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Collecting Orders For 2025 Repress

Backing it up can mean so many things. According to the urban dictionary, it means to carry on drinking the next day in spite of a rather large one the night before. According to Apple, it means to take your I-phone and attach it to an I-pad or Apple Mac - and copy the information to the cloud. Or the device. But in music.....what we mean is basically this....."Damn......that was a big hit......how the hell are they going to emulate that success on the next one."And it's hard for so many reasons. Was it luck Timing That one in a million sample With all the pressure, soon the artist can start second guessing themselves........and that's when backing it up becomes a real problem.But not for our boy PURPLE DISCO MACHINE. If BODY FUNK, his last outing on CLUB SWEAT, wasn't one of THE biggest songs of last year, from Ibiza to Miami and back again.....played by every single DJ under the sun, from BLACK MADONNA to JAMIE JONES to your mama......then I'm not sitting at my lap top writing this shpeel....which I'm very sure I am. AND I'm going to back myself (see what I did there) - and say that DISHED (MALE STRIPPER) is the best way to back up a hit ever. With another hit. Doesn't sound the same....doesn't worry about what the last one did...just does what it does.....which to be honest - is GO OFF!!!! It builds and builds and builds and......In the same way that BODY FUNK masterly made the sum of 2 disco songs bigger than their parts had ever been, this time PDM takes some Italo Disco from MAN TO MAN MEET MAN PARRISH's MALE STRIPPER and mashes it with the aptly named ELLIS D's DISHAPELLA to create a 12/10. Back it up PDM - you are a legend!!!!

Following on from the celebrated first instalment, the second part of The Male Body Will Be Next compiles an entourage of daring sonic experiments, composed in response to bell hooks’ landmark book The Will to Change. Prompting artists and musicians to envision cross-gender solidarity, Osàre! Editions founder Elena Colombi presents an enrapturing, narrative album, conceptualised around collective transformation.

Resonating with hooks’ challenge to men to reclaim the sensitivity that patriarchy denies them, the name of the record arises from a photograph by Peter de Potter and Rebecca Salvadori’s film of the same title. In these depictions, naked flesh is exposed, made vulnerable and trembles with emotion as the fragility of masculine bodies are examined through the queer and female oppositional gaze. Transforming this visual language into musical expression, The Male Body Will Be Next swirls with punk vitriol, electrified noise, acid, electro and free-wheeling encounters charged by love, lust and limerence.

Gently plunking chords signal Pose Diva’s reimagining of lover’s rock before Sissy Fuss smashes in with a heavy-weight instrumental version of their erotic anthem ‘No Restraint’.
Made up of Turkish musician Etkin Çekin and Belarussian songstress Galina Ozeran, God is God delivers a gentle lullaby, while Low End Activist flirts with dark and brooding bass, shattering penetrating frequencies into luminous fragments. Riffing off the 2020 documentary about female early electronica pioneers, Loma Doom crafts a slowly oscillating drone zenith, the ultimate climax. In line with the conceptual underpinning, there are plenty of collaborations – Daytripper’s Riva and Sitar player Tommy Khosla, Lebanonese experimentalist N R and Swiss-French producer John Silvestre (AKA Typhon), as well as Colombi herself and trans author/activist Juno Roche. Within these partnerships, new modalities come alive as mediums, practices and perspectives are ignited and pushed in otherworldly, metamorphic directions.

DC Salas’s label Higher Hopes returns for its sophomore chapter… ‘Male Tears’, a deliciously sleazy and wry take on the patriarchy from queer polymath, Kiosk Radio resident, visual artist, performer, producer and DJ Strapontin.

“I wanted it to be funny, sassy, with a drama touch,” he tells us. “The track ‘Angry’ is about a frustrated and lonely angry man. ‘Male Tears’ is a sleazy club hit mocking a straight white male friend of mine who is unable to question himself and his privileges. ‘Divorce’ is a joke on marriage and its rules and ‘Teaching Drama’ is, well, about drama queens…”

Drama, hard truths and witty observations: Strapontin’s agent provocateur status is galvanised by the oily basslines, off-grid drums and loose, swathing grooves that prowl out of the speakers and flip devilishly into moments of pure euphoria… And moments of total chaos.
Strap up, strap in… Strapontin is taking us higher. We couldn’t hope for more.

In 2022, Osàre! Editions founder Elena Colombi approached artists and musicians with a prompt: Every body, everyone needs love to flourish. In her book The Will to Change, the eminent author and social activist, Bell Hooks, invites men to excavate their innermost selves, challenging the way that patriarchal society limits their capacity for intimacy, tenderness, care and emotion. As hooks lays out, feminist thought and work requires the collective participation of all genders in order to realise a liberated world. How can we imagine cross-gender solidarity through music and art? And how can we tell sonic stories that facilitate our full potential as desiring beings? These are the questions that The Male Body Will Be Next starts out from.

The title of the record draws connections between hooks' writing, a film by Rebecca Salvadori and Peter de Potter's stunning photo series of the same name. In de Potter and Salvadori's depictions, men's bodies appear as vulnerable, naked and exposed.

Divided into two parts, the first instalment of The Male Body Will Be Next hinges on colliding energies – the melding of club dance floors and haunting ambient textures, agile techno and noisy experimentation.

'The sun on my skin… it’s so warm and gentle,’ speak-sings Olivia Salvadori on ‘Su Di Te M’Infrango’, visualising utopias. Laurel Halo crafts a dreamscape spun from golden threads of synth and strings. Pensive and reflective, Ben Bertrand’s bass clarinet roams searchingly, its piercing tonality full of longing. Yet, in between these lucid, cinematic passages and spoken word, The Male Body Will Be Next finds space to dance together. Moving in fervent, rhythmic patterns, Sepehr’s ‘Divooneh’ pivots between tension and release. Filmmaker unleashes a wave of energy and The Spy delivers a potent take on vintage electro, the track title hinting at the double-bind of gendered expectations. Propelled between these eclectic styles, the record encapsulates the full spectrum of sonic expression.

An absolute banger melting hardcore, tribe and Hardtek...
Massive collabs !

Recorded by McIlroy’s long-time friend and musical associate, Big A, the songs are laden with cracked harmonies and homemade instruments, including found materials used as percussion. The pair drew on the talents of fellow travellers for backing vocals and rhythm tracks which has resulted in the live outfit expanding to a three piece, with Ben Price (bass) and Charlie Garson (drums) on board.
Commenting on the writing process McIlroy explains:
“It was written during a period of madness and adverse offending behaviours. The songs dash from one theme to another and reflect the mistaken beliefs we cling to when our perceived realities are threatened. It’s also got jokes.”
Opposing a streaming culture that values top tracks and playlists, the record is intended to be heard in one sitting, with Side A showcasing more extroverted songs, in all their loudmouth braggadocio, and Side B being more introspective and honest.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.

The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?

With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.

Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.

So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.

Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.

Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

Known for their multidisciplinary parties and events that shift the technoid boundaries, Rotterdam collective Double Cross XX presents their third release: two cuts of dark hypnotic techno by rising star and one-of-a-kind producer Acidic Male, backed by driving industrial artillery from the Rotor Militia duo. Screenprint by Dineke van Oosten

Here comes something unapologetically goth.

Male Tears is the dark electro group consisting of vocalist, James Edward and synthesist, Frank Shark. Hailing from Los Angeles, what began as a solo project re-established itself as a duo in 2021, simultaneously moving from the breezy sounds of the first self-titled album to darker realms with their sophomore Trauma Club.

Krypt is their third full-length recording and it shows a fully grown ensemble capable of pushing everything over the top; blending elements of darkwave, goth rock, EBM and futurepop into a sound they call Dark Rave.

Naturally drawing inspiration from the Californian goth tradition (45 Grave, Christian Death) and the Canadian post-industrial brood (Skinny Puppy, FLA), as well as the best UK synthpop (Depeche Mode, The Human League), Male Tears emphasizes the most glamourous, and at once, gruesome aspects of the whole gothic subculture, bringing everything to the next level, resulting in a contemporary and cutting edge album.

Eight new cuts that alternate rarefied synthwave (Krypt), dark eurodance (Slay) with goth techno-pop (Sleep 4Ever) and pounding electro-industrial (I Expire) to create something we may call New Romantic Body Music. It’s no wonder we wanted the scene’s top studio, La Distilleria, run by Maurizio Baggio, to master this for the most bombastic outcome.

And yet Krypt is not just about the music, it’s about one up with the times attitude that can review aggressive EBM in the light of an extravagant pop sensibility and a theatrical grandeur worthy of the Blitz Kids from London circa 1979-80.

You may think it takes quite a bit of nonchalance to do so but the L.A. duo easily succeeds at this. Akin to their aesthetics, they may seem spooky from the outside but their approach is nothing stuffy. Quite the contrary, everything regarding Male Tears is a celebration of life’s most bizzare shades, driven by some of the best dark humor you’ll find around.

So Dance with me, my dear, on a dancefloor of bones and skulls / The music is our master The devil controls our souls.

Three-time Grammy Award nominee, songwriter, actor and model Natalie Imbruglia released Male back in 2015 as her fifth studio album. The album is a collection of famous songs by male artists, including Cat Stevens, Damien Rice, Tom Petty, Pete Townsend, and Zac Brown amongst others. The album is produced by Billy Mann, who has also worked with Pink, John Legend, Celine Dion, Martina McBride, and Sting.

The album features the single "Instant Crush", which was her first single in six years and was originally recorded by Daft Punk and Julian Casablancas (The Strokes).

Male is available as a limited edition of 1500 individually numbered copies on translucent magenta coloured vinyl and includes a 4-page booklet.

Biffy Clyro will release the surprise new project ‘The Myth of the Happily Ever After’ on October 22nd. The record is a homegrown project that represents a reaction to their #1 album ‘A Celebration of Endings’ and a rapid emotional response to the turmoil of the past year. It is the ying to the yang of ‘A Celebration’, the other-side-of-a-coin, a before-and-after comparison: their early optimism of 2020 having been brought back to earth with a resounding thud. It’s the product of a strange and cruel time in our lives, but one that ultimately reinvigorated Biffy Clyro.

“This is a reaction to ‘A Celebration of Endings’,” says vocalist / guitarist Simon Neil. “This album is a real journey, a collision of every thought and emotion we’ve had over the past eighteen months. There was a real fortitude in ‘A Celebration’ but in this record we’re embracing the vulnerabilities of being a band and being a human in this twisted era of our lives. Even the title is the polar opposite. It’s asking, do we create these narratives in our own minds to give us some security when none of us know what’s waiting for us at the end of the day?”

‘The Myth’ has been launched alongside the new track ‘Unknown Male 01’. In six adventurous minutes, the band explore every facet they’re renowned for, taking in the unguarded emotion of its introduction, a skewed off-kilter breakdown, and a jagged, spiralling riff that builds towards a cataclysmic crescendo. The song reflects on friends who have taken their own lives.

Re-issue of this italo disco rarity from 1984.

A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as 'a funny version of some Imam praying on top of an electronic Groove', .'Kairo' is all you want from an oddball record: fun and funky, weird and wonderful. Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: 'No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn't inhuman.' For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic 'Kosak 2000'. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

Re issue of Romanthony's 'The House Of God' on Black Male from 1995.
Re mastered for 2014 from original DAT's and released in original artwork. Re issued in conjunction with the rights holders.

Timely re issue of an Arthur Russell classic on West End Records that puts his unique avant-garde spin on disco. The success of this track led to Larry Levan remixing the song for club play at Paradise Garage. The song has been remastered from original analog tape for 2014 and repressed in conjunction with the rights holders, Verse Music Group.

As one of the most enigmatic figures of the 1970's Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the otherwise male-orientated business. * Strictly limited to 1000 copies.*
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Born in Rocca di Papa, near Rome, into a flourishing musical environment Emma was the younger sister of future award-winning composers Guido And Maurizio De Angelis, a duo, who under names like Oliver Onions and Dream Bags, would write chart-topping lyrical theme tunes for a wide range of Italian crime, Giallo and Spaghetti Western films featured alongside full scores by Ennio Morricone and the Magnetic System composers (Bixio Frizzi Tempera).
With encouragement from her brothers, Emma, who would also write music under the pseudonym of Juniper, would record a tight clutch of solo-penned material and seldom credited studio contributions to Guido And Maurizio's film commissions, such as the score for Giuliano Carnimeo's Simone e Matteo: Un gioco da ragazzi (aka Convoy Buddies). While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose up-and-coming Flirt label was finding success providing custom built mood music for use in TV and film. Alongside important composers like Alessandro Alessandroni, Gerardo Iacoucci and A. R. Luciani, the young Emma Di Angelis would record a small number of tracks for a compilation called Underground Mood (credited in the small print to E De Angelis - not to be confused with Italian singer Edoardo De Angelis). It is from this rare LP that the record you are now holding is compiled. Within the Flirt family of labels Emma De Angelis would also share schedules with other important female composers such as Daniela Casa and Giulia Kema' De Mutiis - both of whom have appeared on dedicated Finders Keepers releases.
The tracks on this record provide us with a rare glimpse into Emma De Angelis' short musical career before she became a full-time visual artist. With an unknown personnel or studio date it is easy to speculate a potential family jam in Piero Umiliani's Sound Workshop studio in 1972. One only has to take a listen to Guido And Maurizio's instrumental theme Gangster Story from Enzo G. Castellari's 1973 thriller High Crime (which later appeared on Tarantino's Death Proof soundtrack) or the trippy title theme to Paolo Poeti's kinky 1976 drama Inhibition to spot the family resemblance

REPRESS

This is the standard version with no poster or hand numbered sleeve. Repress of this chiller classic from 2015. "Talk From Home" showcases Kraft's emotional depth as a producer, and skill as a multi-instrumentalist. Recorded over a few weeks in the winter of 2014, the intimacy of the recordings shines through in a melancholic yet hopeful world of melody and tone.

2022 Repress

A brand new selection of unreleased musics composed by the great Alain Goraguer (working with Serge Gainsbourg & Boris Vian, as well as having released on the great "Cosmic Machine" Compilation and known for his Cult Soundtrack "The Fantastic Planet. ".

Today we present his works

for movies from the golden age of french pornography, brought together on a collector vinyl, object of all desires.

To stress the Cult Status of this, MCX was previously released only through a crowfuding campaign in july 2018 - which reached 700% of ist initial goal

Eight never released before tracks composed by Alain Goraguer, orchestrator and composer of an impressive number of monumental french pop songs, from Boris Vian to Serge Gainsbourg, and well known by hip-hop fans and sampling lovers for his cult soundtrack for The Fantastic Planet.

Tracks saved from oblivion and fully restored, from the soundtracks of these evocative titles : Swinging Couple Cruise, Private Nurses, Right of the First Night and A Foreign Girl in Paris

Comes with a 12 pages color X-Rated Excercise book, with the classics : coloring, points to link and carvings, with a gallery of characters to carve and to layout of the included locations, to elaborate your own orgy, with any outside help ! Designed by famous french illustrateor Erwann Terrier.

New one on Antinote.. Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyarh with punkish synthpop traxx
Some words from the label:

Remember that straightforward mix of EBM and synth-punk that came out on Antinote last year, wrapped in a suggestive black and gold sleeve The lyrics were strictly not ambiguous and the music produced by Panoptique and Paula was joyfully aggressive.
Broken glass, dogs barking & cats roaring: Succhiamo is back and gives us news from the scrapyard.

The thing is, it seems that Succhiamo's scrapyard has been animated by Bill Plympton : in place of dogs and cats, it's a lew Pink Panther chasing a spaced-out Scooby-Doo on Dolore Dentro or Stai Male. Happily championing bad taste, the two musicians even venture into the illegitimate territories of italo-pop missed hits, shaped for lipsync performances on Rai Uno with the nagging Que Pena.

As we're getting close to the middle of the record, the music gets openly punkier, climaxing with the explicitly
named Desiderio Di Violenza, brushing past 200 BPM. While the inevitable silence following the last notes of Que
Pena temporarily puts an end to the pleasant nightmare that is Mani In Fuoco, the figures - somehow similar to
those inhabiting the world of Fritz the Cat - that Succhiamo insidiously inserts into the listener's head don't fade
away: they patiently wait for the duo's pulsing drum machines and the saturated synths to wake up again and set
them in motion for another ride.

Redseal records is proud to present South Korean multi instrumentalist, singer and producer Mogwaa. Three monster tracks of Digi reggae meets East Asian influenced vocoder funk make for a special unique record.

Gritty electro and techno cuts from NYC's Heidi Sabertooth on her vinyl debut for Lost Soul Enterprises, with a slamming rework by Young Male. Limited to 300 copies in full color printed jacket.

New York native Caiazzo releases 'The Devotion' on his and P.Leone's E-Missions imprint featuring three dusky techno tracks and a remix from White Material co-founder Young Male.

Much like P.Leone, Caiazzo's debut release (entitled 'The Dredge') landed on Work Them Records; Spencer Parker's label that's featured names such as Radio Slave, Rodhad, DJ Richard and Ryan Elliot. Launching E-Missions earlier this year, the pair continue their high quality output by following up two releases from P.Leone with three uncompromising original cuts from Caiazzo himself.

Rolling percussion drives '917 (Sportmixxx)' whilst intoxicating drones operate throughout, making way for 'Lifeform' with its layers of thick synthesised sounds that build on top of a relentless drum composition with subtle but effective transitions. 'Godbody' offers a stripped back approach to techno with an intricate percussive composition that allows a deep low-end and a hypnotic perc to take control.

Finally, White Material label boss Young Male provides his take on 'Godbody' where bass hits combine with haunting atmospheres and warped rhythms, closing the release with style.

Syberian is a new pattern by Sergey Yakovlev. As his first project called Gedevaan this another also focused and keep on the fine tune electronic music entering deeper to techno, house and experimental constructions among them. Syberian is pitched hypnotic, cosmogonic shade of melancholy which sincerely looks on the world background. It has an authentic perception imprint and a set of sedate witness. The first release by Syberian 'An Object by a Human Being' contains four basic tracks.

Opening with 'God Race Female' which gloomy drifts you with a distant fibrous structures. Industrial howl and clave push stream over dope endless barrel strokes. That is sound what reach out to a child inside a female womb.

Next one is 'Male of Human Race' with a resilient stained beat that works with onground greasy texture. Ambient flutter set you a synthetic tranquil mood.

On a flip side 'Secret Alien Video Tape' is a kind of hypnotic and scholastic spacewrap abyss. Drag inland thru distortions and imaginary vortexes your mind still contemplates.

Conclusive back to the home track 'Harmonic 343' is game way to keep junctions with a physical world. Body is only part of a human. Understanding the principles supply the workflow.

Mit Africanism Vol. 5 kehrt das legendäre Afro-House-Kollektiv rund um Bob Sinclar zurück und präsentiert ein kraftvolles, globales Club-Statement voller Rhythmus, Identität und musikalischer Verbindung. Das Album vereint herausragende Produzenten und Artists wie DJ Gregory, Moonlight Benjamin, Boddhi Satva, Arkadyan, Jesús Fernández, Bonga u. v. a. in zwölf Tracks, die moderne House-Produktionen mit afrikanischer Energie, traditionellen Instrumenten und organischen Grooves verschmelzen lassen. Von der voodoo-getränkten Intensität von "Zanmi Kanmarad" über die angolanische Tiefenwärme von "Mulemba Xangola" bis hin zum treibenden Club-Momentum von "Block Party (Baron Remix)" oder "Salsa House" liefert Africanism Vol. 5 ein Panorama aktueller Afro-House-Kultur. Die musikalische Bandbreite reicht von haitianischer Soul-Elektronik über pan-afrikanische Percussion bis zu modernen House-Arrangements mit französischer Produktionshandschrift. Ein hochkarätiges Producer-Album, das die DNA des Africanism-Sounds konsequent fortschreibt: international, zeitgemäß, tanzbar und voller musikalischer Identität.

what matters most is how well you walk through the fire.

NYC's Afro-Latin house player Doug Gomez, who was also half of the defunct Drrtyhaz, leans into club weight and musical detail on Signals 3, a confident new drop built on persuasive rhythms. 'The Space Between Us' introduces his vocal production with Fe Malefiz, who has a sultry, stylised tone that drifts between deep house and Afro-soul with great control. 'The Red Room' shifts gears into peak-time territory with a groove shaped by late-night exchanges with DJ Loka. Closing cut 'To Do Good Na Em Dem Pay' widens the palette further, pulling from Afrobeat's restless rhythmic energy and layering in some bold and brassy horns.

RITUAL is a poetic and political gesture by Antonio Marotta: a sonor resurrection where archaic meets electronics. Drawing on Campanian roots and European club culture, the album blends the trance of Ritual with the ecstasy of the dancefloor.
Seven beats and seven loops inspired by the Seven Madonnas of Campania, where the drum remains the visceral beat that connects the earthly to the divine.
An act of resistance that delivers new life to tradition.
The limited edition Vinyl LP contains a special insert with the visionary graphics conceived by Andrea Maddaloni, the lyrics of the 8 songs and Marotta's personal manifesto.
Grab your copy before it's too late.

Written & Created by: Antonio Marotta
Tammorra, Chitarra Battente, Chitarra Elettrica, Voci, Scetavajasse, Castagnette, Tromba degli Zingari & Live Looping by: Antonio Marotta
Lyrics Transcription & Dialect Revision by: Alessandra Ruggiero
Mixed & Mastered by: Antonio Marotta and Peter De Girolamo
Mask Artwork by: Atelier Antise
Photography: Let's Pic Studio
Art Direction & Design by: Andrea Maddaloni
Club Consulting by: Alfredo Maddaloni
Produced by: Antonio Marotta and Maledetta Discoteca
Executive Production by: Maledetta Discoteca

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

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

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

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

The crew behind the freshly minted Secret Vault imprint are keeping their cards close to their chests, with the accompanying press release loosely explaining their desire to prioritise dancefloor "heat" over spoon-feeding information to buyers (and in this case, Juno reviewers). The secrecy makes sense, though, because these uncredited cuts are heavyweight disco edits - and fantastic ones at that. Our shadowy heroes first extend and (we think) lightly speed up a slap-bass-sporting slab of disco-soul gorgeousness full of dewy-eyed female lead vocals, extended breakdowns, glistening guitar solos and punchy. Over on the flip, our scalpel-wielding fiends turn their attention to a bouncy, energetic and infectious disco-funk gem topped off by expressive male lead vocals.

Transparent gelbes Vinyl. IN THE TEMPLE präsentiert sich noch einmal abwechslungsreicher und kreativer als das Vorgängerwerk. Malerische Neo-Psych-Klangteppiche treffen auf eingängige 60s-Rocknummern und erzeugen vielschichtige Atmosphären zwischen Tiefe und Leichtigkeit. Die Band erweitert ihr Klangspektrum um aus Alltags- und Naturgeräuschen gestaltete Klangkulissen, die besonders die Jam Parts bereichern. Smokemaster liefern mit IN THE TEMPLE wieder einen bunten Blumenstrauß und beweisen auf charmante Weise, wie organisch sich die verschiedensten Ideen, Klangfarben und Emotionen in einer modernen Psych Rock-Platte miteinander verbinden lassen. Es gibt also viel zu entdecken. Die Band wünscht gute Reise.

BLK ODYSSY is an Austin-based artist and producer whose boundary-pushing sound blends soul, hip-hop, rock, funk, and pop. Born in Plainfield, New Jersey, and raised in a household steeped in neo-soul, BLK began channeling his voice through music after the unjust killing of his older brother by police at age 12. That life-altering loss and the experience of growing up Black and male in 21st-century America fuels his raw, layered storytelling. His debut album, BLK VINTAGE (2021), written and produced with close collaborators, served as both a celebration and a critique of Black identity in America. It was met with critical acclaim and re-released in 2022 via Empire as BLK VINTAGE: The Reprise, featuring Mereba, Benny the Butcher, George Clinton, and Baby Rose. The project has since amassed over 100 million streams and positioned BLK ODYSSY as a standout voice in modern soul. His 2023 sophomore album, DIAMONDS & FREAKS, continued his ascent, merging surrealism and social commentary with contributions from Rapsody, KIRBY, Bootsy Collins, Cory Henry, and production from The Alchemist. NPR called BLK “a surrealist R&B auteur,” while Pitchfork praised his ability to bend genre into a cinematic sonic experience. In 2024, following a surreal Tiny Desk performance and festival appearances across Europe—including a headline set at North Sea Jazz Festival and Lollapalooza in Chicago—BLK ODYSSY launched a bold new chapter, with his third studio album, 1-800 FANTASY. The first single from the album, “WANT YOU” (co-produced by Tyler Johnson, known for his work with Harry Styles), marked a shift in tone. That was followed by “XXX” featuring Wiz Khalifa, and “STANK ROSE” featuring Joey Bada$$. Now averaging over 1M+ weekly streams, BLK ODYSSY is unleashing his fourth project, MOOD CONTROL, a ten-track album pushing alt-R&B, soul, and funk to new heights. 1xLP, pressed on Green, Brown & White 3 Color A Side B Side Vinyl.