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Pleasure Planet is back in orbit, summoning some of their favorite producers to reimagine the two lead singles from their self-titled debut album.

Earth Trax transforms Go With Madness into a euphoric peak time corker. Full of smiles and surprises, it’s a pure endorphin rush, and masterclass in making an irresistible dance track.

Maara goes with madness, cranking up the bpm, and conjuring a version that is deep into prog territory. A propulsive proto trance journey through winds and dungeon echoes.

On her version of Alien, Roza Terenzi casts a hypnotic spell of ghostly melodies and vocal hooks. Her deeper interpretation takes listeners on a breakbeat mission through sizzling electronics and emotive sub bass.

Alex Kassian’s Sphinx Gate Mix of Alien closes it out by slowing things down and transporting Alien into nostalgic territory with melodic arps and peak Haceinda-era breaks and bass. If you listen to his emotional remix carefully enough, you may hear a vocal response from Kim Ann’s partner Cora in its final fleeting moments.

LP + insert with extended liner notes and download code including extra bonus track 'Movements of The Mind'.For his second album on the Belgian leftfield imprint Cortizona, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.



From the first moment the pulsating tone of Devin's synth blends with the whispering voices of Earth, Wind and Choir and the menacing bells Naima Karlsson set in motion this record you just know and feel immediately 'Nebulizer' will be a soul-searching journey, soaking you deep into an unknown and very personal musical world.

Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.

In 2022 BRAHJA released the critically acclaimed album 'Watermelancholia' on the Belgian leftfield imprint Cortizona. For his second album on the same Cortizona label, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.

Together with Adam Kinner, Georgia Wartel Collins, Earth, Wind and Choir, Luke Stewart, Kenichi Iwasa, Naima Karlsson, Alexis Mercelo, Janice Lowe, Watson and Damon Hankoff, Devin forms a slow-burning fireball unity.

A devotional séance channelling unknown powers proving music is a healing force of the universe.

Rejoicing the Holy Jazz Spirit.

Ready to nebulize the world and bring light out from the darkness. Head cleaning the world in 4 musical parts: Geological Drum, Nebulizer, Bushido and Movements of The Mind. Nebulizer is an elevating meditation on our estrangement of nature.

Interstellar sonic stardust from a mindblowing collective that will leave you flabbergasted.

Be prepared and hear it to believe it.

For fans of: Art Ensemble of Chicago, Archie Shepp, Pharoah Sanders, John & Alice Coltrane, Kamasi Washington, Shabaka Hutchings, SAULT, Ill Considered, Jamie Branche, Angel Bat Dawid, Mackaya Craven, Matana Roberts, Sun Ra and other good music.

Astral travel with Cybotron into the meta-narrative of the Parallel Shift, a new sonic fiction that raises many questions about military science of the near-future and the possibility of other worlds.
Descending backward through the rhythms of time, the Skynet module retracts from the hyper-structural society of 2100, edging toward the mid-century modern age teetering on the brink of what was then the frontier of “the future”. The system boots the Infiniti process, morphing into a cosmotechnic vessel coursing the superhighway of burgeoning general intelligence, seeking data from just before “the overshoot and collapse.”
R&D methods, rhythmanalytically applied, dissect the aftermath of an industrial society that burst through the ecological capacity of Spaceship Earth. Fractal visions of war and innovation spike and recede from and into the surfaces of reality being bent and guiding the eyes, ears, touch towards a laboratory in the year 1961. A nuclear expert, Don Lewis, receives orders to decrypt the mysterious black dodecagonal disc known as Fortec and the extraterrestrial biology unearthed in Roswell. He joins a team disassembling Fortec and studying the recurrent dodecahedral patterns linked to the human nervous system.
Through dismantling and probing, the team cycles through a saecular search devoid of finite conclusions, limited by Earth’s intellectual and technological prowess. One 1960s night, Lewis, while meddling with Fortec’s cyborganic innards, accidentally electrifies himself. His cyclotron and missile experience guides him to circuit-bend Fortec, stirring the entity from a mechanical slumber. Lewis and Fortec communicate in resonances, until it drifts back into a tranquil stasis.
The US Defense and contractors, unbeknownst to them, observe this breakthrough. They later permit Lewis to exit military service as the Air Force forms the Foreign Technology Division. Concurrently, MJ12 evolves into CY12, delving into second-order cybernetics. Lewis clandestinely keeps working on Fortec fragments, transitioning from military engineer to musician, pioneering the LEO module, a fusion of Fortec’s essence and audio engineering.
He shares his insights with Roland founder Ikutaro Kakehashi, aiding the creation of the iconic TR-808. Meanwhile, Fortec branches out, coining “Cyberspace” – a collective illusion of liberty unshackled by physical, political, or spiritual bounds, anchored in the equitable distribution of The Golden Ratio across realities. Yet “Cyberspace” morphs into a chaotic truth reservoir, spilling over into deception.
The Parallel Shift manifests in the perpetual “Now,” a collapsed event horizon where past and future are ensnared in a relentless present, unfurling along a dissolving timeline, overseen by a monolithic simulation under ceaseless watch…
— The Rhythmanalyst aka DeForrest Brown, Jr.

Anadol and Marie Klock have teamed up for a joint album, La Grande Accumulation. They met two years ago at a festival in England crowded with violent seagulls and outsider musicians. Klock being prone to barking on stage and Anadol not laughing at jokes she doesn’t find funny, they straight away had the intuition that they would meet again. And so they did, a few months later, at Anadol’s studio in Istanbul.

Today, the two Pingipung artists present the fruit of this musical friendship. La Grande Accumulation was born out of the peculiar atmosphere of the studio neighbourhood in Büyükada, an island where thousands of cats run free and humans randomly destroy things during apocalyptic times when parts of Turkey had just been turned into dust by terrible earthquakes. The French lyrics are inspired by hours of conversations, the music is consequently drenched in absurdity, overflowing with a strong urge to live and enjoy. According to the LP sticker, this album has been certified “Best handshake of 2024”, and stickers never lie.

La Grande Accumulation brings together Marie Klock's mysterious metaphors and Anadol's intriguing radiophonic psych-pop. Stretching forms beyond common sense to see how long they can resist is probably their favourite game. The result are six highly imaginative tracks that challenge the sub-3-minutes standards of Spotify pop.

Gözen Atila aka Anadol is well known to the Pingipung audience, with three solo LPs on the label. Her music follows a kind of collage logic, she interweaves countless styles, combining field and studio recordings with obscure quotation marks here and there. "I hope no one will come and explain this music to me, because it's the most beautiful music there is", says Kristoffer Cornils about her solo album Felicita.

Marie Klock is a French writer and musician who produces songs oscillating between synthpop and neo-folk, full of anarchic humour and existential dread. Her recent solo LP on Pingipung was a captivating tribute to the recently deceased poet Damien Schultz entitled Damien est vivant.

Marie Klock delivers her lyrics in song or spoken word, stream-of-consciousness musings on strange human adventures, and her rich keyboard melodies culminate in a nonchalant dialogue with the bass trombone (La Reine des Bordels). In the opulent opening piece (La Grande Accumulation), a woman is cursed to take home everything she kicks in the street; a bit later, we stumble upon a ghoul hiding in the gutter (Sirop amer), Mona Lisa loses her teeth (Sonate au Jambon) and a warthog struggles to climb the stairs of a silver tower (Sabots triviaux).

La Grande Accumulation was mixed and mastered by Jonas Romann at Chaos Compressor Club in Hamburg and cut to vinyl by Kassian Troyer at D&M in Berlin. It's an audiophile LP that invites to focus on every detail in this heap of musical ideas.

Michael Mayer albums don’t come round too often, which is one of many reasons why his fourth collection, The Floor Is Lava, is a genuine event. It’s been eight years since his last one, the collaborative & released on !K7; its predecessors, Mantasy (2012) and Touch (2004), took their sweet time, too. It’s no real surprise, given the many hats Mayer wears – globetrotting DJ, revered remixer, inveterate collaborator, and boss of both Kompakt and Imara – that his solo productions are relatively sparing. But this also speaks to their quality: Mayer’s name on a record sleeve is a sign of quality, of music that’s both looking to the future and calling back to the past, that balances the imperatives of the dancefloor and the loungeroom, that’s as exploratory as it is functional.

On The Floor Is Lava, Mayer seems to be taking the temperature of both the music that surrounds him (past and present), and the ides of the industry he works within. There’s that iconic album title, for a start. “The album’s mindset,” he says, reflecting on those four words together. For Mayer, it’s partly a critique of the way the industry boxes in both producer and listener, focuses them on genre, on market, on the next new thing: “Being a free minded spirit that transcends genres has become an uphill battle.” A battle worth fighting, though, and with The Floor Is Lava, the result is an album that’s varied, quixotic, idiosyncratic, charming, and deeply, addictively listenable.

Throughout, Mayer finds thrills in exploration and juxtaposition, allowing unexpected things to blossom and giving them their life, their platform, throwing the listener exciting curveballs: “It’s a DJ album by a DJ that’s easily bored.” Either easily bored, or endlessly curious, The Floor Is Lava is rich with ideas. It opens with “The Problem”, which looks back to look forward, embracing the rickety way early house productions threw samples together with gleeful abandon. Mayer mentions Pal Joey, and the scene around Rockers Hi-Fi and their Different Drummer imprint, as reference points, and you can hear that freewheeling spirit throughout.

It’s followed by “Vagus”, a slinky, sensual minimal house number that Mayer describes as his “musical catnip”. The flow of these two opening cuts defines the dynamic of The Floor Is Lava, defining the dialectical drive at its core: thesis and antithesis leads to synthesis, but with a welcome prickliness that means you’re always excited, always engaged. It’s also productive in the way it derives energy from rubbing genres and sounds against each other, in unexpected ways, for maximum musical frisson. There’s psychedelic techno on “Feuerstuhl”, more minimal techno with “Ardor” (Mayer mentions ‘Immer 1’ era 90s minimal as inspiration), slippery, Shepard-tone breakbeat through “Sycophant”, a lovely, lush vocal turn on the poppy “The Solution”.

The album closes with the melancholy “Süßer Schlaf”, where Mayer sets a poem by Goethe to one of his most haunted, moving pieces of music yet, in abstract tribute to a lost friend. It’s one of the most affecting moments on The Floor Is Lava. There’s also an update on 2020’s wild Brainwave Technology EP, with the surrealist glitter-stomp of “Brainwave 2.0” (check out those handclaps!),where Mayer’s thinking about the socio-political precipice of the now: “I’m reading with great interest about this whole complex of how humanity is about to cross so many lines and the implications that the resulting financial and educational inequality will bring.”

That’s The Floor Is Lava: then and now, brainwaves and nerve structures, problems and solutions, genres on fire; the real, the unreal, and the surreal. An album for the easily bored and the endlessly curious. Mayer has the last word, telling us all you need to know about the album’s spirit: “Burning for the cause, being zealous, being addicted to the heat of the night, the exuberant powers of music.”

Michael Mayer veröffentlicht nicht oft Alben, was einer von vielen Gründen ist, warum ‘The Floor Is Lava’ ein echtes Ereignis ist. Es sind acht Jahre vergangen seit seinem letzten Werk, dem Kollaborationsalbum &, das auf !K7 erschien; seine Vorgänger, Mantasy (2012) und Touch (2004), ließen ebenfalls auf sich warten. Es überrascht nicht wirklich, da Mayer viele Rollen gleichzeitig erfüllt – weltreisender DJ, vielbeschäftigter Remixer, unermüdlicher Kollaborateur und Chef von sowohl Kompakt als auch Imara – weshalb seine Solo-Produktionen eher sparsam ausfallen. Doch das spricht auch für deren Qualität: Ein Album mit Mayers Namen auf dem Cover steht für Qualität, für Musik, die sowohl in die Zukunft blickt als auch auf die Vergangenheit verweist, die das Gleichgewicht zwischen den Anforderungen des Dancefloors und des Wohnzimmers hält, die genauso erforschend wie funktional ist.

Auf The Floor Is Lava scheint Mayer sowohl die Musik um ihn herum (vergangen und gegenwärtig) als auch die Strömungen der Branche, in der er arbeitet, zu reflektieren. Da wäre zunächst der ikonische Albumtitel. „Die Grundhaltung des Albums“, sagt er, drückt sich in diesen vier Worte aus. Für Mayer ist es teilweise eine Kritik daran, wie die Industrie sowohl Produzenten als auch Hörer in Schubladen steckt, sie auf Genres, auf den Markt und auf das nächste große Ding fokussiert: „Ein freier Geist zu sein, der Genres überschreitet, ist zu einem steinigen Weg geworden.“ Ein Kampf, der sich jedoch lohnt, und mit The Floor Is Lava ist das Ergebnis ein Album, das vielfältig, eigenwillig, charmant und tiefsinnig, aber auch süchtig machend ist.

Im gesamten Album findet Mayer Freude an der Erforschung und Gegenüberstellung von Stilen, lässt unerwartete Dinge erblühen und gibt ihnen Raum, überrascht den Hörer mit spannenden Wendungen: „Es ist ein DJ-Album von einem DJ, der sich schnell langweilt.“ Entweder langweilt er sich schnell oder er ist unendlich neugierig – The Floor Is Lava ist reich an Ideen. Es beginnt mit „The Problem“, das in die Vergangenheit blickt, um nach vorne zu schauen, und die wilde Art, wie frühe House-Produktionen Samples mit fröhlicher Unbekümmertheit zusammenwarfen, aufgreift. Mayer nennt Pal Joey und die Szene um Rockers Hi-Fi und ihr Label Different Drummer als Referenzpunkte, und dieser freie Geist zieht sich durch das gesamte Album.

Es folgt „Vagus“, eine sinnliche Minimal-House-Nummer, die Mayer als seine „musikalische Katzenminze“ beschreibt. Der Fluss dieser beiden Eröffnungstracks definiert die Dynamik von The Floor Is Lava und den dialektischen Antrieb im Kern: These und Antithese führen zu einer Synthese, jedoch mit einer willkommenen Schärfe, die dafür sorgt, dass man immer aufgeregt und engagiert bleibt. Zudem gewinnt das Album Energie, indem es Genres und Klänge auf unerwartete Weise aneinanderreibt, um maximalen musikalischen Nervenkitzel zu erzeugen. Es gibt psychedelischen Techno in „Feuerstuhl“, mehr Minimal Techno mit „Ardor“ (Mayer erwähnt ‘Immer’ Ära Minimal als Bezugspunkt), gleitenden Shepard-Ton-Breakbeat in „Sycophant“ und einen lieblichen, üppigen Vocal-Auftritt im poppigen „The Solution“.

Das Album schließt mit dem melancholischen „Süßer Schlaf“, in dem Mayer ein Gedicht von Goethe vertont und eine seiner bisher eindringlichsten und bewegendsten musikalischen Kompositionen schafft, als abstrakten Tribut an eine verschiedene Freundin. Es ist einer der ergreifendsten Momente auf The Floor Is Lava. Ebenfalls gibt es ein Update der wilden Brainwave Technology-EP von 2020, mit dem surrealistischen Glitzer-Stampfer „Brainwave 2.0“ (hör dir diese Handclaps an!), in dem Mayer über den sozio-politischen Abgrund der Gegenwart nachdenkt: „Ich lese mit großem Interesse über diesen ganzen Komplex, wie die Menschheit dabei ist, so viele Grenzen zu überschreiten und welche Auswirkungen die daraus resultierende finanzielle und bildungstechnische Ungleichheit haben wird.“

Das ist The Floor Is Lava: Damals und heute, Gehirnwellen und Nervengeflechte, Probleme und Lösungen, brennende Genres; das Reale, das Unreale und das Surreale. Ein Album für die schnell Gelangweilten und die unendlich Neugierigen. Mayer hat das letzte Wort und sagt uns alles, was wir über den Geist des Albums wissen müssen: „Brennen für die Sache, leidenschaftlich sein, süchtig nach der Hitze der Nacht, den überschwänglichen Kräften der Musik.“

DJ Support: Louie Vega, Danny Krivit, Tedd Patterson, DJ Harvey, Folamour, Michael Gray, John Morales, Simon Dunmore, Terry Hunter, Melvo Baptist, Seamus Haji,Art Of Tones, Birdee, Sophie Lioyd, Hector Romero, CjMckintosh, Moodena, Dr Packer, Da Lukas, Derrick Mckenzie, Danism, Reel People, DJ Pope and more

Part 1 of the remixes from the House Of Glass Album by Italian Master Gianni Bini incl. Versions by UK disco king Dave Lee, Groove Culture owners Micky More & Andy Tee and USA soulful talent Emmaculate. A must have for the lovers of quality Disco Nu disco with live instrumentation.

Barkley Bandon’s debut album “Love Machine” is a sexy concept album, perfect pop record and an experimental look at club music all in one.

Hard to pin down stylistically, it’s visiting multiple spaces on a colour spectrum, with hues of Sophie’s hyperpop, Hudson Mohawke’s cheek, the nostalgic shades of Oneohtrix Point Never, a nod to Dean Blunt’s DIY aesthetic and maybe flirting a little with the of Teaches of Peaches. But really, it’s carving out a sound all for itself that is like nothing else out there.

The mysterious London producer recently contributed a song on CASISDEAD’s chart topping, Brit Award winning debut album ‘Famous Last Words’ and has worked with London RnB vocalist Gloria on her release Metal, which came out on Gaika’s label The Spectacular Empire.

Working here, on in his own playpen, he shows off his pop production skills on tunes like ‘Green Light’ and ‘Nails’ (collaborations with rising artist Kaleab Samuel from Aurora, Colorado) and ‘You Decide’, a collab with pig$ - the incredible producer from LA who makes up the other half of their joint project Parking Big. Then he flips the approach, stuffs a bunch of percussion sounds in a box, shakes it and lets clanky club bangers like ‘Vertigo’ and ‘Eye Candy’ tumble out.

Fronting the cover we see Barkley’s real life wife as a teen dream - his ultimate Love Machine.

The album will be released on 25.10.2024 on his own label Laterhosen Records on digital and limited cassette tapes.

“That bass… absolutely filthy” Tom Ravenscroft, BBC Radio 6

Limited Edition! The "LaBush - Temple of House" Volume 2 Vinyl Box Set for the 30th Anniversary of the Legendary Club!

Barely six months after the phenomenal success of the first box set, La Bush - Temple of House makes history once again, celebrating its 30th anniversary with the release of Volume 2 in a limited edition 10x12" vinyl box set. A true must-have for collectors and electronic music enthusiasts!

This exclusive box set features no less than 35 tracks, an incredible number for a vinyl collection, offering unparalleled pressing quality that guarantees an exceptional listening experience, perfectly suited for any turntable. Each track has been meticulously remastered, preserving the essence of the original versions while enhancing every sonic detail.

The deluxe packaging of this box set is a work of art in itself, designed to captivate the most discerning vinyl lovers. Moreover, with tracksfrom legendary artists like Paul Kalkbrenner, Paul van Dyk, David Guetta, Tomcraft, Oliver Lieb, Matthew Herbert, and La Bush resident Mr. Sam, this box set is an essential treasure.

For those who already own the first box set, this new volume is the perfect opportunity to complete your collection in the best possible way, adding a new centerpiece to your La Bush ensemble.

Don't miss this unique opportunity to add a masterpiece to your vinyl collection. Order now before it's too late!

This October Jamiroquai celebrates the 30th anniversary of ‘The Return Of The Space Cowboy’. Their second album, it will be reissued as a double-LP set on 140g “moon grey” vinyl and includes Michael Gray’s Good Vibe Zone edit of ‘Space Cowboy’ - which has never been released on a physical product. The packaging has also been re-designed for this anniversary release including foil enhancement of the original cover design.

‘The Return Of The Space Cowboy’ is the follow up album to the band’s huge 1993 debut, ‘Emergency On Planet Earth’. Selling over 3 million copies globally, ‘Emergency On Planet Earth’ put the band on the map with their distinctive sound standing them apart from other popular acts of the time.

‘The Return Of The Space Cowboy’ was released just one year later and was met with great critical and public acclaim. Certified Platinum in the UK, Japan and France, it achieved chart success in multiple countries and spawned the single ‘Space Cowboy’ which remains one of their biggest tracks to date. Critically the album was lauded with Rolling Stone saying "Jamiroquai parlay jazzy soul pop so tight it crackles… Nowadays, when most funk comes out of cans, Jamiroquai's live spark glows", The Guardian said “... this second album sounds like vintage Stevie Wonder and Johnny 'Guitar' Watson, but Kay's vocals are as snappy and engaging as his extrovert persona" and Q magazine said it “combines intricate arrangements with several long, free-form workouts crammed with virtuoso performances".

For many, this album is defined by some of the most complex songwriting the band have ever produced and Jay Kay called it “one of our most creative and accomplished albums”. The process of making the album came with many challenges. Having to recruit a new drummer (after Nick Van Gelder failed to return from holiday), the band were met with second-album syndrome with Kay proclaiming since that lyrics weren’t coming "... because suddenly I wasn't homeless, I had everything I needed. So I found myself creating problems to write about." The songwriting process was complex for the band as Jay Kay was often dissatisfied with the results, leading songs to be scrapped or rewritten, but half-way through recording Kay wrote ‘Space Cowboy’, a song which reflects darker times during the recording session, and it became the catalyst of creative inspiration helping them finish the record. On this 30th anniversary edition of the album Space Cowboy gets a modern dance makeover courtesy of DJ Michael Gray, shedding new light on the track and emphasising it’s already infectious groove.

The album built on the success of ‘Emergency On Planet Earth’ and Jamiroquai have become one of the UK’s most pioneering and ground breaking bands of the past 30 years. Pushing boundaries and bringing jazz and funk to a mainstream audience, their sound is not only unique, but immediately recognisable.

The Blessed Madonna began with three magic words, scrawled in shoe polish on a broken - down box and hung on the wall at a small sweaty party: We Still Believe. “I think you have to give up completely to really understand what hope is. It was like 2011? I had spectacularly, monumentally failed. I left the label. I wasn’t DJing. I wasn’t putting out records. I was divorced and living on my Dad’s couch so naturally my friends and I decided to throw an illegal rave. We didn’t have any decorations, so I took a box and wrote, ‘We Still Believe’ on it. I needed to believe that something better was possible and that’s how it all started.” After years of $50 gigs, strung together by gas money and surfed couches, The Blessed Madonna cemented her reputation as a sublime technician behind the decks with a legacy of fluent and dynamic sets, spanning from disco to techno to house and back. One room sweatboxes, circus tents, theatres, massive festival stages and entire city blocks have all served as the canvas for her shows. After a jam packed 2023, from Glastonbury to Sonar to Boiler Room Bali, The Blessed Madonna has been filling the dance floor everywhere she goes and is now releasing her debut album.

Hiroshi Watanabe, a musician, photographer, and DJ from the Japanese electronic scene, based in Saitama near Tokyo, has been a prolific figure for twenty-five years. He has explored most major genres of electronic music through more than twenty albums. He proudly becomes the very first Japanese artist of InFiné.

After Ryuichi Sakamoto, he is one of the very few Japanese artists who have gained the favor of Western audiences, alongside notable names such as Cornelius, Towa Tei, DJ Krush, Ken Ishii, Susumu Yokota, and more recently Hiroshi Yoshimura. In Europe, he is best known for his project Kaito, which began in 2001 under the prestigious Kompakt label. The name Kaito, in addition to being the name of his son born the same year, carries a double meaning in Japanese, signifying both "universe" and "secret." These references hint at a spirituality visible in his photographic work and contribute to the elements that make Japanese artists masters of the ambient genre.

The collaboration between Kaito and the InFiné label began with his participation in the compilation "Music Activists 2020 (From Home)," which supported artists affected by the Covid crisis, followed by a remix for the single "Motion" by Rone and Vanessa Wagner in 2023. These initial contributions led to a new album featuring nine tracks of ambient music.

Kaito's new album ‘Collection’ comprises nine ambient and melodic tracks composed during the Covid-19 pandemic. These compositions present a majestic minimal and harmonious therapy in response to the world’s adversities, showcasing the producer’s return to the peak of his art. ‘Collection’ was remastered by another genre legend, the German Rashad Becker, and released on vinyl and CD by InFiné in 2024.

Somewhere between Solid State Survivor, Force Majeure and Danzindan-Pojidon you’ll find Shinichi Omata’s Boku ・ Neko ・ Platanus. Or rather you won’t – throughout his captivating debut from 1984, reissued by chOOn!! in 2022, you’ll hear connections to other music but its unique unbridled will keeps pushing those references out of mind.

Shinichi Omata is a fascinating figure – an unsung hero of early Japanese electronic music who between 1981–84 recorded three albums of incredible DIY techno-pop while studying as a student in Tokyo. At University, Omata worked and collaborated as a sitar player and keyboardist with artists such as Hiroko Yoshihara, Takami, DEA and various members of the LLE music circle, where he developed an expressive fusion of minimal synth and psychedelia.

This selection, lovingly extracted from Omata’s unreleased early recorded output, dating from 1981’s Neo Modernism through to 1983's With My Dog Ricky, demonstrates just how closely he clung to the original abstract ideal of moulding 8-bit bleeps and ungainly drum patterns into lo-fi triumphalism. On paper you wouldn’t give this aesthetic clash a pass were it not for the aural evidence of a unique sensibility, precociously openminded and visionary, charmingly transparent in respect of its influences yet possessed of a need for individuality.

Throughout this kaleidoscopic collection, all the ghost plastic in Omata’s head, Kosmische synthesis, synth-funk squiggles, arcade games and early Ambient is thrown together, reimagined and regarded affectionately – through a glass lightly, so to speak. Beneath the pulsing arpeggiated bleeps, Omata’s compositions show a remarkable economy and poise hinting at European classical influences - like a reimagining of Erik Satie’s piano miniatures that swaps 19th century Parisian boulevards for Tokyo’s 1980s technopolis. The music is sheer skin- puckering delight throughout, a delirious, mesmeric collage of dark disco bubblegum and eccentrically enchanting atmospheres that you cannot quite believe you’ve never heard before.

Available for the first time on vinyl, With My Dog Ricky: The Early Works of Shinichi Omata 1981-1983 is a vivid selection of synth miniatures lovingly extracted from Omata’s unreleased early recorded output.

Produced in cooperation with the artist for chOOn!!.

Mastered for vinyl/digital by Josh Bonati. Artwork by the acclaimed book designer Luke Bird

29 Speedway is a record label and performance series based in Brooklyn, NY featuring forward-thinking improvisational music and live multimedia. Founded in 2020 by Ben Shirken a.k.a. Ex Wiish (‘Shards Of Axel’, Incienso 2023), 29S serves as a platform for artists exploring the fringes of interdisciplinary art and music. Hosting D.I.Y-guerrilla style sound and performance art concerts at Pioneer Works (NYC), Public Records, and in Europe in partnership with Index Records, they have worked with artists such as James Hoff, J. Albert, Yolabmi, Robert Aiki Aubrey Lowe, AceMo, Flora Yin Wong, Nexcyia, Young Boy Dancing Group, UMFANG, Color Plus, Poncili Creación, Special Guest DJ, Arushi Jain, Drumloop, Isabella Koen, Ben Bondy, Kamran Sadeghi, Yawning Portal, James K., Syndey Spann, Debit, Pent and many others.

Resident Advisor called their most recent compilation record ‘Channel Plus’ “one of the most stunning documents of the ‘modern ambient-techno movement pioneered by labels such as Motion Ward and West Mineral’, with a focus on New York as well as a global outreach that encompasses chilled-out trap, electro, downtempo and even early '00s electroacoustic music”. Their debut solo artist release from J. Albert and Will August Park, entitled “Flat Earth” (2023), was based on free improvisation and ambient jazz, receiving praise from Philip Sherburne, Shawn Reynaldo, and was included in RYMs top EPs of the year. 29S has been written about on ID, Bandcamp Daily: Best Ambient, Boomkat, Paper Mag, Artnet, Dazed, Clot Mag, Nina Protocol, and Document Journal.

The newest release from 29 Speedway, UltraBody, is a compilation record featuring the music of Jake Muir, Pent & Dylan Kerr, Nexcyia & Mu Tate, James K, Flora Yin-Wong, Ex Wiish & Dorothy Carlos, Kamran Sadeghi, Tati au Miel, James Hoff, Eric Frye, Muein and Maxwell Sterling. The record is emblematic of the artists who have performed at 29 Speedway shows in New York and Europe during the past two years, and is the third in a series released by the label.

The record was born out of a desire to investiage how the self, spirituality, and language are intertwined with the intervention of subjectivity by new technologies. With increasingly sophisticated tech, and the supposed ability to remake the world and ourselves, what differentiates our individual discretion from the will imposed upon us by software? Quoting Walter Chaw from his piece on David Cronenberg’s Videodrome, “Decades of rampant, unregulated and ill-considered technological leaps have begun to evolve, to mutate, humans at a biological level”. This haphazard acceleration towards a techno-utopic transformation of humanity has faulted, and as William Gibson put it, is leading us to live in a “half assed singularity”. In this reality, artistic processes are influenced by excessive access to computational tools and assistance, but not utterly controlled.

This in-between state of dominion is explored in 29 Speedway: UltraBody. “Incoherences” samples the utterances of Dylan Kerr’s voice processed between Pent’s percolated glazes, muddying the gulf between vaporous ambient and reflexive sound design. The voice on James Hoff’s “A... ...Cha.... A... I feel l” was created by trying to get voice cloning technology to sing a gps data stream, the music an extrapolation from an earworm he got stuck in his head while shopping in Kyoto. On “Plogue Chain”, Eric Frye’s most speculative sci-fi observations spiral into a glazed pool of digital cacophony, while Kamran Sadeghi’s “Formula Fiction” is an experiment in (un)controlled generativity. Incorporating minimal pings from a 3D simulation scene based on gravitational interaction, cello bits evolve on “Assimilation”, a collaboration between Ex Wiish & Dorothy Carlos.

On UltraBody, sound has no separate existence from space.

We have invited for the first time in our closed creative community the soul and creativity of an old colleague, friend and fellow traveler on the road of DAO of life.

This is K▲NZ

If read from back to forth it comes from ZNAK, which means SIGN when translated into Bulgarian.

Originating and still gravitating in the suburban area of Lyulin district, these areas are known to give birth either to crime, or to art. In the case of Kaloyan “K▲NZ” Gavrailov, the shady Lyulin area, thankfully sparks the latter.

K▲NZ has had a lot of attention in regards to nightlife participation and on behalf of labels, but definitely not yet the deserved one. We are proud to present the platform for his first ever 12″ vinyl release with slightly odd in taste selection, and thus, rich in soul and creativity. -M-E-L-M-A-K-’s LKVBHR-12 installment is to be released also later this summer and by this we would like to tell Kalo: “welcome to the mob, big! Small-town-dogma-free techno rulez!”

Markus Guentner returns to his longstanding label, A Strangely Isolated Place following the triptych of ‘Theia’, ‘Empire’, and ‘Extropy’, presenting eight inspiring collaborations on ‘Kontrapunkt’.

Collaborations are nothing new to Markus, but it’s hard to see beyond his strong singular presence as a pioneer of long-form ambient and drone. Collabs have punctuated his albums in various places over the years, and he is no stranger to working as a duo amongst other projects, with such a strong conceptual thread throughout his prior ASIP releases, Kontrapunkt represents a literal pivot and counterpoint in his production approach. Instead of music encapsulating a strong conceptual narrative, Kontrapunkt sees Markus create a dialogue between himself and a collection of inspiring production partners.

Kontrapunkt opens with ‘Vanish’, a widescreen cinematic odyssey created in collaboration with fellow German and Affin label-head Joachim Spieth, forming the perfect opener with its modest subtleties. Australian-born Karen Vogt, renowned for her voice layering and looping, brings a beautiful, and natural addition to ‘All Light Will Remain’.

Sonae, who appeared on ASIP’s early digital releases, demonstrates her evolution into experimental flourishes with ‘Farbe Der Nacht’, adding pulsating techno tendencies and a menacing, metallic approach to Markus’ foundations. Multi-instrumentalist Pepo Galán harmonizes beautifully with Markus on ‘Ancestral Images’, adding complex nuances to a slowly evolving euphoric piece.
A master of synthesis, Arovane delivers a powerful display of supercharged electronics and coils of energy on ‘Utopian Fragments’. Benoît Pioulard's renowned expertise with guitars and tape distortion become a perfect counter to the electronics of Markus, blending styles seamlessly on ‘Father Of Waters’.

‘An unstoppable force meets an immovable object’ on ‘While Hunting Nightmares And Dreaming For Peace’, as Abul Mogard adds powerful restraint in a meeting of two drone titans. The album concludes with ‘Presence’, where Hollie Kenniff’s uplifting vocals provide a shimmering finish, perfectly bookending an album of perfected counterpoints and evolutions on the Markus Guentner sound.
Kontrapunkt will be available on Gatefold Black/Grey/Blue marble 2LP, digital and streaming on August 30th 2024. Mastered by Gio at Artefacts Mastering, Berlin, and featuring artwork by Noah M / Keep Adding.

Fast ein Jahrzehnt hat sich Jamie xx seit Veröffentlichung seines Solodebüts Zeit gelassen. „In Waves“, das zweite Album des Londoners, der mit seiner Band The xx zu den prägendsten Figuren der jüngeren Musikgeschichte gehört. Erneut lässt er seiner Liebe zur elektronischen Musik freien Lauf und entwirft die Geschichte einer Nacht, in der man in den himmlischen Puls von Schatten, Licht und Dancefloor-Rhythmen hinabtaucht.



“In Waves” hat seinen Ursprung in einem Mix, den Jamie 2020 für BBC Radio 1 machte. Hier tauchten neben Tracks der aktuellen Generation an UK-Dancemusic auch diverse musikalische Helden auf, etwa Roy Ayers, Fela Kuti, Tom Zé oder Philip Glass. Auch erste Versionen von Songs, die nun auf dem Album erscheinen werden, waren zu hören. “Es erinnerte mich daran, warum ich diese Musik liebe“, so Jamie, der zuvor lange mit der Frage gehadert hatte, wie es für ihn weitergehen würde. “Ich fand einfach Spaß am kreativen Prozess, ohne dabei an ein Ergebnis zu denken.“



Jamie xx pflügt auf „In Waves“ durch die Subgenres und Dekaden und fügt Northern Soul, Disco, Garage, Acid House, Techno, Tropicalia. Hip-Hop, Funk und den Sound der UK Underground Pirate Radios zusammen. Die kleinen Momente sind dabei so eindrucksvoll wie das übergreifende Ganze. Etwa jener Part bei “Treat Each Other Right“, der parallel zum Album-Announcement erscheinenden neuen Single: Zunächst wird man herausgerissen aus dem breiten Breakbeat-meets-Future-Soul-Vehikel, um sich mit den gepitchten Motown-Vocals plötzlich im Mittelwellenradio der 60er wiederzufinden. Die Worte “I’ll never let you down“ werden in die Ewigkeit gezogen, bevor ein biepender Puls über atmosphärischen Synths einsetzt und man direkt zurückgeführt wird in die schweißnasse Katharsis des Dancefloors.



Im Zeitalter der Algorithmen ist “In Waves” Zeugnis für pure menschliche Empfindung, ein lebensbejahendes Gegengift, das über den Kopfhörer in eine andere Dimension führt und zugleich gemeinsam auf der Tanzfläche erlebt werden will. Mit dabei sind u. a. Romy und Oliver, The Avalanches, Robyn und John Glacier.

Dark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band’s earliest material. As originary Aussie industrial legends - although founder Tom Ellard would balk at being branded as such - Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and quietly infectious nursery-rhyme-esque melodies. In 1979 Ellard, Richard Fielding, and Andrew Wright abandoned the moniker Mr. and Mrs. No Smoking Sign and adopted the edgier name Severed Heads “to pretend to be an industrial band such as Surgical Penis Klinik & Throbbing Gristle.” Noise-rockers Rhythmx Chymx had placed an advertisement in a local shop looking for a band to share the costs of pressing an LP. The Heads set about recording a Dadaist racket on a pair of open reel dictaphones and a cassette deck using a TRS-80 computer, Kawai Synthesizer 100F and Korg Mini Pops drum machine. Ear Bitten was released in 1980; original copies now fetch obscene sums, in part due to most of Severed Heads’ copies perishing in a fire at Richard’s home. The band’s next endeavor was a cassette titled Side 2, a collection of free-form experiments fashioned as Ear Bitten’s second side. For this reissue, Dark Entries has collected both Ear Bitten and Side 2 on the first disc, presenting the album in its full form. Disc two includes the original first version of Ear Bitten, which was only unreleased because it was recorded in a format not suitable for pressing. The album comes in a gatefold sleeve designed by Eloise Leigh and includes photos, liner notes, and reproductions of the original Xerox inserts from the 1980 issue. Ear Bitten delivers 22 tracks of pain you can dance to!

Die "French Touch Collection" ist eine Doppel-LP-Serie, die der französischen elektronischen Musikszene gewidmet ist. Beeinflusst von neuen Musikgenres wie House, Hip-Hop, Techno und den Rave-Partys, beteiligten sich Mitte der 90er Jahre mehrere französische Produzenten an der Demokratisierung der elektronischen Musik. Ihre Musik, die der britische Journalist Martin James "French Touch" nannte, wurde 1996 zu einem neuen, international bekannten Musikgenre, das sich durch elektronische Produktionen und Musiksamples aus Hip-Hop, Funk oder Disco auszeichnete. Anfang der 2000er Jahre erfand sich die "French Touch"-Szene mit einer neuen Generation ungehemmter Künstler neu, getragen von einem rohen, rocknahen Sound. Die 2010er Jahre brachten eine neue "French Touch"-Welle mit sich, die von der Popmusik beeinflusst war und sich mehr auf Melodien und Oneiric Universes konzentrierte. Dieses neue Werk ist dem House gewidmet, mit Künstlern und Tracks, die zur Entwicklung des "French Touch" beigetragen haben: "Bon voyage"!

Hello 24! Nice to have you here. 23 is so yesterday, so over the top, really. Well, we’ve been dancing the following dances recently. What about you?

What lasts a long time usually turns out well. Having admired TEE MANGO from afar for many years, our A&R Michael Mayer took heart and invited him to this year’s TOTAL. “So In Love” is in the best tradition of the KOMPAKT minimal funk of the early years. We are delighted to have this lovely Englishman on board!

REINHARD VOIGT has always placed great emphasis on loving animals. On the track with the unsurprising title “Der, der mit dem Gummiball sang (Orange)”, he lets whole hordes of different four-legged friends and poultry on the microphone. Hopefully the stench will dissipate from the studio.

When Rhenish cheerfulness meets holiday anticipation, the result is something like this Hawaiian shirt turned music called “Chee-Caruso” by JÜRGEN PAAPE. No animals were tortured for this piece either, even if it sounds like it.

We stay in the realm of fauna and turn our attention to London’s award-winning pedigree dog REX THE DOG. “Laika” is a heart-warming ode to the mongrel dog of the same name, who was the first living creature to make it from the streets of Moscow into space. She would have loved that bleep.

A little-known fact about MICHAEL MAYER is that he is one of the fastest crossword puzzle foxes on the left bank of the Rhine, always in relentless rivalry with Wolfgang Voigt, who thinks he is even faster. The big battle is yet to come. Uninvited guest with five letters? “Urian”.

As an integral part of the family, JONATHAN KASPAR is of course not to be missed. “Are You” celebrates the kind of early morning rapture that is commonplace at his new DJ venue, the brand new Cologne superclub FI. Everything is so colourful here.

SASCHA FUNKE takes a bow to one of the greats of German showbiz with the trippy electro smasher “The Heck”. Born – like DJ Koze and Barnt – in Flensburg, died in Berlin in 2018 and wore glasses. More will not be revealed.

More emotion, more love, more sing-along factor? Si, claro! ARGIA’s “Love Keeps You Running” masterfully combines groove and pop – a blend that sounds very familiar to us. She may be at home in Madrid, but there’s Cologne DNA in her somewhere. We’re sure of it.

Let’s meet the legends, the veterans! JÖRG BURGER is still in a psychedelic mood in 2024. That suits him, that’s where he needs to be, that’s where we want him to be. A parallel universe is conceivable in which such music is affectionately called Goa.

Before going to bed, the WASSERMANN reads us a fairy tale from the Arabian Nights. At the same time, we focus on a point between everything, but really everything, and absolute, stark naked nothingness. 3, 2, 1… Let go.

Hallo 24! Schön, dass du da bist. 23 ist ja sowas von gestern, geht gar nicht, echt. Also, bei uns tanzt man neuerdings die folgenden Tänze. Und bei Euch?

Was lange währt, wird meist gut. Schon seit vielen Jahren aus der Ferne TEE MANGO bewundernd, hat sich unser A&R Michael Mayer ein Herz gefasst und ihn zur diesjährigen TOTAL eingeladen. “So In Love” steht in bester Tradition des kompaktschen Minimal Funk der frühen Jahre. Wir freuen uns, den quirligen Engländer an Bord zu haben!

Tierliebe wird im Hause REINHARD VOIGT schon immer groß geschrieben. Auf dem Stück mit dem nicht weiter verwunderlichen Titel “Der, der mit dem Gummiball sang (Orange)” lässt er gleich ganze Horden verschiedenster Vierbeiner und Federvieh ans Mikro. Hoffentlich zieht der Gestank wieder aus dem Studio ab.

Wenn rheinischer Frohsinn auf Urlaubsvorfreude trifft, dann kommt so etwas wie dieses Musik gewordene Hawaiihemd namens “Chee-Caruso” von JÜRGEN PAAPE heraus. Auch für diesen Beitrag wurden garantiert keine Tiere gequält, auch wenn es allenthalben so klingt.

Wir bleiben im Reich der Fauna und wenden uns London’s preisgekröntem Rassehund REX THE DOG zu. “Laika” ist eine herzerwärmende Ode an die gleichnamige Mischlingshündin, die es von den Strassen Moskaus als erstes Lebewesen ins All geschafft hat. Den Bleep hätte sie bestimmt gemocht.

Eine wenig bekannte Tatsache über MICHAEL MAYER ist, dass er zu den schnellsten Kreuzworträtsel-Füchsen links des Rheins zählt, stets in unbarmherziger Rivalität zu Wolfgang Voigt, der sich für noch schneller hält. Der große Battle steht noch aus. Ungebetener Gast mit fünf Buchstaben? “Urian”.

Als fester Bestandteil der Familie darf natürlich auch JONATHAN KASPAR nicht fehlen. “Are You” zelebriert frühmorgendliche Entrückungszustände, wie sie in seiner neuen DJ-Wirkungsstätte, dem nigelnagelneuen Kölner Superclub FI Gang und Gäbe sind. Alles so schön bunt hier.

SASCHA FUNKE verneigt sich mit dem trippy Electrosmasher “The Heck” vor einem der ganz Großen des deutschen Showbiz. Geboren – wie DJ Koze und Barnt – in Flensburg, gestorben 2018 in Berlin, Brillenträger. Mehr wird nicht verraten.

Mehr Gefühl, mehr Liebe, mehr Mitsing-Faktor? Si, claro! ARGIA’s “Love Keeps You Running” vereint meisterlich Groove und Pop – eine Melange, die uns durchaus bekannt vorkommt. Sie mag zwar in Madrid zuhause sein, aber irgendwo steckt in ihr eine Kölsche. Da sind wir uns sicher.

Auf zu den Legenden, den Urgesteinen! JÖRG BURGER zeigt sich auch in 2024 in einem psychedelischen Mood. Das steht ihm, da muss er hin, da wollen wir ihn haben. Es ist ein Paralleluniversum denkbar, in dem solche Musik liebevoll Goa genannt wird.

Der WASSERMANN liest uns vor dem Schlafengehen noch ein Märchen aus Tausendundeine Nacht vor. Wir fokussieren uns gleichzeitig auf einen Punkt zwischen allem, aber auch wirklich allem und dem absoluten, splitterfasernackten Nichts. 3, 2, 1… Loslassen

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It’s an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skøtt and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skøtt: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, as well as being responsible for the label’s visuals. Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso. Also works with a wide palette of electronic music.

2024 Repress

Thomas Fehlmann remains as one of the most endearing and respected artists on Kompakt. He has inspired generations of fans and musicians over the course of his 30+ year career. From his early days as part of the legendary band Palais Schaumburg, and the pioneering Detroit/Berlin act 3mb (With Juan Atkins and Moritz Von Oswald), to his longstanding membership with The Orb, combined with his contributions as a solo artist to esteemed imprints R&S, Plug Research and of course Kompakt, where we have proudly released two full length solo albums: Visions Of Blah (Kompakt CD 20/Kompakt 67) and Honigpumpe (Kompakt CD 59 / Kompakt 157), his musical works have been prolific, not to mention four singles and a full serving of tracks found on our Pop Ambient and Total collections. Now, after 3 years, Fehlmann returns with 'Gute Luft'…

'Gute Luft' is the result of months of work scoring the hit German TV film 24h Berlin - the longest documentary film in history which featured 80 camera teams following the lives of berliners over a 24 hour period. Obviously a huge challenge for Fehlmann, beyond the scope of the project and hours of music involved in a 24 hour film, there was dealing with the decision making process that went with working with such a large production team. As he shared scoring duties with another musician (separately), inevitably a lot of his music ended up not making the final cut. 'Gute Luft' is about re-tweaking and editing material from the countless hours of recording he had created. In a sense, 'Gute Luft' is Fehlmann's ideal soundtrack to the 24h Berlin documentary.

“while scoring the film and subsequently shaping it into a album, i found myself questioning what holds it all together in Berlin. I figured that 'Air', the good old 'Berliner Luft', is something that is guaranteed to touch everyone and everything in the city. Also with that Berlin is very green, the combination with the unavoidable city dirt makes for a distinctive blend which seems to infuse its vibrant scene unknowingly with a constructive drive. Besides that, 'Gute Luft' was also the title of a song from my old band Palais Schaumburg, of which I have very fond memories. Also (as he says with a wink) “Gut” is one word I have a profound relation to…”

Fans shall rejoice as Thomas Fehlmann doesn't feer far from his signature path of trailblazing the finer links of classic Detroit House and Techno with the submerged beauty of Berlin Dub. One will immediately recognize the classic scoring techniques Fehlmann brings to 'Gute Luft' - various themes and sounds resonate in various forms and versions throughout the tracks. As Thomas states, “There are also More Subtle Connections That Should Give An Overall Feel To The Score. I Also Brought In Elements From Tunes From My Previous Albums In recognition of the fact that I often feel that there would be so many more ways to explore and experiment with certain ideas than just on a single track”. Fehlmann clearly succeeds in synergizing the best of the past 20 years of Berlin's expansive history of electronic and dance music with 'Gute Luft'. A recreational album in every way in which he hopes will make you “Feel at peace with you and your environment, inspire you to lush, imaginative dinners, make babies, or just walk your own way with open eyes”. Well put Thomas!

This is a re-release of " Gute Luft " orginally released in 2010 on Kompakt.

Thomas Fehlmann ist nach wie vor einer der liebenswertesten und gleichzeitig angesehensten Künstler bei Kompakt. Im Laufe seiner über 30-jährigen Karriere hat er Generationen von Fans und Musikern inspiriert. Von seinen frühen Tagen als Teil der legendären Band Palais Schaumburg und dem bahnbrechenden Detroit/Berlin Act 3MB (mit Juan Atkins und Moritz von Oswald), bis hin zu seiner langjährigen Mitgliedschaft bei The Orb, kombiniert mit seinen Arbeiten als Solokünstler für Imprints wie R&S, Plug Research und natürlich Kompakt: Sein musikalisches Gesamtwerk ist beeindruckend. Wir sind stolz, bereits zwei seiner Soloalben veröffentlicht zu haben: “Visions Of Blah“ (KOM CD 20/KOM 67) und “Honigpumpe“ (KOM CD 59 / KOM 157). Ganz zu schweigen von vier Singles und jeder Menge Tracks, die sich auf diversen Pop Ambient- und Total-Sammlungen finden lassen. Jetzt, nach drei Jahren, kehrt Fehlmann mit “Gute Luft“ zurück ...

“Gute Luft“ ist das Ergebnis monatelanger Arbeit für den deutschen Fernsehfilm “24h Berlin - Ein Tag im Leben“ - der wohl längste Dokumentarfilm der Geschichte. 80 Kamerateams verfolgen das Leben der Berliner*innen über einen Zeitraum von 24 Stunden. Die größte Herausforderung stellte für Fehlmann dabei nicht die Komposition für einen solchen Film dar; vielmehr waren es die Entscheidungsprozesse im großen Produktionsteam, die ihm die meiste Arbeit abrangen. Da er sich die Aufgabe mit einem anderen Musiker teilte, endete es unweigerlich so, dass einige seiner Tracks nicht in den Final Cut kamen. Bei “Gute Luft“ ging es nun darum, Material aus den unzähligen Stunden an Aufnahmen neu zu bearbeiten und zu editieren. In gewissem Sinne ist “Gute Luft“ Fehlmanns eigentlicher Soundtrack zum 24-Stunden-Dokumentarfilm.

"Während ich den Film vertonte und anschließend zu einem Album geformt habe, habe ich mich gefragt, was hier in Berlin alles zusammenhält. Ich habe mir gedacht, dass 'Luft', die gute alte Berliner Luft, etwas ist, das garantiert jeden und alles in der Stadt berührt. Die Tatsache, dass Berlin sehr grün ist; gleichzeitig die Kombination mit dem unvermeidlichen Dreck einer solchen Stadt – das ergibt eine unverwechselbare Mischung, die ihrer lebendigen Szene unterbewusst einen bestimmten Drive zu verleihen scheint. 'Gute Luft' war übrigens auch der Titel eines Liedes meiner alten Band Palais Schaumburg, an das ich mich sehr gerne erinnere. Außerdem (das sagt er mit einem Augenzwinkern) ist ‚Gut‘ ein Wort, zu dem ich eine enge Beziehung habe ..."

Seine Fans können sich freuen, denn Thomas Fehlmann entfernt sich nicht weit von seinem charakteristischen Sound, mit dem er die feinen Verbindungen von klassischem Detroit House und Techno mit der versunkenen Schönheit des Berliner Dubs aufspürt. Man wird sofort klassische Soundtrack-Techniken erkennen, die Fehlmann auf “Gute Luft“ verwendet - bestimmte Themen und Sounds durchziehen in unterschiedlichen Formen und Versionen die einzelnen Tracks. Thomas sagt dazu: "Es gibt subtile Verbindungen, die der Erzählung ein zusammenhängendes Gefühl geben sollten. Ich habe Melodie-Fragmente aus früheren Alben einbezogen, um der Tatsache Rechnung zu tragen, dass ich oft das Gefühl habe, es gäbe so viele weitere Möglichkeiten, bestimmte Ideen weiterzuverfolgen und mit ihnen zu experimentieren, als nur in einem einzigen Track.” Fehlmann gelingt es hier, das Beste aus den vergangenen 20 Jahren Berliner Elektronik- und Tanzmusik-Geschichte zu bündeln. Ein wohltuendes Album in jeder Hinsicht, von dem er sich selbst erhofft, dass es seinen Hörer*innen "ein Gefühl des Friedens mit sich selbst und ihrer Umgebung vermittelt, sie zu phantasievollen Abendessen inspiriert, zum Babys machen oder sie einfach nur mit offenen Augen Ihren eigenen Weg gehen lässt." Gut gesagt, Thomas!

Dies ist die Wiederveröffentlichung von “Gute Luft“, erstmals erschienen 2010 auf Kompakt.

Formed in Edinburgh in 1992, The Kaisers set out to bring the excitement and joi de vivre of the early ‘60s beat era back to the Scottish music scene. Armed with junk shop guitars and tiny amplifiers, they quickly gained a reputation as one of the country’s most exciting live bands, belting out forgotten rock ‘n’ roll gems and their own period-perfect compositions with unsurpassed rawness. As their fame spread, they were soon firing their beat salvos at audiences from America to Japan. The broadcasting authorities took notice and radio sessions for John Peel, Mark Radcliffe and many others followed, both at home and abroad. The Kaisers released seven albums plus many singles and EPs – all on vinyl and always in mono. One EP was recorded during a particularly wild night at New York’s famous CBGB. Although their records featured plenty of the good-humoured sonic violence that their fans craved, heartfelt yet visceral ballads were never off the musical menu. After a 13 year hibernation, The Kaisers returned to the stage via the festivals circuit and continue to appear at festivals across Europe. The resurgence of interest in the band has led to the writing and recording of a brand-new album ‘More From The Kaisers’, due for release on the 28th of June, 2024.

" In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)
From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)
Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)
On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)
Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet."

2024 Repress

After 7 years and countless requests, Sneaker Social Club finally deliver a repress of Dream Cycle - Part One.

After a chance meeting at Gottwood in 2016 a bond was established between Dream Cycle (Robin Clarke) and label owner Jamie Russell over a shared love of 2 Bad Mice and Moving Shadow. It wasn't long before Clarke began channeling elements of that influence to produce his Dream Cycle Part.1 EP. Unfolding over 4 steppy tracks and an ambient closer, Clarke melds sharp snares, summery motifs, dense atmospheres and thick subs whilst keeping things suffused with a distinctly UK quality that marries his work perfectly with the Sneaker catalogue.

DJ Support: Ryan Elliott, DJ Die, The Blessed Madonna, Octo Octa, Bwana, Altered Natives, Noodles (Groove Chronicles), Liem (Lehult), Deejay Astral, LA4A, 2 Bad Mice, Fred P, Matt Karmil, Flori, Marco Zenker, J.Rocc (lol at comment!), Ajukaja, Gnork, William Djoko, Till Von Sein, Fold, ASOK, Gene Farris, DJ bwin, Seven Davis Jr, TRP, DJ Octopus, DJ Normal 4, Gerd, Dean Man s Chest, Poté, Doc Scott, Violet, James Welsh (Kamera), Konx-om-Pax, Etch, Raresh, Hrdvsion, Michael Serafini (Gramaphone), Frazer Ray, DJ Guy, Mak & Pasteman, Shenoda, Urulu, Mark Archer & James Zabiela, Zinc, Lehult, Jackie House, Mosca, Noodles (Groove Chronicles) & DJ Die.

Washington, DC mainstay Samantha Park issues her debut release on Real Feel. The 12” ventures into breaky territories, with the A-side providing ethereal sounds on the title track, and percussive dancefloor action via “Dance for Me.” The B-side sees Baltimore house legend Karizma taking the reigns on the remix, leveraging chopped samples to freak a more orthodox house cut.

2024 Repress

The record ‘Rīgas Elektromašīnbūves Rūpnīca (RER)’ has many distinctive characteristics. I would like to draw listeners’ attention to the fact that the recording was made with 16 microphones in an abandoned factory in Sarkandaugava (Rīga, Latvia). Over two days, KODEK recorded how the music sounds specifically in this vast space – how the window panes vibrate, how the metal lockers rattle, and how the sound waves propagate uniquely. This created a special and unparalleled musical sound. In this record, KODEK not only plays musical instruments but also the space itself, resulting in an added value or a new chapter in the history of world music – The Sound of Sarkandaugava. – Kaspars Rolšteins Artist bio: Musician Raivo Vainovskis, widely known as KODEK represents a narrow nonacademic electronic music genre while having proven his excellence and gained international recognition performing in countless electronic and experimental music festivals like CTM Festival in Berlin, Amsterdam Dance Event in Amsterdam, Cynetart Festival in Dresden, MUTEK festival in Montreal among others. KODEK is a core figure behind the globally acclaimed Latvian electronic music instrument manufacturer Erica Synths and often uses their synthesizers in his work. Since 2011 he co-organizes experimental music mini-festival Brīnumu Nakts in his native city of Madona which is one of the rare occurrences of such events outside the Latvian capital Riga. Since 2005 both in his releases and live performances he challenges his audiences with his unique stage presence and sonic aesthetic that is rooted in the spirit of truly independent music and art. KODEK has been nominated (and has won) The Annual Latvian Music Recording Award in the category ‘’The best electronic music album’’ for his ‘’Flavours From The Future’’ LP in 2012.

Bordello Travels presents the fifth volume of ‘Buone Vacanze’ with your tour guides Karassimeon, Nude Disco, Maltitz and Lennart. Comes with a limited edition gelato sticker sleeve. Andiamo!

Das mit Spannung erwartete WE STILL DON'T TRUST YOU ist das nächste Kapitel einer explosiven Kampagne. Sie feiert die historische Partnerschaft zweier kulturverändernder Legenden, die auf dem Höhepunkt ihrer Kräfte agieren, und zementiert ihr Vermächtnis als Hip-Hop-Pioniere. Wie bei seinem Vorgänger ist das Who's Who ihrer Kollaborateure vertreten und hebt die kultigste Rapper-Produzenten-Partnerschaft in eine ganz neue Stratosphäre.

Musician, composer, bandleader and musical rubik’s cube, Laurent Bardainne is a saxophonist who trained at The Paris Conservatory.
He’s collaborated with Pharrell Williams, Cassius and Philippe Katerine to name just a few and presents here his latest project, ‘Tigre d’eau Douce’ Also co-founder of electro rock band Poni Hoax (Tigersushi Records), Limousine, a duet with Camelia Jordana and more recently Sabrina & Samantha for Ed Banger. This album, sees a return to his first love of jazz, The Tigre d’eau Douce, represents a species doomed to disappear. So using melodies, chants and solos as an escape guide, his tenor saxophone takes us to a higher place,
one where John Coltrane and the great figures of jazz reside. These LP tracks bounce between the grooves and soul of the 1970’s, where
percussion and saxophone pave the way. ‘Marvin’ allows the fluffy keys of the Hammond organ to open out into a pensive melody that feels familiar. Carrying on the journey, the tough asphalt of hip hop is visited on tracks like ‘Bachibouzouk’ and ‘Felin M chant’, whereas more tropical themes are explored on tracks like ‘Kinshasa’.

Maria Rita is a musical pioneer that was ahead of her time. On first hearing her song, 'Cântico Brasileiro No.3 (Kamaiurá)’, we thought it sounded like a contemporary remix that an artist such as Carl Craig could have produced. In fact, it came out in 1988 and was taken from Maria's 'Brasileira' album, released on the Brazilian, independent Acorde imprint. The song would go on to gain cult status with its inclusion on John Gomez's superb 'Outro Tempo' compilation, released on the Music From Memory label in 2017.

The album fuses new-age electronics with indigenous vocals and Amazonian rhythms. It is beautiful and unique and takes you on a journey through different moods, textures and ethereal planes. Through the sounds Maria created, you join her on a timeless voyage gazing into the future whilst embracing her powerful roots.

Maria Rita Stumpf was born in the southern inland of Brazil, in the mountains of Aparados da Serra. She started writing music at the age of 14, and through participation in festivals and song contests, she developed her material and sound. A move to Rio de Janeiro in 1985 furthered her career and led to the release of the 'Brasileira' album. The record features the legendary pianist Luiz Eça, alongside the group Uaktí and Ricardo Bordini.

1993 saw the release of 'Mapa das Nuvens (Map of the Clouds)' on CD via the Leblon label, but soon after, Maria would have a hiatus from the music industry, dedicating herself to her cultural and arts agency, Acorde. She left the stage and recordings behind, but quality always shines through and years after its original release, international diggers, producers and DJs rediscovered the greatness of Maria's music. This would lead to a re-issue of the ‘Brasileira’ LP, and later Optimo Music/Selva Discos released a 12” EP of ‘Brasileira’ remixes by Selvagem, Carrot Green and Joakim. Maria also spoke at the Red Bull Music Academy Festival in São Paulo, performed at both the Kino Beat Festival and the Brazilian leg of the Dutch festival, Dekmantel. Her two latest albums received critical acclaim, ’Inkiri Om’ in 2020 and ‘Ver Tente’ in 2022. At last, Maria has got the credit and kudos she deserves, inspiring new and future generations of producers and music lovers.

Though previously re-issued, it was after a conversation with Maria that we learned that she wanted to keep this sublime record in press, and this was something that we couldn’t wait to put into action. So here it is, the Mr Bongo pressing of ‘Brasileira’, housed in a gatefold cover.

"Following on from May's "ECHOES Part 1 & 2" this is the second single of three to be released as an introduction to the next album project of Ulrich Troyer - TRANSIT TRIBE - to be released later this year.

This time it's one for the reggae fans and dubheads with contributions from Diggory Kenrick who has been busy over the last few years adding the distinctive sound of his flute to many new reggae productions. He is also an associate of the U.K. reggae label Pressure Sounds that specialises in reviving classic sounds from the roots and dancehall eras of the genre. Also joining the production is Takafumi Noda aka Mystica Tribe, a Japanese producer and musician who has specialised in a new form of dub techno and is known for adding the signature sound of his melodica to productions of dub friends from around the world.

The subject of travel, especially along modern, fast routes has long been subject to fascinate musicians, from the days of Kraftwerk's "Autobahn" and now the whole genre of dub techno seems to be one built for listening on long journeys. The Autostrada Del Brennero / Brennerautobahn is one of the most important motorways in Italy, as it connects the Po Valley with Austria through the Brenner Pass and features many modern bridges and overpasses that are ready built illustrations for the covers of dub techno albums! On this release this major European truck route is celebrated musically by Ulrich Troyer with inputs from Diggory and Taka to create two modern dub classics."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023,

now Slack City Radio & reggae/dub columnist and contributor to The Wire)


Credits:

Diggory Kenrick: flute

Taka Noda: melodica

Didi Kern: drums

Ulrich Troyer: analog synthesizers, analog drum-machines, sampler, dub effects

A written by Diggory Kenrick & Ulrich Troyer

B written by Taka Noda & Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow, Vienna - except flute recorded by Diggory Kenrick at Holloway Studio, London / melodica recorded by Taka Noda at Mystica Sound Studio, Tokio

Mixed & arranged by Ulrich Troyer at 4Bit Bungalow, Vienna

Produced by Osman Murat Ertel & Ulrich Troyer

Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin

Cover Drawing by Ulrich Troyer


Special thanks to Steve Barker, Osman Murat Ertel, Diggory Kenrick, Eva Kelety and Takafumi Noda

Kindly supported by the City of Vienna (MA7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), SKE-FONDS (AT) & Amt für Kultur, Bozen (IT)

Walker & Royce have released their highly-anticipated sophomore album No Big Deal out now via Dirtybird Records.

Embarking on a four-part mission to bring the party back to dance music, Walker & Royce have embraced the boisterous, unruly nature of their over-the-top signature to deliver 10 non-stop anthems. A highly collaborative body of work, No Big Deal features a colorful collection of characters including comedian/ musician Reggie Watts, Grammy-nominated and multi-platinum selling artist James Patterson (and 1/2 of the electronic duo The Knocks), peak-time queen VNSSA, Grammy-nominated vocalist Barney Bones, and more.

From the tongue-in-cheek lyricism of ‘I Don’t Remember’ and ‘Might Just’ to the overzealous charisma imparted on tracks like ‘Motivashun’ and ‘Fatalistic Groove’, No Big Deal boasts the sense of humor and lightheartedness that Walker & Royce have brought to countless dance floors throughout their career. The album is hallmarked by the kaleidoscopic elements of their dance music roots: catchy vocals, playful melodies, thumping basslines, and relentless four-on-the-floor percussion.

No Big Deal is a wondrous homage to the weird and wacky tropes that have distinguished Walker & Royce’s no-holds-barred style for more than a decade. An auditory yearbook cataloging Walker & Royce’s sonic inspirations from their early days in New York City’s 90s underground raves to the Dirtybird BBQs and Campouts where they found their home, No Big Deal is a victory lap for Walker & Royce as they cement their status as headliners and hitmakers.

No Big Deal is a reminder to enjoy the ‘Cheap Thrills’ that life presents, to ‘Get Down Down’ and adopt a motto like ‘Let’s Live It Up’.

2xLP, Gatefold Jacket, Picture Disc, cut at 45rpm. First pressing limited to 500 copies.

Common Labour finally returns to the record press with their milestone tenth 12″! The four-tracker by pothOles perfectly balances crisp percussions and bassy grooves with evocative sprinkles of synthetic harmony.

His buddy Yaniel joins the party, collaborating on two tracks. The guys go way back to 2003 with their boy band days as the A.M. Specialists trio (comprising Samuli Kemppi, Yaniel, & pothOles). Most renowned for “Polar Zoo”, Danny Tenaglia’s power play at the Vinyl Club back in the day.

As you hear, their musical alchemy hasn’t dwindled one bit though. Much like the fading autumn light of a forest lake, this is tasteful deep-house at its most nostalgic and seductive. Big thanks to Fabio Monesi, Iron Curtis, Katerina, Roberto Rodriguez, Session Victim, and everyone else showing the love! Don’t miss out on the limited edition of 200 copies worldwide for the “It’s Been a While” EP.

2024 repress.

Dive into the spiritual depths of Carnatic Music (Southern Indian classical music) - An enchanting journey of devotion and transcendence pulsates with raw sincerity and profound spirituality, casting a spell that transcends boundaries of belief.

Originally released on CD in 2000 from South Indian Carnatic music label and reissued on vinyl and digital first time in 2019 by Time Capsule. New 2024 repress vinyl has different tracks on the B side and it still remains as the reverse cut as the 2019 version.

2024 new vinyl repress with different track list on the side B. Reverse Cut Vinyl - This record plays from the inner groove to the outer groove. Comes with a hype sticker.

Born into a musician family steeped in the south Indian tradition of vocal music, the Mumbai-raised singer took advantage of the city’s cosmopolitism to study northern Hindustani disciplines, one of the few vocalists to train in both. Now revered as one of the greatest living exponents of Carnatic music, she received an Oscar nomination for her work on Ang Lee’s Life of Pi.

Within the first minute of opener Sada Bada (Slokam), Jayashri’s intensely spiritual vocals give a clear indication of why she has been increasingly embraced by a new generation of western listeners who’ve made the natural leap from ambient soundscapes to new age and devotional music. Accompanied on the following Bhajeham Bhajeham by a hypnotic rhythmic backing of mridangam drums, bells and the drone of a tambura, over its epic twenty-minute length she stretches her voice into a variety of spellbinding forms – her softly enunciated dedications to Shiva enveloping you with their immersive warmth and cosmic beauty. Keshvaya Namaha is an invocation to Lord Vishnu, the protector of creation and one of the other major deities of the Hindu tradition, while Raghavam recites the names and attributes of two of his most popular avatars: the heroic Rama and the playful, loving Krishna.

One of the album’s new-found devotees is label boss Kay Suzuki: “every time I listen I’m amazed at how such a small ensemble can create such a deep musical landscape. The incredible production plays a big part. That intricate percussion sounds so clear and sits in all the right pockets rhythmically and sonically. Just by following this groove I’m put into a timeless zone, but when her voice hits on top of that gorgeous drone sound and I focus on the details of her small melodies within melodies, my heart centres and I find myself in a blissful place.”

As professor of cultural and political theory in Universicty of East London, Jeremy Gilbert states in the album’s liner notes, the mesmerising sincerity and deep spirituality of these songs present an intense and spiritual charge that will appeal to an audience well beyond believers and devotees of Hinduism.

Incredible new album from our new signing to BDQ records ZAN on the Boogie - Jazz Funk tip, due May. We’re so happy to be releasing this fabulous album.


Zan’s beautiful voice is an abiding part of the Australian music landscape. In the 80’s, she came to prominence out front of Melbourne’s iconic pop funk band
I’m Talking with Kate Ceberano, Zan’s lead vocals shine on one of the bands biggest hits ‘Holy Word’, which is still considered a trail-blazing Australian classic today. She loaned her vocal
talents to some of the most memorable Australian songs including The Models “Out Of Mind Out Of Sight” and “Barbados”. She appears in numerous videos singing backing vocals for a number
of Australian artists.

Zan appeared with I’m Talking in the classic music film Australian Made directed by Richard Lowenstein of Dogs in Space and Mystify fame. The film captured the incredible concert tour, which featured a plethora of major Australian performers such as INXS, Jimmy Barnes, The Divinyls & The Models. In her time with the I’m Taking band and as a solo performer she has made countless appearances on Australian TV including the legendary music programme Countdown.


In the 80’s she even performed for Princess Diana and Prince (now King) Charles at the
Rockin’ the Royals concert, at the Arts Centre in Melbourne, meeting the Royal couple after the show. Zan was bitten by the soul/R&B bug at an early age. Born in London of Sri Lankan heritage,
arriving to the shores of Australia as a young girl. Her love of music took her from Australia to New York and London, where she lived in the 90’s and early 2000’s regularly performing and recording with top international session musicians/artists. She’s also
had the extraordinary honour of performing live with both U2 &
B. B. King, Zan’s self-titled solo album was released through Amber Records in Germany in the mid 90’s and she also toured with UK Acid Jazz band
Mother Earth throughout Europe & Japan, eventually returning to the city she calls home, Melbourne.

Since being back in Melbourne, Zan has performed at various popular music venues such as The Night Cat, Memo and The Espy and in 2019, to the delight of 80’s music fans, Zan sang once again with the re-formed I’m Talking, playing a number of shows supporting Bryan Ferry on his acclaimed Australian tour. The re-formed band received several rave reviews for their shows. Zan’s new material is influenced by her considerable experiences, her rich musical history and the songs and artists she grew up on - soul and R’N B singers such as Chaka Khan, Renee Geyer and many others of that genre. Her new songs are steeped in 80’s dance/boogie funk/soul & pop flavours, re-capturing that feel-good factor from the era whilst bringing to it a new unique and contemporary edge.