guitarist John Brennan and keyboardist Will Bates. The songs and sounds are sculpted out of slabs of time with friends at the Substation, a de facto weekly youth club for musicians who refuse to grow old. The triple bridges of Queensferry, the shipbuilding cranes of Rosyth docks and Babcock's shop - one of the few places in Scotland you can buy a real periscope over the counter - are just some of the backdrops as the Zephyrs rehearse for nobody but themselves. Yet, ever since Jean-Luc Picard himself told us that "this is not a holiday", it has become a unique and unbeatable way of peering up above the waterline, reinventing themselves and returning to the scene. Indeed with 10 songs in 46 minutes which wade across Gram Parsons and Big Star, Slowdive and spaghetti Western: folk, rock and shoegaze… as if they were trying to shorten the path to the California sky passing through Scotland and then Almería in Spain.

Defected continues to commit the label’s biggest digital releases to wax, delivering some of the best house music on vinyl for the very first time. The thirteenth EP in this series brings some of 2022’s biggest tracks together while spotlighting the experienced producers behind them. The A-side celebrates Harry Romero & Inaya Day’s collaboration ‘Rise Up’, originally released in June, the duo brightened the summer that followed with this instant club favourite. The A-side continues with the Deep In Jersey remix of ‘Rise Up’, offering a deeper and dubbier version of the original for selectors. The B-side showcases two cuts from the industry’s best, ‘Push The Feeling’ by Spanish selector and Urbana Records boss David Penn, featuring expertly layered vocals from Leon Stanford. Next up, ‘When The Dust Clears’ is a soulful collaboration between Defected favourite Mike Dunn and songstress LOA., demonstrating the producer’s revered hip-hop inspired sound.

In 2021 Songwriter/guitarist Dante Schwebel (Spanish Gold, Hacienda,
Dan Auerbach) returned to San Antonio from Nashville and met Austin
guitarist David Jimenez - The two began sharing stories about their
similar upbringings in the Rio Grande Valley, and co-writing songs that
reflect the diverse culture of that region: Norteo Texas roots music, Pop,
and so much more
Christening this new project Nuevo, they recruited Andrew Trube and Anthony
Farrell of the band Greyhounds, and drummer Nico Leophonte (Fabulous
Thunderbirds, Gary Clark , Jr.) to write and record this blistering debut.

This show, captured on November 28, 2001, came on the heels of his hit
single, Like Humans Do and the release of the album Look Into The
Eyeball, which was another typically eclectic musical stew reflecting a
variety of styles and influences, from Philly soul to a DC Go-Go inspired
groove and his first-ever Spanish composition, Desconocido Soy
Critics at the time called it his best work in years, and his performance on the
Austin City Limits stage shows why. Joined by Austin's own eclectic tango
ensemble Tosca, Byrne takes us down many different musical roads in his ACL
debut.
Of course, besides the brilliant songwriter and performer that he is, he's also an
accomplished performance artist, photographer, web journalist, film writer /
director, composer of motion picture soundtracks, and founder of his own world
music label, Luaka Bop Records.
He also has a collection of Grammys, Oscars and Golden Globes on his mantel.
His music may be complex and poetic, but he makes no bones about his ultimate
intent: I want to move people to dance and cry at the same time."
- Terry Lickona (Producer Austin City Limits ®). 2LP pressed on Red Color Vinyl.

Pure Noise Records and Pabst Blue Ribbon have teamed up to present ‘Dead Formats Volume 1’, a 15-track compilation featuring the Pure Noise Records roster sharing their takes on the celebrated punk/emo/ska songs that helped shape the scene in the 90’s and 2000’s.

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”
“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds.

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere.
Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction.

On the subject of influences, although opposed to the fences erected by genre tags, to understand where Ron is coming from, and where he’s at, it’s important to acknowledge just how big the palette is from which he paints. Traversing jazz funk, quiet storm, sophisti-pop, new age, new wave, kosmische, Balearic, samba, afrobeat, Latin rock, soft rock and yacht rock, his deeply entrenched digger’s knowledge pays off in dividends.

In November 1976, Jef Gilson’s phone rang. What a surprise! It was Serge Rahoerson, one of the musicians he had met in Madagascar at the end of the 60s and who had played on his first album “Malagasy”. Rahoerson announced that he was in Paris for a few days.

Immediately, Jef wanted to organise a recording session, starting the next day. He thought of a trio including Serge, Eddy Louiss on organ and cellist Jean-Charles Capon, who had also been on one of the trips to Tananarive and so had also known Rahoerson there. Unfortunately, Eddy Louiss –who had already played with Gilson and Capon on the album “Bill Coleman Sings And Plays 12 Negro Spirituals” in 1968- had to drop out at the last minute: he was delayed by a session with Claude Nougaro. Jean-Charles Capon had also become a sought-after studio musician since his trip to Madagascar in 1969. He appeared on several key albums on the Saravah label including the now famous “Comme À La Radio” by Brigitte Fontaine, “Un Beau Matin” by Areski and “Chorus” by Michel Roques, without mentioning the album by his own Baroque Jazz Trio. He was also to be found with Jef Gilson for his album on Vogue with the ex-drummer from Miles Davis’ first great quintet, Philly Joe Jones, or also in the orchestra led by Jean-Claude Vannier for the album “Nino Ferrer & Leggs”. He also played regularly on albums by Georges Moustaki.

Jean-Charles Capon and Serge Rahoerson found themselves thus in the studio, with Jef at the controls. He had decided to record the rhythmic structure right away. He would find the soloists later, that didn’t worry him. Serge Rahoerson was on drums. Though a saxophonist by training, Jef remembered that Serge was also capable of great things behind a drum kit: he was the improvised drummer on their cover of “The Creator Has A Master Plan” on the album “Malagasy”... The great memories came flooding back (the nod on the title “Orly - Ivato”), and the old magic worked again.

Brought in momentarily from Europamerica, Gilson’s new big band, in which JC Capon also played, the saxophonists Philippe Maté, from France (another Saravah stablemate) and the American Butch Morris (soon to be a key member of David Murray’s band) were invited to record their parts later and Gilson mixed it all as if it had been one single session (as he had already done on other albums, with the tracks by Christian Vander recorded before the creation and success of Magma).

The album would not appear until 1977, on Palm, Jef’s own label, and was dedicated to the memory of Georges Rahoerson, Serge’s father, who had also played on the album “Malagasy” and who had died prematurely at the age of 51 in 1974.
“I only received my own copy of the album in 1981 when I came to live in France definitively”, a still-moved Serge Rahoerson told us in 2013. “I was playing in a club one night and Jef turned up by surprise with a copy of the album for me, I was so pleased to see him again. When I arrived in France, I told everyone that I had played with Jef Gilson a few years previously, and I was surprised to learn that so few people knew of him. For us, he was of one of the great jazz visionaries.” (Jérôme "Kalcha" Simonneau)

There are records with empathy, records which are your friends and then there's the others... There might be little difference between them, a certain "je ne sais quoi", an "almost nothing but still something" which makes the difference between almost pointless and vital records. Despite, or rather thanks to his cynical despair, Matt Elliott's music never holds up a moralizing mirror to us - on the contrary, it creates a compassionate dialogue with listeners like the rhythm of two steps that synchronize to become as one. In 2016, Matt Elliot brought out his seventh solo album The Calm Before whose obscure title is neither exactly threatening nor comforting... the calm before what? Before the storm for sure but maybe also before the great record, the immediate classic we felt might be coming for a long time in the dual discography of the Bristol-born artist working under his own name and his electronic alias Third Eye Foundation. The elegant details and perspectives of Little Lost Soul (2000) already hinted at the upcoming masterpiece from the English singer-songwriter. The Mess We Made (2003) was Matt Elliott's first solo album and portrayed a universe in a kind of flight towards Balkan horizons made up of visceral despair. With the Songs trilogy, he put aside the electronic side of his work to continue working with a minimalist, stark and lucid style of writing. The Broken Man (2012) was full of tears and long laments sometimes carried by Katia Labèque's piano on a record which painted new shades of grey. On this record Matt began working with the producer, arranger and multi-instrumentalist David Chalmin (La Terre Invisible) who has kept on collaborating with the Bristol-born singer since then. Their partnership continued on Only Myocardial Infection Can Break Your Heart (2013) and The Calm Before (2016). Stéphane Grégoire is the head of the Ici D'Ailleurs label which has accompanied Matt Elliott since 2005 and perhaps he describes this album the best: "This new record by Matt is without a doubt his best album to date, a record that takes him into another dimension where he fully asserts himself as a songwriter and singer of the calibre of artists like Bill Callahan, Leonard Cohen or Johnny Cash." Matt Elliott's other records all seemed like empathic links between each other. Farewell To All We Know is an instant classic based on the sensitive piano and superb arrangements of David Chalmin, the sensitive cello of Gaspar Claus, the subtle bass of Jeff Hallam (who has also played with Dominique A and John Parish). There is a clear form of alchemy in all of this and still we find Matt Elliott's usual atmospheres and scenery, the same Eastern European folk music, long songs that take time to settle over time. Everything is the same but also is transfigured. By making his music stark and purifying and redefining the subject matter, Matt Elliott's work became so much more delicate. However this work is never frail nor really turned in on himself and thus becomes like a vital tune that vibrates and unfolds. The opening song Farewell To All We Know seems torn between the fear of what tomorrow may bring, inevitability and hope for the future in a permanent and progressive dramatic tension expressed by his Spanish guitar, the impressionist style piano and Matt's voice teetering on the edge of whispers. A funereal tribute to endless twilights and the dawns we all dream of seeing. There are touches of Leonard Cohen from Songs from a Room or Thanks For The Dance in The Day After That with Gaspar Claus's counterpoint cello. There is no spirit of resignation in Matt Elliott's work - life's path has to be followed against all odds. We have to follow the river's flow to reach the immense ocean and its infinite freedom. The haunted instrumental Guidance Is Internal harks back to the atmospheres of Howling Songs (2008) with its guitar parts full of scansions and muted threats. The music is transcendental but never seems afraid of the risk of falling. This is also what Bye Now tells us with its quasi-obsolete simplicity and sunburst melancholy reminiscent of the work of Luiz Bonfá, Bill Evans on Peace Piece or laidback crooners of the 50s. In Farewell To All We Know, Matt Elliott incessantly alternates between the dual desires to face up to the world or to protect himself from it. Hating The Player, Hating The Game is a lucid statement about the dullness of our daily lives sometimes, our right to get out of the game and no longer want to be part of it. Matt Elliott is tender but spares no one, particularly himself. Aboulia speaks of the tiredness of living and of looming death while Crisis Apparition says that there is always a time for reconstruction after chaos. This is like initially wearying wandering in the ruins of Aleppo with the slow dilution of the melody into a hallucinated drone. However the smell of great fires always fades and the earth always regenerates. Matt Elliott seems to suggest that the survival instinct is stronger than any cold winds could ever be. Matt Elliott never sings of certainties and prefers possibilities. Possibly the worst is over? Maybe... Maybe the storm has passed and devastated everything, now we just have to rebuild and live again. Farewell To All We Know shows us the distance that still needs to be walked and he walks next to you - right next to you, he is the friend who doesn't spare you the truth like all true friends really do.

For a good number of Spanish musicians, attracting attention from somewhere outside of Madrid was a mission impossible for several decades. While the Movida Madrileña, commonly referred to as the “Madrid scene” in English, stirred things up and made front page news on the basis of new wave music, musicians that were on the fringe or directly beyond it had few platforms from which to be heard.
Although Javier Segura has been recording music in his studio almost continuously since the 70's, his relevance and recognition as a musician has been limited to underground music circles. The fact
that he worked outside of the country's spotlight of power kept his name relatively unknown for years, something which even the arrival of the internet could not illuminate. Only the appreciation of a few collectors and disc jockeys kept the light on.
Passat Continu delivers here the first ever compilation by the spanish musician Javier Segura (born 1955), who worked as an isolated cell from his home studio in San Cristóbal de La Laguna, in the Canary Islands. Working for decades from the underground, Segura build up some brilliant ideas producing dozens of richly textured songs, stretching borders on ambient, experimental rock, dreamy folk or concrete music. Using guitars, rhythm boxes, trumpets synths or simply pedals, Segura managed his own career and produced while published a handful of albums by himself: El ser y el tiempo (1976), No mires atrás (1983), Nostalgia de lo humano (1986), Lamento bereber (1989), El ángel caído vol I, la lluvia azul (2004), Levántate (2005) and El orden y el caos (2006).
He also teamed up with Juan Belda on only impro project Arte Moderno (1981-1982), using the Roland TR-808 rhythm box as a main actor for the first time in the post-Franco’s Spain era.
'El sol desde oriente' uses three of that songs and add six more previously unreleased productions from 1980 to 1990, probably his most active period of time. Available on vinyl and digital through
Bandcamp. Digital version includes two extra tracks. Vinyl comes with insert with unseen photos and liner notes by Javier Segura and Passat Continu’s curator David G. Balasch.
All music written by Javier Segura except Jardín marroquí, written by Javier Segura and Juan Belda
under the name of Arte Moderno.

Crammed's legendary MADE TO MEASURE Series of New Music was described at the time as the aural equivalent of a collection of art books. Charting a map of some of the most interesting instrumental music of the era, thirty-five albums came out between 1983 and 1995, including works by artists such as Hector Zazou, John Lurie (his soundtracks for the Jim Jarmusch films), Fred Frith, Arto Lindsay, Zelwer, Steven Brown, Peter Principle, Harold Budd, Brion Gysin, David Cunningham, Benjamin Lew, Ramuntcho Matta, Karl Biscuit, Daniel Schell, Aksak Maboul, Minimal Compact and more. The loose idea behind the title of the series was: this is music which has been or could have been "made to measure" as a soundtrack for other media (film, theatre, dance, video). We'll also be rolling out selected vinyl reissues of some of the series' classic early releases, starting with the inaugural volume, MADE TO MEASURE VOL. 1, the multi-artist album from 1984, containing music created by Minimal Compact, Benjamin Lew, Aksak Maboul and Tuxedomoon for films, theatre plays and dance performances.

Clash lands once again on his very own label with a powerful statement: "Nuevo Orden Mundial" (spanish for "New World Order"), a taste of the singular and trademark sound from the Madrid-based producer, but in a very particular way... A release fully oriented to the dancefloor!

Five cuts of raw techno and modular sounds with a rave touch, influences that come together to give shape to this EP. The release includes three original productions by Clash: "Overflow", "Alone" and "Pills"; along with two totally killer remixes.

The first one by the Russian duo PTU (formed by Alina Izolenta and Kamil Ea) who took “Overflow” and dismantled it and then blended it back together to leave their characteristic stamp, a strong and energetic sound, a proof of frenetic rhythms. This track has been an essential part of the shows the duo has been doing live during the last few months.


The second remix comes by the berlin-based italian techno veteran Davide Carbone, better known as D.Carbone. In his "Pills" remix, Carbone injected all of his industrial techno power and translated the track to a rave oriented atmosphere. There's no doubt his remix will definitely be considered a dancefloor anthem for this post-pandemic times to come.

Demon Records presents the first ever vinyl pressing of The Durutti Column’s 2003 studio album “Someone Else’s Party”.

Formed in Manchester in 1978, The Durutti Column were one of the first acts signed to the iconic Factory Records by Tony Wilson. Primarily the project of guitarist and vocalist Vini Reilly, the group have a cult following with notable fans including Brian Eno and John Frusciante.

Recorded after the passing of Reilly’s mother, the melancholic “Someone Else’s Party” explores themes of loss and reflection. Highlights include the trip-hop influenced ‘Vigil’, and ‘Spanish Lament’ which weaves together Reilly’s signature shimmering guitar sounds with a sample from David Lynch’s Mulholland Drive.

Pressed on two 140g clear vinyl, housed in printed inner sleeves.

Experimental Spanish composer and multi-instrumentalist Pepo Gala´n makes his vinyl debut with an exquisite record of carefully orchestrated ambient pieces.
Conceived as a fierce response to the gradual decay of our society, "Human Values Disappear" takes us on a trip to the darkest corners of a dysfunctional world, painting a broken landscape with deeply arresting and meditative drones.
Composed initially on a vintage Casiotone, the album was further enriched with lush and spacious arrangements, giving the songs a newfound intensity. In this effort, Pepo Gala´n surrounded himself with talented artists Lee Yi and David Cordero, each of whom bring their unique approach to composition into play. The result is an eclectic, yet deeply cohesive palette of sounds that flow seamlessly into each other, creating a moody ambiance that permeates everything.
Despite the bleak tones and subject matter, Pepo Gala´n is able to strike a balance between darkness and hope, allowing glimpses of light ("Half Moon", "Old Testament") to filter through the sheer sonic intensity of the fiercest tracks ("We Are All Welcome Here", "Almost Alone in this Life"). This transition is better exemplified on the album's centerpiece "Sacred Autumn", a collaboration with David Cordero that starts off with an elegant string section, gradually building into a guitar feedback climax that slowly fades off, paving the way for an epic closing number.
By the time we hear the last sounds of "Few Dollar More", the emotional impact of the record is undeniable. "Human Values Disappear" is indeed one of the most sincere, enigmatic and life- affirming records that Pepo Gala´n has ever produced.