Suche:jos

Josh Milan has been recording music professionally for over 30 years.He's played every role from artist to engineer in the studio.This project, Honeysweet, focuses on his production and musicianship.Utilizing only one musician on sax, Josh plays every instrument and sings every note on this project. His songs are packed with soulful dance floor grooves inspired by iconic, soulful groups like Brian Auger, Cymande, Pleasure, Africano, Santana and others.

"I wanted to do music that made me and my family feel good when I was growing up. It's the kind of music that families dance to at gatherings with a record player and no DJ”, says Josh. “Intros, Accents, Breakdowns, Bridges, and endings were all part of the music.” This music will transport Josh's audience to a place of musical freedom. This is music with, seemingly, no rules.

Josh Milan describes each track on the Honeysweet EP “Exodus” in his own words :

"Last Night Changed It All featuring Lawrence Clark on sax is the kind of groove that keeps its dance floor value while holding up the banner of true musicianship. This song was written after hearing a DJ set,where the DJ didn’t seem to be concern about staying within a musical box. He played all sorts of music in one set. I knew then that I’d branch out musically when recording.Rhodes, picked bass guitar, rhythm guitar and drum kit is all that's needed on this one.”

"Exodus the manipulation of major and minor chords in this groove make it complex and interesting. The listener is lead by the organ solo featured here. The song is a mental escape. A mental exodus complete with bongo section.”"Being Free is a message that captures the point of this entire project. Musical freedom and expression is where this project gets its
fuel. Horns, are included on this production. A true expression of soulful music. Being free should be all the time I'm your mind all the time.”

“Cranberries and Cream is my tribute to funk grooves as they were featured on records in 70’s. I’m a fan of that sound and I like to play by own funk grooves when I’m alone. This is one of the tracks on the ep I prefer to rock.”

“And So She Waits has eerie sounding pads in the background. They linger throughout the track. Popping in and out, as though they’re waiting for something. You will hear the change in mood once she is no longer waiting. The groove returns to it’s original state. Only she is no longer waiting, he is.”

“Crazy is me bringing the funk to dirty house music. Complete with house piano in the mix. The chords are unsettling. They are, in fact,Crazy. I though adding a horn arrangement to a house track like this would sound interesting and different.”Honeysweet “Exodus” out at all digital outlets and double pack vinyl set.

"Drums from heaven, keys from Mars, a bass made from mother earth's soil and guitars from a guy who's time-traveling from German Kraut in the last 60ies into the next 60ies and who happens to gift us today with this funky, dirty, pulsating, delicious music that's everything which music is supposed to be: ALIVE! (Note to self: Always keep a copy of this record in your suitcase!)." (Malakoff Kowalski)

"Afrokraut" is a stylistic expression of Krautrock, primarily associated with Can, and their creative use of time and space in music. "A Guide To Afrokraut III" is David Nesselhauf´s third and last contribution to the dusty shrine of this long forgotten style.

Next to "Afrokraut" (2016) and "Afrokraut II: The Lowbrow Manifesto" (2018), this album completes a humble sonic Trypticon in honour of David Nesselhauf's musical heroes. Experimentation was key in the immersive process of producing this album, which encompasses elements of Funk, Afrobeat and Krautrock as well as otherworldly Drones, early Elektronische Musik and even field recordings.

Inspired by the unfinished manuscript 'History Deletes Itself' by the late science fiction author Joseph Sabiers, Nesselhauf decided to produce a b-movie soundtrack to the original plot, ignoring the fact that there will likely never be a movie to this music.

In the original script, a virus has infected history, the resulting changes of historical facts leading to an unpredictable present and future for mankind. Every attempt to solve the problem – including time travelling – only worsens the situation. But three planets at the end of the known universe seem to be unaffected by the phenomenon, they become a sanctuary known as 'Afrokraut III'. Three brothers arrive there to start new lives. They are introduced to The Guide, their mysterious advisor...

The striking parallels to today's uncertainties, a strong feeling of hope and the idea to never stop exploring (come what may) certainly have encouraged the making of this album, which sees a belated release due to the obstacles everyone faces right now.

David Nesselhauf lives in Hamburg/Germany and appears as a bass player/songwriter in bands like Hamburg Spinners, The Drawbars, Diazpora, and Angels Of Libra.

Boot proudly present Micall Parknsuns 6th studio LP "Still..." on limited edition single black vinyl. With killer features from Kyza, Scriblah, Joker Starr, AyePee, Josiah and Naughtz. Produced by Micall Parknsun, Aypee and Apollo with cuts by Jazz T. Killer artwork by Glen Stone. Includes the smashes "Still... "and "Kept Going"

Artwork insert, in PVC outer sleeve.

Awanto3 (also known for his work with Aardvarck and Kid Sublime on Rednose Distrikt) returns to Rush Hour with "Party" Volume 1. Moody and rolling MPC work outs with live accompaniment from a solid cast (Jos De Haas (New Cool Collective) on percussion and Stefan Schmid (Zuco 103) on keys). Broken Beat heads look out .... this really smacks. TIP!

Backstory: Party was born in a small village located in Wallonia during a period of house-sitting for a family on holiday. Initially my mother was asked to take care of the chickens, goat, dog and donkey but eventually I decided to take care of them to relieve my mother. This week turned out to be a small nightmare, because I think the house was being possessed by a spirit that I had to deal with night and day. The vibe of the house was so grimy, due to the fact that there were calendars with all kinds of weapons and dark oak furniture, interspersed with a huge flatscreen and blinds at the ready to be rolled out when the sun started to go down (by request of the paranoid owner). This setting affected my sketches; a dark side that was looking for contra light weight. After I took care of the animals, I had an energy to escape to my MPC to make the basis for a possible new album. When I got back in Amsterdam, I started to work out some of the sketches I’ve made in the ghost house together with Stefan and Jos in Studio K at Sloterdijk.

"After Outer Edges we were trying to find a new direction for Noisia. This resulted in an extensive journey that took us through a lot of new ideas and music.

Although we eventually decided to stop, we are proud of the things we made along the way, and these tunes were always meant to be part of a larger whole. So before we finally close the book on Noisia, we wanted to share them with you, on one last album. Previously released or newly finished, they all represent directions we enjoyed exploring.

In the end, we didn't manage to figure things out. But we did get closer." - Nik, Thijs, Martijn (Noisia)

Dancing as an act of rebellion is the first Abraxas LP in collaboration with the Valencian label Soil Records. A compilation of the first project recordings released between 2020 and 2021 plus some new tracks and, in addition to this, a second vinyl by other darkwave electronic artists remixing the first one: Geistform, We Are Not Brothers, Ober Dada, Melting Dogmas, SMforma, HBK1, José Rodríguez, SOJ and PanDemian.

Abraxas is a halfway project between dark dance electronic music, philosophical reflection, socio-political activism and musical entrepreneurship. Its main goal is to shake bodies and minds by spreading messages of individual and social self-criticism from the point of view of duality, extremes and contradiction, inherent to the human being and capitalist society.

Josh Burke is a guitarist/keyboardist/programmer from Chicago, USA, who specialises in a music that could, perhaps, best be described as an amalgamation of drone, kosmische and ambient, all with a distinctly euphoric flavour, as though these sounds were channelled rather than thoroughly composed.

He has over 30 solo releases to his name as well as splits with Jeffrey Astin (of Xiphiidae), Spirals and Body Morph, and also - like most of his peers - operates under several additional aliases - Ocean Diamond, Futuresport, The Masque, Silk Fountain, 56K, Sky Limousine and Nehal Shah - as well as ensemble and collaborative projects including Bermuda Link, Cartoon Drips, White Prism, Practical Applications Of The Chaossphere, Starfox, Camp Crystal Lake and Holographic Communications Of The Third Sky.

We are excited to present you our first Ep on our new series called RELIKT ORIGINALS. This series is about putting the full attention on a single artist.

Our focus is to tell musical stories about an entire record. The artwork will be simple and all records are always black. On this label we will release strictly original mixes. As always, the label will be vinyl only - limited copies - no repress.

We are more than happy to present you Jose Antonio Jaen for the first release.

He is a young and talented Dj/ Producer from Lima, Peru. Welcome on board.

Respective artists Studnev, Alexander Wirth, Jakobin and label head honcho Fabiano José join forces to serve up the debut release of Merkwürdig Records, a bumpin & groovin EP tailor made for the forthcoming summer days & nights.

Among those who have written the history of the Italian House is certainly Carlo Troja, aka Don Carlos. In 1991 Irma Records released her first single Alone which immediately became a cult record for DJs across the Channel and especially American DJs. Its particular soft and ambient sounds defined a genre that was then called Paradise House.

And it is precisely from this genre and from this Dj that Irma Records began the celebrations of its thirtieth anniversary a few years ago by
proposing a selection of its catalog chosen by Don Carlos, trying to dig among some of the pearls of the genre but above all among some
songs that featured in his evenings but were less popular at the time of their release.

This compilation had a great response and it was decided to make a volume 2, always selected by Don Carlos. Also this compilation, like the first one, consists of two compact discs and a vinyl version this time with a selection of only 8 of the 20 tracks contained in the CD and Digital version.

All the tracks on the double vinyl have been re-edited by Don Carlos for the occasion. The double cd is in a limited numbered edition.
Among the artists and producers included are: Don Carlos, Lust Unlimited, Subsonic Posse, T.M.V. (Marco Trani, Moz-Art and Maurizio
Verbeni), The Sweatbox Orchestra, Aritmya, Deep Aural Penetration, Be Noir, Love Nation, More Heavy Soul, Outdance, F.I.T.Z. and many
others

Joseph Capriati is to release a selection of remixes of his epic 2020 album Metamorfosi. They arrive on limited edition triple vinyl on April 29th 2022 on his Redimension Music label, and feature the likes of DJ Stingray, Frank Wiedemann & Toto Chiavetta, Steve Rachmad, Dave Clarke, Carl Cox, Francois K, Masters at Work and more.

AI-28 arrives as a double-12” reissue of an album titled “Lucid Dreams”. Formerly released in 1996 as a CD on the now defunct UK imprint em:t, the album now becomes available for the first time on vinyl. Produced collaboratively by Chris Allen, David Thompson (both co-founders of em:t), plus label affiliates Tom Smyth and Will Joss, the record features outlier academic and philosopher Celia Green narrating passages of her classic book “Lucid Dreams” (published in 1968), seamlessly embellished with atmospheric soundscapes throughout. 

Brooding amorphously on the cusp of the unknown, the music captures the quintessentially mysterious quality of dreams and dreaming. Layer by layer, the listener is submerged deep into the subconscious stream. The record curls and unwinds with bewildering influence whilst exploring key themes of Green’s studies, with topics covering hallucinatory states, apparitions, out of body experiences, and extrasensory perception. The collaborative handling of samples and sound material comes together powerfully to create a piece that is both artistically theatrical in flavour and sumptuously immersive – a true documentary for the ears and imagination.

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

Limited Copies, No Repress

We’re excited to be launching a new release series: “Melodies Record Club”, a string of DJ and artist curated mini compilations in loud 12” format.

The first instalment was put together by Four Tet, selecting two big peak-time Jazz tracks he used to spin regularly at Plastic People.

On one side, we’ve got all time jazz greats Jackie McLean and Michael Carvin’s De I Comahlee Ah, taken from their seminal album Antiquity recorded in Denmark back in 1975. A year and a half ago, we visited Steeplechase, the original label in the outskirts of Copenhagen. They informed us that at the time, the track was cut short as it didn’t fit on the full LP. They were kind enough to provide us with the tape of the full original recording, allowing us to release for the first time the full extended version capturing twelve and a half minutes of studio magic. Speaking with Michael back in November, he told us that every song on that album was recorded without any overdubs. They had taken their shoes off and organised the studio in such a way that they could move from instrument to instrument during the take (!!)

On the flip, we have Chris McGregor’s Brotherhood of Breath – MRA. Back in 70s London, the Brotherhood had brought together musicians who had sought refuge from South Africa’s apartheid regime and the best of a new generation of British jazz musicians. Music journalist Richard Williams, who had originally reviewed the band in the 1970s tell us: “They made music that appealed in equal measure to the head, the heart and the feet, taking the jazz legacy of Duke Ellington and Charles Mingus and adding to it the fantastic dance rhythms and gorgeous harmonies of the townships and untethered collective improvisations of the new free music”.

Four Tet’s instalment is out early May in 12” format and digitally (stream & download), first press comes with a folded A2 insert with words from and about the artists. Graphic design by Studio ChoqueLeGoff, illustration and animation by Nevil Bernard and for the audiophiles out there, remastered and cut at half speed by Matt Colton at Metropolis Studios!

The second instalment curated by Ben UFO is scheduled shortly, which will be followed over time by a string of releases including selections from Hunee, Mafalda, Floating Points, Anya & Julia from Javybz, Daphni, Josey Rebelle, Charlie Bones, Gilles Peterson… and more, stay tuned!

Never a dull moment on Neroli: after a string of releases from the likes of Fred P, DEGO, Patrice Scott, Chaos in the CBD and Trinidadian Deep it’s now the turn of PATRICK GIBIN together with KAIDI TATHAM.
The duo has been already responsible for some heat on Patrick’s own Blend It label, and here they are teaming up once again for a whole EP.
This time they enroll New Jersey majesty JOSH MILAN of Blaze/Element of Life fame on vocal duty with extra the help of Dawn Tallman on backing vocals and they turn the song ‘Love To The World’ into a modern day Classic…..Anthem Alert! But there’s more evidence of brilliance from Gibin and Tatham with the boogie ‘Groove on’ and JazzFunk House joint ‘Don’t Be Rude’ where mr keyboard Kaidi lets loose on Bass and Guitar!

This ultra stacked remix EP see’s artists, Lauren Flax, Josh Wink, Radio Slave, and the ‘Missing’ remix contest winner Kai Van Dongen. Legend Josh Wink brings his minimalistic approach to the classic ‘Concentrate’. Lauren Flax brings her deep jackin acid flavor to ‘Culture’. Radio Slave does what he does best and keeps his remix of ‘Reflex’ stripped down and tough, Rekids style. Lastly, remix contest winner and new comer Kai Van Dongen, balances out the EP with his deep but driving rendition of ‘Missing’.

In these turbulent times we have managed to release six pieces of wax to date.This is something to be proud of, and of course we are.

For this sixth slice of plastic we have Kalter Ende on board and it’s a real pleasure. From his bunker hidden somewhere in the middle of the peninsula, he runs his label Concerns Music and his mastering studio Reborn.

On the production side he has lately gone into modular, and you can clearly feel the machines in his productions and in his amazing live act.

For this release he has cooked up five cuts of modern and complex techno, carefully crafted, nothing easy or predictable. Mujo, the opening track, is a clear example.

Jōshahissui follows slow paced grooves, crispy analogue percussion, linear hypnotic sequences and a wise and dynamic arrangement. You can feel the circuits singing in this one.

Sengoku introduces distortion and harshness, a diffused kick drum and processed synth lines running together from the beginning until flanged sequences come on top, a weird marriage of overdrive and deepness.

Closing the release, Senran explores the profound side of techno, clear synthetic drums, liquid synths, elastic bleeps, again on a complex and wise arrangement.

As digital bonus we include the track Ran, again a precise electronic workout made of continuous synth lines and sharp rhythms.

Five timeless pieces of danceable electronic music, away from trends, far from the easiness, done by professionals for professionals. Touchable, collectable and physical as every piece of vinyl is.

"Eski style Hardcore reductions, served up from the rave archivist Filter Dread."

DJ Support
Tessela (Overmono), Hodge, Pinch, Laksa, Cosmin TRG, Mr. Mitch, DJ Haram, Jossy Mitsu, Murlo, Solid Blake, Etch, Metrist, J-Shadow, Minimalviolence, Ciel, Photonz +more

Tom Flynn marks his first appearance on Exit Strategy, starting off with a strong package of four tracks. Each of them tends towards a slightly different side of his ecstatic and clean production style - making this a very coherent well balanced collection of killers.

Early support by: Marcel Dettmann, Takaaki Itoh, Gary Beck, DVS1, Adam Beyer, Randomer, Jeroen Search, Speedy J, Jonas Kopp, Tommy Four Seven,Slam, Mosca, Psyk, Paul Mac, NX1, Manni Dee, Progression, Scalameriya, Thomas Hessler, Juho Kusti, Ryuji Takeuchi, Mr Jones, ANFS, Dustin Zahn, Kyle Geiger, Joton, Paul Birken, Hector Oaks, Charlton, Dario Zenker, Kwartz, Dimi Angelis, Drvg Cvltvre, Stranger, Mikael Jonasson, Arnaud le Textier, Dax J, Jerome Hill, 3.14, Pfirter, Echologist, Darko Esser, Tripeo, Endlec, Stenny, Clouds, I/Y, Rivet, Henning Baer, Dave Tarrida, Rolf Mulder, W.I.R.E, SHDW, Pacou, Patrick DSP, Ansome, Sebastian Krenzlin, Rebekah, Gareth Wild, Domenico Crisci, Perc, Setaoc Mass, J.Tijn, Radial, Aiken, The Black Dog, Ness, Developer, Exium, Sawf, Joseph Capriati, Svreca, Shards, Truss, Truncate, Myler, Inigo Kennedy, Advanced Human, Operator

The first taste from Joseph Capriati's 'Self Portrait' has landed, as Drumcode drop a double shot from techno's heir apparent hugely anticipated second album. The tracks 'Fratello' and 'Awake', have been highlights of Capriati's sets in recent months, punctuating performances at landmark gigs such as his main room closing set at the internationally respected Time Warp Festival in Germany and maiden coast-to-coast tour of the US.

'Awake' was born out of Joseph's longstanding love affair with Holland's famous Awakenings parties and is a homage to the fanatical fans who turn out en masse at each event. Tense, atmospheric and relentless, 'Awake' captures the feeling of a momentary release of energy that is such a part of the high-octane Awakenings experience.

'Fratello' has achieved anthem status since it debuted in Capriati's sets last September, such is the reaction it has garnered from fans. A work of rare beauty, this is techno at its most emotive, as hypnotic melody is laced with intricate key patterns, while the Italian's trademark shaking percussion propel the track forward.u

New Sampler#25 on Robsoul Limited with Joss Moog, PS Project & more Jackin !

mega new remix from the classic !!!!

Played & support by Len Faki, Xpansul, Someone Else, Abnormal Boys, Emerson, Dinamoe, Frankie, Joseph Capriati, Kaufmann & Ferdinand, ...

start of the miditonal sub-label for reduced techno music - supported by gabriel ananda, troy pierce, paco osuna, dominik eulberg, ivan smagghe, holgi star, remute (denis karimani), renato figoli, tim xavier, perc, blood & tears, nudisco, chris fortier, joseph capriati, da fresh, david keno, xpansul and many many more !!!

Josiah and the Bonnevilles is the band name for singer-songwriter Josiah Leming, a powerful acoustic performer and prolific singer-songwriter amassing attention from millions across the globe Described as "self-taught," Leming has been traveling across the United States since he was 17 years old, and even had a brief stint on American Idol in 2007. Lemings' Country Covers I & II and Endurance are among his most popular self-released albums. Following the release of these 3 titles, in 2024 he completed his first ever sold out headlining tour. As Is, produced by Konrad Snyder and Josiah Leming features co-writes with Marc Scibilia, Colin Pastore, Jake Finch, Natalie Hemby, Todd Clark and more. As Is is an album full of reflection, resilience, heartbreak and love.

Amsterdam based beat innovator Kid Sublime brings together a fusion of grooves & melodies with strong percussion on this 4 tracker, featuring world renowned musicians including STEFAN SCHMID, JOSHUA LUTZ, HAN LITZ, SABA OKUJAVA & JOHNNY BINER. Full pic sleeve

Mit seinem neuen Studioalbum „Cinematic“ widmet sich der Multi-Platin-Vokalist Josh Groban den großen Momenten der Filmgeschichte.
Die Auswahl reicht von Oscar-prämierten Klassikern wie „Can You Feel the Love Tonight“ (Der König der Löwen) und „Skyfall“ (James Bond) bis hin zu zeitlosen Standards wie „As Time Goes By“ (Casablanca) und „Moon River“ (Frühstück bei Tiffany).
Hochkarätige Kollaborationen: Ein besonderes Augenmerk liegt auf dem Duett „Unchained Melody“ mit Jennifer Hudson sowie einer persönlichen Interpretation von „Moon River“ zusammen mit seinem Bruder Jack Groban.
Orchestrale Inszenierung: Produziert von Greg Wells (u. a. The Greatest Showman), besticht das Album durch opulente orchestrale Arrangements, die in Los Angeles und London aufgenommen wurden.

Radiohop are a four-piece jazz / hip-hop band from Amsterdam, exploring the boundaries between groove, texture and improvisation. Hard to Handle is their second album and the first drop on Melting Pot Music. As the title suggests, Radiohop are going hard on this one.

Radiohop are Joshua Lutz (keys), Euan Jenkins (drums), Johnny Biner (guitar) and Joel Svedberg (bass). All four of them moved to Amsterdam around 2020 to study jazz and quickly plugged into the city’s bubbling scene.

Each band member plays an equal role in shaping the music as a single organism, emphasising feeling and atmosphere rather than ego or individual spotlight.

The compositions arise from experimentation, intuitive collaboration and deep listening, an approach that has as much to do with their backgrounds as improvisers and beat-makers as it does with their roots in jazz.

Radiohop have performed as the rhythm section for artists like Soul Supreme and Juju Rogers. Beat-heads might be familiar with Joshua’s solo project, Halfpastseven, which has collaborated with FloFilz and Jake Milliner

Dam Swindle tap Kerri Chandler, Louie Vega, Folamour, Cinthie & more on 100th Heist release.

The ‘House of House’ V/a takes in nineteen all-new tracks from some of house music’s most revered names and new-school talent.

Dam Swindle present ‘House of House’, a triple vinyl V/a compilation marking the one-hundredth release milestone on Heist Recordings, landing on 8th May 2026. Across nineteen all-new tracks, ‘House of House’ reads like a roll call of modern house royalty.
The compilation features contributions from scene legends and contemporary torchbearers alike, including Kerri Chandler, Two Soul Fusion (AKA Louie Vega & Josh Milan), Folamour, Cinthie, Kolter, DJ Sneak, and Supershy, the dance music alias of Tom Misch, alongside rising talents like Papa Nugs, Lolu Menayed, and many more.

From the old-school magic of tracks like Dam Swindle’s ‘Back to the Old School’ feat. DJ Minx and Kolter’s ‘Need U, Want U’, to the jazzy, soulful depths of Kerri Chandler’s ‘Kerriousity’ and Superhy’s ‘Pyrenees’, to the peak-time energy of Papa Nugs & Mixolydian’s ‘Let Go’ and Elisa Elisa’s ‘Coco Coco’, the compilation captures the full spectrum of house sounds that have shaped the world of Heist Recordings over the past 13 years.

Launched in 2013, Heist Recordings has become a high benchmark for quality house music – a home for legendary artists like Cinthie and DJ Sneak, and a breeding ground for new talent from Kassian to Make`z. Dam Swindle have cemented their place among the upper echelons of modern house, with three critically acclaimed LPs, collaborations with the likes of Kerri Chandler, Tom Misch, and a relentless tour diary.

‘House of House’ reflects the ethos that has defined our label since day one: a home for house heads who bring genuine soul to club music, whether they’re legendary originators or new-school up-and-comers. Heist’s one-hundredth release is more than just a number – it’s a testament to the community, creativity, and legacy we’ve built, release after release.

As always enjoy the music and play it loud.

Much love, Heist HQ

Die Reise von MUNA war schon immer davon geprägt, Raum für die komplexen, chaotischen und ekstatischen Realitäten des Lebens zu schaffen, und mit ihrem vierten Album "Dancing On The Wall" sind sie so prägnant, düster und mitreißend wie nie zuvor. Ausgehend von den funkelnden, mit Konfetti übersäten Höhen ihres selbstbetitelten Albums aus dem Jahr 2022 kanalisieren sie nun die ängstliche, unsichere Energie des Lebens in einem Los Angeles, das von politischen Spannungen, Umweltzerstörung und dem stillen Druck der Prekarität der Millennials geprägt ist. Das Ergebnis ist ein Album, das sich sowohl intim als auch spektakulär anfühlt, eine Popwelt, die mit Biss, Witz und emotionaler Resonanz aufgebaut ist, ein Soundtrack für Herzen, die gleichzeitig in Flammen stehen und das Chaos um sie herum beobachten. Auf dem gesamten Album erkundet MUNA Sehnsucht, Intimität und Verbundenheit vor dem Hintergrund einer Welt im Wandel. Es gibt eine stille Auseinandersetzung damit, wie man weiterleben, lieben und sich gegenseitig erreichen kann, während man Zeuge politischer Brutalität und systemischer Gewalt wird, und wie Freude ohne Verleugnung überleben kann. Tracks wie "Wannabeher" fangen den schwindelerregenden Nervenkitzel ein, sich vollständig in die Fantasie eines anderen zu begeben, während "Why Do I Get A Good Feeling" noch lange nach dem Ende des Beats nachhallt, eine Meditation über flüchtige Freude und ausgesetzte Möglichkeiten. Das Album schließt mit "Buzzkiller", einer schonungslosen Auseinandersetzung mit Sehnsüchten und ihren Folgen, dem Schmerz, etwas erreicht zu haben, nur um festzustellen, dass neue Fragen, Zweifel und Sehnsüchte zurückbleiben. "Dancing On The Wall" wurde von Naomi McPherson produziert, wobei ihre charakteristische Liebe zum Detail mühelos mit der ausgefeilten Pop-Technik ihrer Bandkollegin Josette Maskin hinter den Kulissen verschmilzt, um lebendige, atmende Welten für die prägnanten Texte und die unverwechselbare Stimme der Leadsängerin Katie Gavin zu schaffen. "Dancing On The Wall" verbindet euphorische Klanglandschaften mit prägnanten, menschlichen Geschichten. Das Album spiegelt einen intensiven, selbstgesteuerten kreativen Prozess wider, der von Instinkt, Vertrauen und vollständiger künstlerischer Kontrolle geprägt ist. Es wirkt lebendig, eindringlich und filmisch und spiegelt eine Generation wider, die sich durch Unsicherheit navigiert und sich dennoch nicht von ihrer Freude abbringen lässt. Mit diesem Album beweisen MUNA erneut, dass Pop gewagt, intim und sozialbewusst zugleich sein kann: ein Album, das nicht nur den Moment einfängt, sondern ihn zu einer Welt destilliert, in der man leben möchte.

Die Reise von MUNA war schon immer davon geprägt, Raum für die komplexen, chaotischen und ekstatischen Realitäten des Lebens zu schaffen, und mit ihrem vierten Album "Dancing On The Wall" sind sie so prägnant, düster und mitreißend wie nie zuvor. Ausgehend von den funkelnden, mit Konfetti übersäten Höhen ihres selbstbetitelten Albums aus dem Jahr 2022 kanalisieren sie nun die ängstliche, unsichere Energie des Lebens in einem Los Angeles, das von politischen Spannungen, Umweltzerstörung und dem stillen Druck der Prekarität der Millennials geprägt ist. Das Ergebnis ist ein Album, das sich sowohl intim als auch spektakulär anfühlt, eine Popwelt, die mit Biss, Witz und emotionaler Resonanz aufgebaut ist, ein Soundtrack für Herzen, die gleichzeitig in Flammen stehen und das Chaos um sie herum beobachten. Auf dem gesamten Album erkundet MUNA Sehnsucht, Intimität und Verbundenheit vor dem Hintergrund einer Welt im Wandel. Es gibt eine stille Auseinandersetzung damit, wie man weiterleben, lieben und sich gegenseitig erreichen kann, während man Zeuge politischer Brutalität und systemischer Gewalt wird, und wie Freude ohne Verleugnung überleben kann. Tracks wie "Wannabeher" fangen den schwindelerregenden Nervenkitzel ein, sich vollständig in die Fantasie eines anderen zu begeben, während "Why Do I Get A Good Feeling" noch lange nach dem Ende des Beats nachhallt, eine Meditation über flüchtige Freude und ausgesetzte Möglichkeiten. Das Album schließt mit "Buzzkiller", einer schonungslosen Auseinandersetzung mit Sehnsüchten und ihren Folgen, dem Schmerz, etwas erreicht zu haben, nur um festzustellen, dass neue Fragen, Zweifel und Sehnsüchte zurückbleiben. "Dancing On The Wall" wurde von Naomi McPherson produziert, wobei ihre charakteristische Liebe zum Detail mühelos mit der ausgefeilten Pop-Technik ihrer Bandkollegin Josette Maskin hinter den Kulissen verschmilzt, um lebendige, atmende Welten für die prägnanten Texte und die unverwechselbare Stimme der Leadsängerin Katie Gavin zu schaffen. "Dancing On The Wall" verbindet euphorische Klanglandschaften mit prägnanten, menschlichen Geschichten. Das Album spiegelt einen intensiven, selbstgesteuerten kreativen Prozess wider, der von Instinkt, Vertrauen und vollständiger künstlerischer Kontrolle geprägt ist. Es wirkt lebendig, eindringlich und filmisch und spiegelt eine Generation wider, die sich durch Unsicherheit navigiert und sich dennoch nicht von ihrer Freude abbringen lässt. Mit diesem Album beweisen MUNA erneut, dass Pop gewagt, intim und sozialbewusst zugleich sein kann: ein Album, das nicht nur den Moment einfängt, sondern ihn zu einer Welt destilliert, in der man leben möchte.