Buscar:ju

The first HEREAFTER label release enters the universe with three deep, rolling cuts from DOTT and a pumped-up peak-time remix from JUAAN.

“1955 Revival” sets the tone with a killer groove, warm drone-filled textures and DOTT’s off-kilter character. “Grumpy Merlin” moves deeper into the murk, while “Drunken Tune” brings an infectious, eyes-closed groove to the B-side. JUAAN closes the EP by flipping the original into a tight peak-time driver built to ignite the dancefloor.

After seeing these tracks captivate the crowd at one of the UK’s best-loved festivals, we knew we had to share them with the world through the HEREAFTER label.

Crooked Colours present Dirt Road Gold.

The fourth album from the prolific Australian outfit, the record signifies the next chapter for the acclaimed Crooked Colours; dreamy, poignant and unapologetically emotionally vulnerable.

As a body of work Crooked Colours (Philip Slabber) effortlessly genre-hops, from alternative euphoric builds to upbeat melodies to electronic stabs alongside his instantly recognisable heartbreaking vocals, stacked to perfection.

Key singles ‘Pink Limo’, ‘Come Thru’ and ‘I’m All Yours (feat. Georgi Kay)’ upholding the original elements Crooked Colours have become known for; yet with a modern 2026 approach proving an ever-evolving sonic escape.

Title track ‘Dirt Road Gold’ steps outside the traditional Crooked Colours sound; guitar plucks, raspy vocals and train rhythm snare. Truly highlighting Slabber’s storytelling ability in that space.

Bookended by ‘Oxford’ and ‘Honey Dog’ encapsulating the Crooked Colours aesthetic as a whole, delicate instrumentation and catchy sing-a-long hooks.

HOTMIX presents another timeless release by Deep88!
Italian House producer based in the province of Forlì-Cesena. He is the founder of Zomarec,
12Records, Juice Records Us, Ascii Records and WHAT ABOUT THIS LOVE.
Don't miss this future classic!

Pax Nicholas is one of the last living veterans of Fela Kuti’s Africa 70. Born in Accra, Ghana, he joined Africa 70 as conga player and backing vocalist in 1971, appearing on landmark recordings including Lady Shakara.
In 1978, he left Africa 70 at the Berlin Jazz Festival alongside drummer Tony Allen, and settled in Germany, where he built a remarkable second chapter — leading the twelve-piece Afrobeat ensemble Ridimtaksi, collaborating with Finnish jazz maverick Jimi Tenor, and reuniting with the African diaspora in Berlin for Ebo Taylor’s celebrated 2012 album Appia Kwa Bridge released on Strut Records.
In 2009, Daptone Records reissued his 1973 cult classic Na Teef Know De Road of Teef, earning him long-overdue global recognition.
Now signed to Paris-based Afrobeat imprint Comet Records, Pax Nicholas returns with his new single “Mind Your Business” — a heavyweight dancefloor Afrobeat cut built on thundering brass, interlocking percussion and a razor-sharp guitar riff. The release features an exclusive remix by Gabriel Belabbas, producer, DJ and co-founder of Parisian label Positive Future, who recasts Mind Your Business in deep, minimal territory — a sparse, tension-laced groove that channels the hypnotic darkness of Moodyman and Ricardo Villalobos. Stripping the arrangement back to its percussive skeleton, he lets the Afrobeat elements — brass, rhythm, heat — surface and recede like smoke, leaving just enough space for the tension to build and the dancefloor to fall. Slow-burning and devastating on a proper soundsystem.

Rio de Janeiro producer, composer and multi-instrumentalist Fabio Santanna returns with Copa Astral, an eight-track journey through modern Brazilian boogie, disco and Balearic grooves. Released by Rio’s Onda Boa, a label founded by Joutro Mundo, the album captures the warmth of the city's sunlit days and the cinematic glow of its nights, blending lush synths, live horns, percussion and rich vocal arrangements into an unmistakably Brazilian sound.

Opening with the slow-burning title track, introduced by the unmistakable cry of a cuíca, Copa Astral sets the mood before unfolding into the rolling grooves of "Ponto de Areia" and the Afro-Brazilian pulse of "Odoya Beat". Elsewhere, "Nesse Tempo" drifts into dreamy nostalgia, while side B moves effortlessly through the carefree boogie of "Jabuticaba", inspired by Brazil's beloved fruit; the warm, enveloping feeling of longing in "Senti Saudade"; the seaside romance of "À Beira Mar"; before closing with "Cantagalo", a heartfelt tribute to the neighbourhoods, memories and spirit that continue to shape Santanna's music.

Inspired as much by Rio's beaches as its neon-lit avenues, Santanna draws from Brazilian boogie, 1980s cinema, vintage record sleeves and classics such as Junior Mendes' Copacabana Sadia, filtering those influences through the city's unique rhythm. Produced at his Copacabana studio with live brass, percussion and vocal harmonies, Copa Astral is both timeless and contemporary - an album equally at home on the dancefloor, by the ocean or during a late-night drive along the coast.

After releasing their first LP on PPU under the name of CEEOFUNK, Spaced Out Knew and Orion Westbrook are releasing a brand new 6-track EP entitled "Friends, Love, Freak."
Watch out: an "unidentified sonic object" is heading your way!
It’s a funky anomaly that pays tribute to 80's grooves while asserting a fresh style all its own—decidedly "offbeat." The sound blends unique touches of cosmic soul-funk and European 80's synth-pop influences with a "DIY" approach, sitting somewhere between "disco-not-disco" and unconventional grooves.
Vocals are performed in Italian, French, and English, featuring the excellent Ghostape, Lydie Gaga, Marius Cyrilou, and Chérie Bibi. Themes include love, desire, and bonds of brotherhood...
On the menu: fat slap-bass lines, funky guitars, smooth electric piano, sparkling analog synths / Solina String Machine, and on top, an abundance of Casio SK-1 synth and lo-fi sampling gadgets.
The vibe oscillates between boundless energy and laid-back grooves, all served up with a non-conformist freshness and a touch of originality that can be read "between the lines."

Repress!

When Network Records originally issued “Innovator” in 1991 we knew that the music contained within was timeless. At that time, of course, we had no grasp of how well Derrick’s epic soundscapes would time travel. We christened the collection - “Soundtrack For The Tenth Planet” - because it seemed like the music (and Derrick) had indeed arrived from another world.

The release has been acclaimed as iconic because Derrick, the madcap and maverick philosopher of Detroit Techno, introduced the concept of dance music with a musical and emotional agenda way beyond anything that had come before. Beats with beauty. Literally the strings of life. Where fellow musical geniuses Chic had previously urged everybody to simply "Dance, Dance, Dance" mood alchemist Mayday merged simple yet cerebral dreamscapes with strange and urgent complex dance rhythms and invited us all to Dance And Dream. And in a strange juxtaposed way helped birth the hedonistic Acid House scene with classics “Nude Photo” and “Strings Of Life”

The energy is frenetic, but merged with a new age ambience. The gems collected on this offering were iconic in 1991, now they cause mass hysteria when Derrick turns his one time musical experiments, created in a tiny room in Detroit, and turns them into epic concerts with orchestras and musicians across the globe. “Hand In Hand” existed in 1991 and we wanted to release it then, but it’s taken until now for the complete 13 minute recording to finally meet the world.
It will be revered, because like all of Derrick May’s music it is life affirming. Emotions Electric indeed.

The original “Innovator” release was housed on one single slab of wax. This time around we have expanded it to two discs to make space for “Hand Over Hand” and also so everything elsewhere - masterpieces remastered - can be presented in a complete and superior fashion. Whatever the tweaks, changes and updates etc all these years on, this music still sounds gloriously alien and groundbreaking. But there’s still no Tenth Planet.

"Innovator" remastered by Curvepusher, London 2019. Re-presented by Network Records in conjunction with Derrick May.

Rare groove is a world of many rare grooves, and this 7" is among them. It has been taken from Coming Right At You, the sole album by Chicago guitarist Danny Leake's nine-piece outfit 100% Pure Poison, which was originally released exclusively in the UK in 1974. 'Windy C' has spent decades as one of the genre's most revered cuts - it's sophisticated, soulful and endlessly sampled and the flip's 'No More City, No More Country' is just as beloved among diggers and is prized for its irresistible rhythm and distinctive percussion break. This is the first time it has ever appeared in its full-length form.

The ultimate Limited Edition double LP repress of "Morning Coffee" is finally here! ☕

Treat yourself to this ultra-exclusive double LP featuring an incredible liquid-filled vinyl. It's the perfect opportunity to acquire an exceptional collector's piece that is as hypnotic to watch as it is to listen to.


✨ Vinyl Features

Ultra-Rare Liquid-Filled Disc 1: much more than just a vinyl record, it's a technical marvel. This first disc contains a moving, coffee-colored liquid that comes alive to the rhythm of your turntable, offering a hypnotic and extremely rare visual experience.


Stunning Coffee-Marbled Disc 2: to perfectly pair with the liquid disc, enjoy a beautiful brown marbled vinyl that captures the warm aesthetic of a freshly brewed cup of coffee.


22 Remastered Tracks: 54 minutes of carefully selected, soothing melodies, remastered to bring a gentle warmth to your morning coffee routines.

Specially designed for fans who couldn't secure the original first pressing due to its instant sell-out, this limited reissue is the missing centerpiece your collection deserves.

Riva Starr teams up with Australian duo Close Counters for a sun-soaked debut on Heist.

What do you get when you put an Italian house legend in the studio with 2 of the most talented artists from Melbourne? Have a listen to the newest release on Heist and you’ll find out. On their ‘Push your luck’ EP, Riva Starr, Close Counters and UK soul singer Andre Espeut bring a heavy dose of jazz & soul and most of all, upbeat dancefloor energy. Whether it’s the deep soulful vibe of the title track or the house meets jazz-funk energy of ‘Gearbox’, this EP brings together everything we love about house music.

‘Push your luck’ comes right in the middle of Close Counters’ world tour, just after Riva Starr’s album ‘Keep me on the dancefloor’ and is the follow up to their recent collab ‘Jinga’ on Riva Starr’s own Snatch Records. We all know Riva Starr from his 2013 Fatboy Slim collab ‘Eat sleep rave repeat’, his work with Groove Armada, and more recently his collab with Prunk on his PIV records debut album. Close Counters have already worked with Heist mainstays Fouk and had their breakthrough moment with their 2023 album ‘Soulacousta II’, which got wide support ranging from Gilles Peterson to Jyoto and Folamour.

Their ‘Push your luck’ EP kicks off with the title track featuring the silky vocals of Andre Espeut. When we first heard this song, we immediately got transported to the soulful sound of the mid 2000s led by Recloose’s unique track ‘Dust’ with Fat Freddy’s Drop singer Joe Dukie. It’s moody, stripped back, and bouncy at the same time. The lush chords, disco bassline, and vocal harmonies all make for a track that goes beyond genres and trends. This is a future classic.

‘Gearbox’ is a disco-tinged piano jam full of live elements, rolling congas and disco bleeps, where the musicality of the Close Counters boys comes in at full speed. This song takes its inspiration from the Brazilian jazz-funk of legends Marcos Valle and Azymuth, with a clear sense of modern-day dancefloors and a love for electronic noise. Also; 10/10 for creatively naming the track after the glitchy electronic sound that freaks & funks throughout the track.

On the flip, ‘Dizzy’ sees the trio go more into disco-house territory, again teaming up with Andre Espeut for a track that blends catchy vocal loops with a tight groove and lush chords. The EP finishes with a club dub of ‘Push your luck’ for those in favor of more groove and less vocals.

We’ve had Riva Starr and the Close Counters boys on our radar for a while, and they landed on Heist with the perfect combination of musicality and dancefloor power. We hope you like this release as much as we do!

As always, play it loud and share the music.

Lars & Maarten

We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.

The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.

Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.

Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.

Dive into this great deep journey, Enjoy!

Following a striking introduction, Nick Fasoli returns with FT002, the second release on Freaking Tricks. Building on the label's opening statement while pushing into darker, more adventurous territory, the record pairs hypnotic grooves with razor-sharp percussion, warped textures, and unmistakable character. Confident, uncompromising, and built for the dancefloor, FT002 further defines the sound of Freaking Tricks and signals that the label is only just getting started.

Berlin-based edit specialist Voodoocuts knows exactly how to tease out the best bits of any of the source tunes he works with. He's been doing it for years now on labels like Juice on Wax and Uluru, and now heads to Ritmo for his latest 7" bomb. 'Riddim Freak' gets this one going with a reggaeton rework of a Missy Elliott classic. It's an inspired pairing that has elastic bass and trampoline-like kicks with rave horns, fat-assed brass band energy and plenty of that original Missy attitude. 'Work This' takes another of the rap queens' most welcome jams and flips and reverses it into an early electro and hip-hop blend with old school drums and many magnificent samples all bringing it to life in full colour.

JUNO & Jamek Ortega link up for ‘Deep Breath’ on Crosstown Rebels.

Following an impressive label debut earlier this year alongside Alex Wann on ‘Allo’, crowned Pete Tong’s Essential New Tune, Germany’s JUNO returns to Crosstown Rebels with ‘Deep Breath’ in collaboration with longtime production partner Jamek Ortega. Immediately drawing listeners into a hypnotic, percussive world, snaking rhythms and rattling cowbells build steadily beneath an atmospheric backdrop, before a commanding vocal emerges to anchor the groove. The release continues a relationship that has seen the pair produce across labels including Arodes’ Unreleased Records, Wired World, and more, as well as regular back-to-back performances. On the flip, ‘Sloppy Disk’ sees JUNO step up solo, locking into a driving four-to-the-floor groove where a rolling bassline provides the foundation for pensive chords to drift alongside subtle melodic flourishes, steadily expanding the track’s atmosphere before tumbling into a sweeping, cinematic finale.

JUNO has accelerated onto the scene with hits like ‘Last Dance’ on Magnifik Music and a Hot Mix for Pete Tong on BBC Radio 1, firmly earmarking him as one to watch. Meanwhile, DJ/producer Jamek Ortega continues to connect with audiences worldwide with outings on Three Six Zero, MoBlack, Abracadabra, Madorasindahouse, and more, picking up heavy rotation from the likes of Keinemusik, Solomun, Tiësto, and Black Coffee. Here, the pair show no signs of slowing down as they join forces once again, stepping onto Damian Lazarus’s imprint and marking a major milestone in their respective trajectories.

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

repress 2026

not many artists are able to develop a distinct sonic identity releasing just 5 solo records. through his selective output in the course of 5 years on nina kraviz's Trip, vladimir dubyshkin gained not only an army of loyal fans analysing his live sets for new music, he also inspired many who followed and continued to develop his unique sound.

his tracks, many of which became underground hits like "lady of the night", "ticket to childhood" or "russian porn magazine", always stand out and are immediately recognisable. be it weird syncopated euro dance reminiscent bangers with crazy vocal snaps or haunting hypnotic beauties on a techno side. his music always has that genius dubyshkin groove, a pinch of irony and the ability to make just anyone dance, from a small underground club to a huge festival dancefloor. this universal appeal ensures his tracks resonate across sound systems of all sizes, embedding themselves in the listener's consciousness long after the music stops.

on "ivanovo night luxe", his first double ep on Trip, vladimir sounds as amazingly unhinged as ever embarking on a surreal journey, from the eerie echoes of a haunted funfair ride to the core of a peak-time set.

"ivanovo night luxe" continues to captivate and intrigue, solidifying dubyshkin's standing as an artist of unwavering integrity and reminding us that sometimes 'less is more'.

For nearly twenty years, Swedish singer-songwriter Kristian Matsson has played his way around the world as The Tallest Man on Earth, carving out a singular place in contemporary folk music. His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man on Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground.

For nearly twenty years, Swedish singer-songwriter Kristian Matsson has played his way around the world as The Tallest Man on Earth, carving out a singular place in contemporary folk music. His discography has long been heard through the lens of the American folk tradition. But Just Beyond Endless Mountain, out October 9th on Anti- Records, quietly turns that perspective on its head. After returning to his native Dalarna in central Sweden, Matsson found himself listening to the music he had spent years trying to leave behind: the polskas, the old field recordings and the sounds of the local traditions that had surrounded him since childhood. The result is not a return to the past, but a step into new musical territory. Swedish folk music has reshaped his melodies, his voice, and the way he writes songs. The Tallest Man on Earth is back with his most deeply rooted album to date. Just Beyond Endless Mountain opens an unexpected new chapter in a career that has never settled for familiar ground.

he Congos possess what all bands look for, that unique distinctive sound that draws the listener in. Alongside the great songs, lead singer Cedric Myton's singing, phasing and falsetto voice makes that just the case.
The Congos were formed by Cedric Myton (b. 1947, St Catherine, Jamaica) around the mid-Seventies when the
Rasta message was central to the reggae sound coming out of Kingston, Jamaica. But he had started out in the
Rocksteady era, when he formed the vocal group 'Tartans', taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis.They cut 'Dance All Night' (1967) and 'Coming On Strong' (1968). The line-Up became The Royal Rasses and from this Cedric moved on to form the Congos on meeting Roydel Johnson, who had previously sang with Ras Michael and the Sons of Negas. Cedric's Rasta roots were firmly in place when he went to work with producer Lee Perry to cut the seminal album 'Heart Of The Congos' at Perry's just built, Black Ark Studios in 1977. Cedric Myton has carried on the mantle, cutting a set of tunes with the help of his good friend Mr Brent Dowe, who had previously sang lead vocals with the Melodians.This is the Dub set to the vocal album released on the Kingston
Sounds label called 'The Congos Feast'(KS008).With such strong songs, rhythms and vocals it always had the chemistry for a great dub set. Hope you agree and enjoy the dub excursion...

Nach ihrem für den Polaris Prize nominierten Debüt "Mascarade" (2023) meldet sich die kanadische, in Lissabon lebende Künstlerin Gayance mit "roaming" zurück. Als klangliches Reisetagebuch, das den Bogen von haitianischen Wurzeln über den Londoner Broken Beat bis zur rhythmischen Hitze Brasiliens spannt, ist das neue Album ein Meisterwerk diasporischer Erzählkunst. Indem es energiegeladenen 90er House mit Boogie-Elementen, französischen Texten und spirituellem Widerstand verbindet, zeichnet "roaming" ein Jahrzehnt des Unterwegsseins und der radikalen Selbstbehauptung nach. Es ist eine trotzige und zugleich feierliche Rückgewinnung der eigenen Handlungsmacht einer prägenden Gestalt der globalen elektronischen Musikszene. Mit Gastbeiträgen von Judith Little D, Waahli, Magi Merlin, NARCY und De.Ville.

All Shook Up is the fifth studio album by the American rock band Cheap Trick, originally released in 1980 and produced by legendary producer George Martin, best known for his work with The Beatles.

The album followed the huge success of At Budokan and Dream Police and found the band working with a new producer for the first time in several years. George Martin gave the recordings his own touch, while Cheap Trick remained true to the sound and songwriting that had made them popular. The album features memorable tracks like "Stop This Game", "Just Got Back", "Baby Loves to Rock" and "World’s Greatest Lover". All Shook Up reached number 24 on the Billboard 200 and was certified Gold in the United States. It remains a strong album from an important period in Cheap Trick’s career and a great addition to their classic catalogue.

All Shook Up is available as a limited edition of 2000 individually numbered copies on magenta vinyl and includes an insert.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

A space is often described by its dimensions. The height of the ceiling, the expanse between walls. Division into functional elements of varying density follows. We have ideas of how such dimensions should be balanced to work well for sound — the classical concert hall, a Northward mastering room.

It’s tempting to try and use this idea of space to understand Space the group (Lisa Ullén, Elsa Bergman, Anna Lund). To calculate their cartesian co-ordinates: dynamics that run from whisper soft to punishing, shaking force; Ullén’s piano running the full expanse of the frequency spectrum; the mix of sudden, surprising and suggested variations in density (the space) that generates their musical structures.

But (a) space is a social phenomenon where meaning is accumulated and possibilities created by and through a constantly shifting set of social relations and their histories and entanglement inside and beyond the physical structures of a room or building. Reduced to its raw dimensions, Cafe OTO shouldn’t sound good: the low ceiling, the hollow void underneath the stage-not-stage, the hard glass windows out onto the street. But OTO as a social space — for gathering close to listen; the serious pursuit of a convivial good time (its productive mythology that an OTO audience is both up for it but also expects more); and then the idea of all that has happened before and what will come; that this is also part of ‘the music’ and changes what sounds to the point that none of those cartesian co-ordinates matter.**

It’s less of shock that Space sound good. Lisa Ullén is easily the most singular pianist in Sweden right now and Elsa and Anna’s ability to reroute in realtime reaffirms just how well they function as a group. The trio might have got their shit together holding down the rhythm section for the first incarnation of Anna Högberg Attack — but much like Högberg’s ongoing pursuit of artistic renewal, the trio avoid being shackled to any ideas about what a piano trio should be and there is something that happens (happened) in that room, on that night, with those people that made for something beyond just good.

It’s a gift that the sound of every concert at OTO gets recorded. A choice handful of these transcend their decoupling from that social space and radiate the room’s attendant energies. This record is one of them.

** See Jack Halberstam in Fred Moten & Stefano Harney, The Undercommons (2013): “…we must refuse the idea that music happens only when the musician enters and picks up an instrument; music is also the anticipation of the performance and the noises of appreciation it generates and the speaking that happens through and around it, making it and loving it, being in it while listening."

Dieses Reissue würdigt das 50-jährige Jubiläum eines der wegweisenden Alben des Heavy Metal. Original-Master von 1976, Half-Speed-Mastering, farbiges Vinyl, Original-Artwork, ursprüngliche gewünschte Tracklist. Diese zum 50. Jubiläum erscheinende Ausgabe von Sad Wings of Destiny wurde von den analogen Original-Masterbändern aus dem Jahr 1976 restauriert und stellt die definitive Version des Albums dar. Das ursprünglich 1976 veröffentlichte Album gilt als eines der einflussreichsten Alben in der Geschichte des Heavy Metal und prägte das Genre maßgeblich mit Klassikern wie "Victim of Changes", "The Ripper" und "Tyrant". Die in Zusammenarbeit mit Judas Priest entstandene Ausgabe wurde im Half-Speed-Mastering-Verfahren speziell für Vinyl bearbeitet. Dieses Verfahren bewahrt die Kraft und den Dynamikumfang der analogen Aufnahmen und sorgt zugleich für außergewöhnliche Klarheit und Tiefe. Die Wiedergabe erfolgt in der von der Band vorgesehenen Reihenfolge, beginnend mit "Prelude", wodurch das ursprüngliche Hörerlebnis wiederhergestellt wird. Die LP kommt dabei im ikonischen original Artwork als Galaxy Yellow/Orange Mix Vinyl, auch als klasse klingende CD wieder erhältlich. "Sad Wings of Destiny, ...simultaneously took heavy metal to new depths of darkness and new heights of technical precision. [...] Three songs rank as all-time metal classics, starting with the epic "Victim of Changes," which is blessed with an indelible main riff, a star-making vocal turn from Halford, explosive guitar work, and a tight focus that belies its nearly eight-minute length. "The Ripper" and "Tyrant," with their driving guitar riffs and concise construction, are the first seeds of what would flower into the New Wave of British Heavy Metal movement." -

Thursday, 2025. Philadelphia. South Philly, to be precise. A basement, to be even more precise. And not just any basement, but the subterranean headquarters of Zillas On Acid.

Which is where Roman Flügel found himself, presumably with good intentions. Some time before that, he had decided to wake Sister Midnight from its slumber.
But rather than simply carrying on where things had left off, a new idea was needed. Enter Sister Midnight Special Products: a new series dedicated to collaborations, chance encounters and other musical situations that deserve to become records.

No grand manifesto, no five-year plan. Just making music with people you like, in places you happen to find yourself, and seeing what happens. Special Product 01 is “Conga Dream,” born from a basement jam with Zillas On Acid and apparently unwilling to behave itself ever since.

Three musical free spirits meet somewhere between the basement, the dancefloor and the more pleasantly confused corners of the mind. Club music is involved, certainly, but functionality has been politely asked to wait outside. Instead: pocketprotector synthesizers, a little E-mu Proteus 3, assorted electronic activity and, as advertised, congas.

The result is less a tool than a small trip. Or perhaps a tool for taking small trips.
Either way, it works.

Zillas On Acid put it like this:
“A basement jam deep beneath the streets of Zilladelphia yields surprising results: pocket protector synths, a dash of E-mu Proteus 3, and yes of course the aforementioned congas.”

And with that, Sister Midnight Special Products is officially open for business.

Dream on.

Mastered by Mike Grinser at Man Made Mastering.

Artwork by Saskia Randt.

20 Jahre „Lebe Lauter“ – Christina Stürmers Erfolgsalbum erstmals auf Vinyl!
2006 erschien mit „Lebe Lauter“ eines der erfolgreichsten und prägendsten Alben in Christina Stürmers Karriere. Zum 20-jährigen Jubiläum bringt AMADEO diesen Meilenstein nun erstmals auf Vinyl – und
zwar als hochwertige, farbige „Oxblood“ Doppel-Vinyl.
Mit dabei sind einige der größten Christina-Stürmer-Hits überhaupt: „Nie genug“, „Lebe Lauter“, „Scherbenmeer“, „Um bei dir zu sein“ und viele mehr. Songs, die eine ganze Generation begleitet haben und bis
heute fixer Bestandteil ihrer Live-Shows sind.
„Lebe Lauter“ erreichte 2006 Platz 1 der Albumcharts in Österreich und Deutschland und steht wie kaum
ein anderes Album für Christina Stürmers Durchbruch im gesamten deutschsprachigen Raum. Mehr als 20
Jahre nach ihrem Karrierestart zählt sie zu den erfolgreichsten österreichischen Pop-Rock-Künstlerinnen –
mit zahlreichen Gold- und Platinauszeichnungen, Nummer-1-Alben, großen Tourneen und einer Fanbase,
die längst mehrere Generationen umfasst.
Für die Jubiläumsausgabe wurde das Album aufwendig remastered, das Original-Artwork neu veredelt
und mit der Oxblood-Farbvinyl auch optisch zu einem echten Sammlerstück gemacht.
Extra-Bonus für Fans: Zwei von Christina persönlich ausgewählte Lieblingstracks aus dem Akustik-Album
„laut-Los“– „Lebe Lauter“ und „An Sommertagen“ – erscheinen als Bonus ebenfalls erstmals auf Vinyl.
Ein starkes Jubiläum, ein Album voller Hits und ein hochwertiges Vinyl-Produkt für Fans, Sammler:innen
und alle, die mit Christina Stürmers Musik groß geworden sind.
20 Jahre „Lebe Lauter“. Erstmals auf Vinyl. Remastered. Oxblood. Doppel-Vinyl. Plus zwei exklusive
Vinyl-Bonustracks.
Es wird wieder laut!

'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
It is in a live setting where Joe Bonamassa the performer really thrives and in May
2009, he played the historic Royal Albert Hall in London. It was an incredible
memory for everyone present and one of his greatest live performances has been
remastered on high- quality 180g heavyweight triple vinyl for the first time. The
majestic evening saw him glide through his back catalogue of original hits as well
as inspired covers and featured guest performances from Eric Clapton and Paul
Jones – truly a special night to savour.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Celebrate the SpongeBob SquarePants Movie with the iconic movie soundtrack. Dive into the Bikini Bottom with tracks like "Goofy Goober Rock" and "Ocean Man," and songs from Wilco, Ween, and Avril Lavigne transporting you to the whimsical world under the sea. This soundtrack is a must-have addition to any music collection. On Yellow Vinyl

"I Don't Know How But They Found Me...Again! (Deluxe)" ist die Deluxe-Version von Jensen McRaes von der Kritik gefeiertem Album ,I Don't Know How But They Found Me!" aus dem Jahr 2025 (,Das atemberaubende zweite Album der jungen Singer-Songwriterin McRae markiert den Durchbruch eines großen Talents." - Esquire), das am 18. September auf pinkem Vinyl erscheint. Neben der Trackliste des Originalalbums enthält die Deluxe-Ausgabe zwölf neue Songs, die zum ersten Mal in großem Umfang erhältlich sind: reduzierte Versionen von Songs, die vor den Aufnahmen zu ,I Don't Know How But They Found Me!" fertiggestellt waren, Live-Favoriten, die bei McRaes jüngsten Headliner-Tourneen und Festivalauftritten zu hören waren, eine neue Version von ,Mother Wound" mit Maisie Peters sowie weitere neue Titel, an denen Brandi Carlile und Brittany Spencer mitgewirkt haben. ,I Don't Know How But They Found Me...Again! (Deluxe)" ist eine pulsierende, eindringliche Sammlung von Songs, getragen von messerscharfer lyrischer Präzision und zeitlosen Pop-Melodien.

"Cinematic Visionaries Calibro 35 and Noir Master James Ellroy Pay Homage to L.A. with a Pure Crime-Funk Original Soundtrack. Out October 9" There are collaborations that feel inevitable like they were waiting to happen in some shadowed corner of culture. The union between Italian cinematic funk visionaries Calibro 35 and internationally acclaimed master of noir fiction and New York Times bestselling author James Ellroy is undoubtedly one of them. When Calibro 35 were invited to compose the original soundtrack for Francesco Zippel's documentary Ellroy vs L.A., they didn't simply write music for film. They stepped directly into Ellroy's universe the most dangerous corners of American crime fiction and discovered, to no one's surprise, that its darkness felt strangely familiar. The result is Ellroy vs L.A., the band's new album out October 9 on Record Kicks. Twelve brand new tracks of cinematic crime funk, psychedelia, and hypnotic groove that don't accompany Ellroy's world so much as inhabit it. The soundtrack's move through Ellroy's fictional and real-world mythologies with deliberate precision. Stylistically, the album finds Calibro 35 in their most natural yet most cinematic state: crime funk, psychedelia, and hypnotic groove pushed into darker, more narrative-driven territory by the weight of Ellroy's world. From the gloomy, suspense-laden groove of the opener Black Dahlia to the evocative closing piece Moonlight Sonative, the album unfolds as a complete cinematic arc, showcasing Calibro 35 at their very best. L.A. Confidential delivers a super-suspenseful, thrilling tension that feels like a chase through neon-lit streets, while Riots erupts into explosive cinematic funk, capturing chaos and urban unrest in full force. LSD on Sunset Boulevard drifts into a hazy, instrumental soul journey psychedelic, warm, and disorienting, like a late-night hallucination of the city itself. The Big Nowhere (Part I & II) expands the narrative into a slow-burning, atmospheric descent, unfolding like a two-act crime saga. Welcome to the Land of Vacation and Probation hits with kick-ass, uptempo crime-funk madness, urgent and relentless in its propulsion, while White Jazz is a mood of suspended, noir-infused jazz tension cool, shadowy, and unresolved. Together, the tracks map Los Angeles as a fractured yet hypnotic landscape suspended between glamour and violence, beauty and decay, myth and reality Born in Milan in 2007 with the mission of excavating the golden age of Italian film music Morricone, Piccioni, Trovajoli, Calibro 35 have spent nearly two decades transforming that initial obsession into a singular artistic language. Their work bridges vintage Italian soundtracks with contemporary jazz and cinematic funk, earning them a global following rare for an Italian instrumental act. Their music has been sampled by Dr. Dre (Compton, "One Shot One Kill" feat. Snoop Dogg), Jay-Z ("Picasso Baby"), and Damon Albarn's The Child of Lov. Rolling Stone described them as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years," while Far Out Magazine called them "one of the most skilful and innovative instrumental outfits on the planet right now." The band (Enrico Gabrielli, Massimo Martellotta, Fabio Rondanini, and Tommaso Colliva) continue to evolve without losing their core identity. In 2025 they released the critically acclaimed Exploration, further expanding their sonic universe, and were invited to perform at the closing ceremony of the Winter Olympic Games at the Arena di Verona, confirming their growing international stature. With Ellroy vs L.A., Calibro 35 don't just compose a soundtrack they translate a mythology into rhythm, tension, and groove. Between fiction and reality, they find a city that never truly sleeps, only pulses in darkness. Press play, and Los Angeles begins to unfold in sound.

"Da fällt mir doch die Kinnlade runter - Hier in euren glücklichen Händen liegen die urzeitlichen Kassetten-Kuscheleien, die aus einem weit entfernten Keller in Baltimore von jenen - mittlerweile sicherlich fast schon mythischen - The Smashing Times heraufströmten. Erhabene Feldaufnahmen, die scheinbar die Kluft zwischen einer aufkeimenden unterirdischen Folk-Rock-Renaissance überbrücken und doch kurz auf schimmernde DIY-Jangle-Pop-Anklänge aus der Jugendrebellion dieses alten Griesgrams treffen, ohne einen Hauch von revisionistischem Ritual oder irgendetwas Trendigem (wie etwa ein emotionaler Komplex). Das besagte Quintett schreitet durch schwindelerregende Tracks voller skurriler Art-Pop-Meisterleistungen, zaubert ein Labyrinth aus großartiger Ausrüstung herbei, trotzt kultureller Langeweile - und ihr werdet schon vor dem Nachmittagstee völlig umgehauen sein und bald ins Bett müssen. Also macht euch ein Bild davon und hört euch die Smashing Times an." - Sam Knee

One year after the release of his debut album Harap-Alb, Articulat returns with Harap-Alb: The Reworks – a companion record that continues the story rather than simply revisiting it.

Based on the original album Harap-Alb by Articulat. Reimagined by friends and fellow travelers.

Just as Harap-Alb leaves home, travels through unfamiliar lands, and meets companions who each shape his story, the music has now found new fellow travelers. Eight artists, each with their own signature, reinterpret one track from the original album, transforming it into something entirely their own while preserving the album’s essence.

The result is a richly varied collection that moves between dreamy synth landscapes, nostalgic strings, hypnotic excursions, broken rhythms, and straight-up dancefloor bangers. Every remix reflects the personality of its creator, turning the album into a conversation between artists connected by a shared appreciation for the original work.

If the first Harap-Alb was a personal retelling of a timeless story, The Reworks is proof that stories continue to evolve once they are shared.

The third release on Uprising pairs a sax-driven rockabilly thumper with one of the coolest dance craze records of the mid-60s. ‘Red Hot Car’ was Bobby Verne’s only recording and came out on the tiny Californian Doc Holiday label in 1962. Judging by the current price and collector demand for an original copy only a small quantity were pressed. This is a powerhouse of a tune that has been filling dancefloors across the globe for some time now.
As for the flip, in 1965, Buddy Wayne added self-penned lyrics to Gary Paxton’s rendition of the James Bond theme. Released on the Big Ben label – that only put out four records − it sat unwanted for decades. Then the rockabilly scene picked up on it in a big way when they discovered that it was the perfect stroller. This was closely followed by the northern soul and mod scenes. Today, it is at last crossing over to a more mainstream audience.

I hope you will enjoy it as much as I do!

Jonah Ellis came to the Drifters as a guitarist but was soon singing with the group and acting as their musical director.

This multitalented musician/ songwriter hailed from DC where he was born on 25 August 1947 and grew up to graduate from Springarn, Senior High in Washington.

He went on to study further at Morris Town Junior College in Morris Town, Tennessee.

Then he received a BA degree in Music from Knoxville College in Knoxville, Tennessee, and a Master of Arts in Music from Michigan State University in East Lansing, Michigan.

His first move into recording came with his group Jonah and the Whales and ‘Savannah Sun’ which sold well locally by didn’t chart nationally.

Jonah’s second single ‘I Get Hot/ Popcorn Cellar’ on Viking Records in 1970 had similar results but he was writing great songs and creating a lot of interest. In addition to penning Yarbrough and Peoples big hit ‘Don’t Stop The Music’ in 1980 which hit platinum.

Jonah was writer/ producer at Total Experience Records where he found time to cut a single under his own name ‘Christmas Won’t Be Christmas Without My Baby’ and also wrote hits for the Gap Band the biggest hit being ‘Desire’. Jonah only stayed a Drifter for about a year between 1986-87.

A short time later he joined the Temptations as their lead guitarist but didn’t stop writing songs for other artists (sometimes in his pen name Lonnie Simmons) like Alicia Keys ‘Gangsta Lovin’, Puff Daddy ‘Soul Food’, Evelyn ‘Champagne’ King ‘Shame’, Billy Paul ‘Fire In Her Love’and so many more including Aretha and sister Carolyn Franklin, Esther Phillips, Rose Royce and Burt Bacharach.

Jonah continued to write and perform internationally until his untimely death from a stroke on 22 February 2010.

Special poster on 250gram paper. Postcard with photo taken by Sandrien. Hand-numbered sticker. Shrinwrap

After more than a decade without releasing new music, Amsterdam DJ and producer Sandrien returns with her debut album Compass, released on her own new label, inspi. Created during a stay in Spain, where she finally found the space to create freely again, the album marks a new chapter: no genres, no expectations, just music made purely on feeling. Compass is an album about finding your own path, personally and musically, a cycle of searching and finding, letting go and beginning again. Lead single 'Life' laid the foundation for it all. The visual world of the album is just as personal: photographs Sandrien took around her house formed the basis for its artwork and imagery. With 27 years of experience behind her, Compass proves that mastery doesn't lead to routine, but to exploration. This double LP includes a beautiful double-sided poster featuring two original artworks of ‘Compass’ by Dutch artist Pieter Jan Boterkoek. Releases October 9, 2026 Written and produced by Sandrien Mixed by Julien Chaptal Mastered by Giuseppe Tillieci at Enisslab Artwork by Studio Pieter Jan Boterhoek This album is made with love in Spain, Volkshotel Amsterdam and Groenekan.

Das einzige Trennungsalbum, das Sie jemals besitzen müssen. Mit seinen schwebenden Harmonien, taschenraubartigen Rhythmen und den in der Ferne um 2 Uhr morgens heulenden ,Krankenwagen"-Gitarrensoli verbreitete sich Idas zweites Album aus dem Jahr 1996 von Brooklyn aus über herausnehmbare Auto-CD-Player und Mixtapes von Fernliebenden. Ursprünglich auf dem traditionsreichen Label ,Simple Machines" veröffentlicht, enthält diese zum 30-jährigen Jubiläum erschienene Deluxe-Edition von ,I Know About You" bei Numero ein halbes Dutzend Extras, eine Fülle an fotografischem Material sowie neue Einblicke von Jenny Toomey und Sara Marcus. Taschentücher sind nicht im Lieferumfang enthalten.