quête:las

Mit dem kommenden Album ”Year Of The Dark Horse” beschloss The White Buffalo (auch bekannt als der
in Oregon geborene Sänger, Songwriter und Gitarrist Jake Smith), dass es nun an der Zeit sei, an vergangene
Erfolge anzuknüpfen - um einen frischen, aufregenden, manchmal auch etwas unkonventionelleren Stil und
Sound zu schaffen, der seine Musik weltweit an Ansehen hat wachsen lassen, unterstützt von wichtigen
Auftritten in der Welt des Fernsehens und des Films (z.B. ”Sons Of Anarchy” und ”Californication”).
”Year Of The Dark Horse” ist ein Album mit einem Dutzend musikalischer Facetten, individuell und doch
konstant im Fluss; ein Album, das lose auf dem Wechsel der Jahreszeiten und der Veränderung einer
Beziehung basiert; ein Album, das das gesamte Spektrum von Jakes Songwriting-Kunstfertigkeit zeigt, von
zurückhaltend bis energiegeladen. ”Year Of The Dark Horse” ist sein achtes Studioalbum und das bisher
unvorhersehbarste, einfallsreichste und rundeste Werk von The White Buffalo - überraschend, spontan und
spektakulär Genre-resistent.

'Songs From Planet Earth' is Deux Furieuses' third full length album, the second with Xtra Mile Recordings. Written and recorded during the last two turbulent years, Songs From Planet Earth is a beating heart signal out from this world as we fall spinning into a vortex of pandemic, isolation, avoidable deaths, political corruption, personal mourning and ultimately survival. The album documents the journey from the city to the countryside like refugees in search of sanctuary. 'Bring Down The Government' jumps on the fuzz box to demand a reckoning for all the lives. Deux Furieuses are currently members of Brix Smith (from The Fall) band, playing guitar and drums. They are touring across the UK supporting PiL throughout June; Kendal Calling, Loud Women Festival appearances and further headline and support shows in November and December.

12 of the heaviest early tracks by the master of rebetika music. Markos Vamvakaris sings from the hash dens of the Greek ports of the 1930s - mournful, poetic, bitter music of love and long nights. Rebetika is the sound of Greece and Asia Minor clashing amid civil war, mass population exchange, and the anarchy of the late 19th and early 20th centuries. Poetic, mournful, and bitter, rebetika music was born in the hash dens (tekes) of Mediterranean ports, its verses whispered in Greek prisons before spilling out to the greater population in the 1930s, propelled in no small part by a series of remarkable recordings by Markos Vamvakaris. Markos, as he’s known to this day, sang heady, drugged out songs of love, pain and yearning at brothels, bars and hash dens in the port of Piraeus. He arrived as a youth in 1917, working as a skinner in a tannery. By the time he picked up the bouzouki around 1924, he was fully taken by the life of the manges, the lowest rungs of the Greek social ladder. They lived by their own code and in total opposition to the rest of the population, and rebetika was their music. On these twelve early tracks, recorded in Athens between 1932 and 1936, Markos was already a master of the bouzouki. His forceful, clean playing compliments his hoarse voice and his stunning rhythmic sensibility, the result of his years as a champion zebekiko dancer. Tracks build and spiral outward, his open-note drones and melodic lines drawing calls of ecstasy and encouragement from his fellow musicians. Translations of songs like “Hash-Smoking Mortissa” and “In The Dark Last Night” provide a glimpse into the life and language of the manges - Ottoman cafe music, the calls of displaced Greeks of Smyrna, the chaos and suffering of port life, it all comes through Markos’ songs. These recordings, incredibly rare and expertly remastered, mark the height of rebetika, the brief period between the music’s emergence on the recording scene in the early 1930s and government censorship of all lyrics starting in 1936. During the Axis occupation there was no rebetika recording, and though Markos had some hits in the years after the war, he never again attained this level. These are the dizzying, entrancing, and heaviest works of one of the great artists of the 20th century. Pressed on 160gm vinyl, includes full size 8 page booklet with historical notes, rare photos, and lyric translations.

Repress in soon, note new price. For Fans Of:The Lawrence Arms, Into It. Over It, The Menzingers, RVIVR, Modern Baseball, Sundowner, Topshelf Records. Deanna Belos has been a fixture in the Chicago punk scene since she was in Junior High, attending shows, singing along, and raising hell in general. But she was more than just a face in the crowd, Deanna was a radiant friend to all, and at some point she picked up a guitar and made a different contribution the Chicago underground scene: her own music under the name Sincere Engineer. Over the last couple years we've encouraged her to keep writing songs and she surprised us all by assembling a great band and recording an impressive album. Her debut, "Rhombithian", was Produced by Matt Jordan (You Blew It!, Dowsing, etc.) and pairs the sounds of Chicago punk and the youthful Midwest "emo revival" movement. No one is more excited about music than Sincere Engineer, and Deanna plans to play a lot of shows and bring her infectious energy to the rest of the planet in support of "Rhombithian".

"Most of this record was created in the shadow of COVID and deep in the maw of Melbourne’s 2020 long winter lockdown. It is a meditation on the nature of connection.

Restricted to a 5km zone, one of the only people I saw outside my family during this time was my old friend and teacher, Ania Walwicz. We met in the overlap between our zones on the waterfront near Docklands to walk and talk on bright, cool winter afternoons. Those conversations became large in my thoughts when Ania suddenly passed away in September. Her voice was in my head as I worked on this music, trawling through threads of ideas, recordings made on my phone, and thoughts jotted down in notebooks.

Ania’s practice as a writer relied on ‘automatic’ processes. Her work was informed by everything she had read (a lot) but it was created in the manner of dreams. In a state where the subconscious might bubble up and the words arrange themselves into meaning bearing forms that resonate more than represent. I thought a lot about that as I made this music. I recorded everyday using the trumpet, my old Revox reel-to-reel, a couple of synths, a harmonium I lent from a friend, and whatever else was around. I worked mostly on just diving a little deeper each time I sat down to it.

Through the simple process of exhalation, I explored my relationship with the trumpet, which has been through so many twists and turns. I let the tones produced by my breath unfurl on long tape loops and degrade beyond recognition through pedal and plugin chains, until the only imprint of the initial gesture remained.

My process also involved long bike rides during which I’d listen to the work of previous days on ear buds, gliding through familiar streets made slightly strange by the absence of people and movement. Often my rides took me along Footscray Rd next to the port, and as I washed down towards Docklands past the old boat moorings I stopped pedalling to coast. The sounds from my darkened studio mingled with the low rush of air past my helmet, the click and whirr of my bike gears, a squalling bird, a whooshing car. And I remembered my last conversation with Ania. Sitting in the late afternoon sun, squinting against the light that raked across the water, she was telling me about all the different words for they have for blue in Polish and Russian, and how words don’t just change our perception of things, but also actually change the thing being perceived.

As I rode home that afternoon, I felt like anything was possible. "

Peter Knight

Over the last ten years, The Lone Bellow have cast an indelible spell with their finespun songs of hard truth and redemptive beauty, faithfully delivered in hypnotic three-part harmony In a departure from their past work with elite producers like Aaron Dessner of The
National and eight- time Grammy- winner Dave Cobb, the Nashville- based trio
struck out on their own for their new album 'Love Songs for Losers', dreaming up
a singular sound encompassing everything from arena-ready rock anthems to the
gorgeously sprawling Americana tunes the band refers to as “little redneck
symphonies.” Recorded at the possibly haunted former home of the legendary
Roy Orbison, the result is an intimate meditation on the pain and joy and ineffable
wonder of being human, at turns profoundly heartbreaking and sublimely
transcendent.

coalesce koh-uh-les 'to come together in or form one mass or whole'
Tritonal have embarked on a brand new chapter in their story which
began with 'Out Of The Dark', the first single from their upcoming fifth
album 'Coalesce'
Encompassing all that they've learned on their musical journey thus far, the
upcoming album solidifies production, art and meaning.
The upcoming record is a grandiose progressive trance production that sees
Tritonal's refined sound at its very best, supported by outstanding vocal
performances from a variety of collaborators, and is already set to be a favorite
amongst fans and supporters alike. In recent weeks, the duo wrapped up festival
appearances at EDC in Mexico City and Las Vegas, Metropolis Festival in
Brooklyn, and Dreamstate Harbor in Los Angeles, bringing their captivating and
vivacious sets to crowds across the country.
Double Gatefold, Neon Magenta Color Vinyl, Insert

It was conceived bit by bit, when inspiration would sneak into a rehearsals for
shows or in between recording sessions at my studio in East Vancouver. These
little song starts or jams sprout up; incomplete, but with the potential to be full
songs. As these recordings amassed on hard drives, I would occasionally listen
back, hunting for a glimmer or an angle of potential; some of which were buried
inside long jams. These sessions happened over a five year period as I was also
recording, mixing, writing and mastering for other artists in my studio called
recRoom. In 2020, my partner and bandmate in Limblifter, Megan Bradfield and I
migrated to our cottage on a Southern Gulf Island in British Columbia. At the start
of the pandemic, recording, mixing and at my Vancouver studio wasn't a wise
idea, so I migrated my from East Van to the Southern Gulf Islands and opened
Mayne Island Sound. My partner and bandmate, Meagan Bradfield and I have
been coming to this island for years to take a break from our busy downtown
Vancouver life and during COVID we found ourselves staying here, waiting for the
madness to pass. Moving away from my busy Vancouver studio life and from
touring gave me perspective. Living in the middle of this spectacular forest on an
island has put Megan and I back in touch with nature. The combination of all
these things gave me laser focus to write new material and finish the songs we'd
started. - Ryan Dahle.

Ron Carter and Richard Galliano decided to risk intercontinental
collaboration for the second time after 1990, when they recorded their
acclaimed album "Panamanhattan" in Paris
Here the French accordion master, whose fingers fly over the keyboard with
acrobatic ease and can make the instrument weep in melancholy or rejoice with
joy. There the American bass wonder, whose deeply tuned strings enhance more
than 2,500 (!) recordings and are among the cornerstones of the complete artistic
works of Miles Davis, Eric Dolphy, Archie Shepp, Herbie Hancock, Aretha Franklin,
Roberta Flack and Antonio Carlos Jobim. Two who have already gained hero
status in their own worlds and can actually only lose when they transgress into
each other's terrain. "Believe me, there is nothing more real than to go on stage
with a gambler," Carter raved about the refreshed liaison with his Gallic buddy.
The two rediscovered the once lost central thread in March 2016 at Jazz Week in
Burghausen as a short intermezzo during a joint appearance with the WDR Big
Band. The provisional climax was then the recording made in Theaterstu?bchen
in Kassel on October 29. Galliano recalled: "Before we got going, I said to him:
"Can you believe it? Twenty- seven years have passed, we are still the same and
I'm still playing the same accordion. To which Ron just responded: "And we have
still same fingers!" With these 20 nimble tools, the two protagonists of the
musical joint venture interact without fear of contact. Neither remains in his
accustomed position. Like two intrepid mountaineers, they balance over a
yawning abyss, perform daring maneuvers and clear the way for each other time
and again. The longer the intimate wanderings of subtle nuances and sensitive,
dancing elegance last, the greater the familiarity seems to be. "Richard really
seizes every rhythmic and harmonic chance," the American marveled about his
French partner. And he replies gallantly: "Ron still looks so young, fresh and
elegant like three decades ago. And he is still enthusiastic, straightforward and
comes straight to the point." An often thoughtlessly used image rarely fits better
than on this very special evening: Ron Carter and Richard Galliano create a
universal musical language, whose vocabulary consists of notes. Risk- free
enjoyment

Radio John: Songs of John Hartford is Sam Bush's heartfelt tribute to his
hero and mentor, John Hartford
With dedication, admiration, and love, Bush takes on personal favorites from
Hartford's vast catalog, including songs he played with Hartford on stage and in
the studio in the 1970s. Bush plays every instrument on nearly every cut, pouring
himself into the performances. 'Radio John' is a testament to the impact Hartford
had on American traditional music as a songwriter, an instrumentalist, and, most
importantly, someone who fostered the careers of musicians like Bush and
countless others reinventing roots music in the last half of the 20th century.

Renowned fiddle player and tireless musical adventurer Sam Sweeney
returns with the passionate, raw and expressive new album 'Escape That'
The record ties together the threads and footpaths of all of Sam's musical loves;
an honest and fearless expression of himself, combining pop hooks and
aesthetics with his pioneering work in the world of traditional dance tunes.
'Escape That' simultaneously presses the reset button on what a folk record
should sound like while marking a major stride forward for Sam into the world of
composition. Written without ever touching the violin, Sam retreated to his attic
during the lockdowns of 2020-21 and created over twenty pieces of
music. Composed almost entirely on synths and guitars, with snapshots of loved
ones and memories as inspiration in a time of isolation, he devised a way of
writing where he'd lay down a chord sequence and then record an improvisation
over the top. On listening back, anything that could be considered a hook would
be kept, everything else was deleted and tracks developed by linking the hooks
together to create dance tunes. Sam then translated the melodies back to the
fiddle, an instrument of which he is considered a modern master. Nominated four
times, and winner in 2015, of Musician Of The Year at the BBC Radio 2 Folk
Awards, Sam has been at the forefront of the revival in English music for the last
fifteen years.
He is a veteran of the mighty Bellowhead, former and inaugural Artistic Director of
the National Youth Folk Ensemble, a founder member of ground- breaking trio
Leveret as well as a passionate and experienced educator. He has collaborated,
recorded and performed with The Full English, Eliza Carthy, Martin Carthy, Jon
Boden, Fay Hield and Emily Portman as well as creating his own theatre
production Made In The Great War.

Renowned fiddle player and tireless musical adventurer Sam Sweeney
returns with the passionate, raw and expressive new album 'Escape That'
The record ties together the threads and footpaths of all of Sam's musical loves;
an honest and fearless expression of himself, combining pop hooks and
aesthetics with his pioneering work in the world of traditional dance tunes.
'Escape That' simultaneously presses the reset button on what a folk record
should sound like while marking a major stride forward for Sam into the world of
composition. Written without ever touching the violin, Sam retreated to his attic
during the lockdowns of 2020-21 and created over twenty pieces of
music. Composed almost entirely on synths and guitars, with snapshots of loved
ones and memories as inspiration in a time of isolation, he devised a way of
writing where he'd lay down a chord sequence and then record an improvisation
over the top. On listening back, anything that could be considered a hook would
be kept, everything else was deleted and tracks developed by linking the hooks
together to create dance tunes. Sam then translated the melodies back to the
fiddle, an instrument of which he is considered a modern master. Nominated four
times, and winner in 2015, of Musician Of The Year at the BBC Radio 2 Folk
Awards, Sam has been at the forefront of the revival in English music for the last
fifteen years.
He is a veteran of the mighty Bellowhead, former and inaugural Artistic Director of
the National Youth Folk Ensemble, a founder member of ground- breaking trio
Leveret as well as a passionate and experienced educator. He has collaborated,
recorded and performed with The Full English, Eliza Carthy, Martin Carthy, Jon
Boden, Fay Hield and Emily Portman as well as creating his own theatre
production Made In The Great War.

First Released in 1998 Superstar's wonderful LP Palm Tree will now be
repressed in Double Gatefold Format with 6 Bonus Tracks

LNFG is proud to bring you "The Great Imposter" by Steve Lane - We are
so pleased that Steve has chosen us as his musical home, we love this
record and we quite like the man himself
The Great Imposter is a delightful slice of shimmering antipodean guitar pop,
unless of course, you're reading this on the other side of the world, in which case
it's a glorious slab of homegrown genius.The Great Imposter features the single
"Certainty" other singles will follow. The album will be released on Eco Vinyl
(Every single copy will be unique) this Autumn/Spring.

In May of this year we invited both Sister John and The Bluebells to
spend a day in Green Door Studios - We also charged them both to cover
one of the others songs
The Bluebells chose "Glasgow Is A Rainbow" from Sister John's "I Am By Day"
whilst the latter chose the formers "Young At Heart" - brave decision ?Both songs
were recorded by Ronan Fay then mastered by Paul McGeechan.

27 of the greatest hits by the central figure in the golden age of Cuban
music and multiple Grammy Award winner, Bebo Valdes
Includes the classics 'Lágrimas Negras', 'El Manisero', 'Descarga Caliente', and
'Ansiedad'. Package comes with a comprehensive 12- page booklet. Presented
here are Cuban pianist and legend Bebo Valdés' greatest hits recorded during the
most prolific period of his career from the mid-'50s to the beginning of the '60s.
Bebo is the leader on all of these recordings, which feature diverse formations
and include many of the greatest Cuban jazz musicians, as well as the singers
Celeste Mendoza, Pacho Alonso, Rolando Laserie, Fernando Alvarez, and Pío
Leyva.

Certain to become a staple of countless Christmas and Holiday music
collections for many years to come, More The Merrier, the 8-song holiday
EP from pop artist and songwriter Sarah Reeves featuring the song,
"Winter Wonderland (feat
Clark Beckham)" will fit perfectly alongside Bing and Nat and the Vince Guaraldi
Trio. Listeners are sure to experience all of the sounds and feelings the holidays
have to offer or remind us of, from the lighthearted, jazzy fireside moments to the
sacred. More The Merrier was produced and arranged by Ben Schofield and Mark
Campbell. Sarah signed her first record deal at age 18. For more than a decade, in
addition to pursuing her own artistry, she has dedicated a vast portion of her
career to writing songs for other artists and TV and film. Her music has appeared
in Disney Plus and National Geographic's six- part original series " Welcome To
Earth," starring Will Smith; Disney's Raya and the Last Dragon international trailer;
promos for "American Idol " and UFC; and on television series across major
networks like ABC, NBC, CBS, FOX and Netflix, among others. " Winter
Wonderland is one of the first songs I play every year at the beginning of the
Christmas season, "shares Reeves. " It is simple, classic and I was so excited to
record my own version. I asked my friend who is an incredible artist named Clark
Beckham to join me on this song. He was the perfect addition. I hope this song
brings a magical feeling of warmth and nostalgia this Christmas."
Reeves has also been featured on tracks by high-profile DJs, including Gatt so,
Laidback Luke, Justice Skolnik, R3HAB, and Armin Van Buuren. Having amassed
more than 65 million career on-demand streams, the Curb | Word Entertainment
artist has garnered 26 million Pandora lifetime streams and over 37.5 million
YouTube views to date.

Recommended If You Like: Trentemøeller, Nine Inch Nails, Zola Jesus, Tropic of Cancer, Chelsea Wolfe, William Basinski, oOoOO, The Focus Group/Ghost Box -- hauntology in general. LP on Blood Red Vinyl, LP & CD packaged in a gatefold jacket. First new music since 2018’s Lingering Pt. II. Featuring k Hover (Sound of Ceres) on “Moldering Fragments”. Sleep Party People’s Brian Batz dives into the darker edges of orchestral pop on new album Heap of Ashes. Influenced by primarily Bulgarian choral music, old-school metal, and 21st century experimental composition, the music of Sleep Party People exposes every facet, every moment, and every wound, finding beauty even when the last glow of hope looks like it’s ready to fade into the ashes. Heap of Ashes includes contributions from Halvcirkle, GNOM, and Sound of Ceres’ K Hover. Track Listing 1 It Won't Be Cinematic 2 Tide 3 Spider Cracks 4 Moldering Fragments 5 No. 3147 6 Labyrinth 7 Parched Bodies 8 Pagan Flames 9 Needle

Recommended If You Like: Trentemøeller, Nine Inch Nails, Zola Jesus, Tropic of Cancer, Chelsea Wolfe, William Basinski, oOoOO, The Focus Group/Ghost Box -- hauntology in general. LP on Blood Red Vinyl, LP & CD packaged in a gatefold jacket. First new music since 2018’s Lingering Pt. II. Featuring k Hover (Sound of Ceres) on “Moldering Fragments”. Sleep Party People’s Brian Batz dives into the darker edges of orchestral pop on new album Heap of Ashes. Influenced by primarily Bulgarian choral music, old-school metal, and 21st century experimental composition, the music of Sleep Party People exposes every facet, every moment, and every wound, finding beauty even when the last glow of hope looks like it’s ready to fade into the ashes. Heap of Ashes includes contributions from Halvcirkle, GNOM, and Sound of Ceres’ K Hover. Track Listing 1 It Won't Be Cinematic 2 Tide 3 Spider Cracks 4 Moldering Fragments 5 No. 3147 6 Labyrinth 7 Parched Bodies 8 Pagan Flames 9 Needle

Visitor Kane, a band always in search of new ground, has gone through some changes over the last 5 years. Releasing their first album “Easy Concern” as a two piece, an album that dove into new wave sounds, with synths, drum machines and a crooning voice, soon became a fully electrified band, transforming into a classic rock and roll outfit. Their second full length “Change of Heart” showcased a sonic turn. Drum machines and synths were replaced by acoustic guitars, old Casio organs and drums, making the album sound substantially different from its predecessor. Now after 4 years, they are ready for new adventures, and it comes in the form of a new album titled “At Issue” out on November 11th, 2022. The album is a humble look into different aspects of interaction within the boundaries of society. Patrick from Visitor Kane elaborates; “At issue is me trying to describe the world and its affairs through abstraction. It’s tough to understand so it seemed fitting to do so. It being hard to fathom means that it can come across as a bit pessimistic, although it’s something I try hard not to be, because there’s a bright side to almost anything. The title for me represents it very well with its dualistic nature. On one side it’s analogue as hell, but on the the other, it’s all about ones and zeroes...” ‘At Issue’ will be available on vinyl and digitally on November 11th via Part Time Records.

Stretch and enjoy a.k.a. The Last Ronin returns to AKO150 Arcade with two beautifully crafted jungle tracks.

Changeling VIP starts off with a rare groove rift with sound system samples that build up before the drop comes that will get you going on the dance floor.
Roll the dice is another track that rolls and keeps getting better as it goes along with pads, subs, brakes, and deep baseline with the iconic sample ‘roll a dice’ do you know what movie this is from?

Two decades at the highest level in this industry is a landmark really reached. Pig&Dan celebrate this major milestone with an immense, twenty-track album project ‘20 Years: Pig&Dan’ of which this eight track, 2 X 12” vinyl sampler cherry-picks some of the finest moments.

Released via their long-standing record label ELEVATE, the album delivers some of the duo's most forward-thinking techno productions to date. It is a remarkable opus of intelligent, cutting-edge dance music from two artists who came together back in 2002 to form what would become one of the most prolific and globally revered acts in electronic music.

Unyielding in their commitment to originality, eclecticism and tradition, the album will feature an array of brand-new Pig&Dan productions, alongside a selection of new 'update mixes' of some of the duo's most celebrated anthems.

Speaking about the twentieth-anniversary project Pig&Dan commented:

"It's almost hard to take in that we are celebrating a 20-year milestone of producing and performing together. This project features an array of fresh unreleased euphoric productions that hold a sound that we hope represents our growth in sound. We've also included a selection of new, updated 2022 versions of some of our more celebrated productions from the last two decades. We really see it as more of a statement than an album, hence the fact there's a track that represents every year on our musical journey."

(reissue)

Pluto Shervington's move from his native Jamaica to Miami had a huge influence on the musician, singer, engineer and producer's sound. That is captured in this gloriously fresh take on reggae: it reflects The Magic City's bright lights and shiny metropolitan feel, technological advancements of the time and urban swagger of the people. It was recorded by the former member of the Tomorrow's Children show band at Earthman Studio in late 80's Miami and brings in lashings of funk, soul and disco to the clean digital sounds and fleshy reggae drums. His own mic work adds to a sound that calls 'urban reggae folklore' and makes for a superb listen.

Beatservice Records are thrilled to present the hotly-anticipated third album from Oslo-based production maestro, Third Attempt. 'The Novel Sound' follows on from the widely acclaimed 'Beats From The Quarantine' album released in April 2021, and further compliments the young artist's deserved reputation as one of the dance underground's most exciting talents to emerge in recent years.

Third Attempt (aka Torje Fagertun Spilde) has been dazzling us with his far-reaching music since arriving in the Beatservice fold with 'Shoreline' back in 2018, and since then his ever-evolving repertoire has continued to serve up immaculate sonic surprises. The fast-rising 23-year old artist has wasted no time making his indelible mark, displaying a frenetic work rate alongside an impeccable ear for constructing compelling leftfield grooves.

'The Novel Sound' opens with the rolling deviance of 'Freak Out', where a dusty string sample makes way for vocal samples, scratches, and searing sirens permeating a bass-heavy groove, setting the tone magnificently for the music that's primed to unfold. Next, we arrive in the mid-tempo chug of 'Age Of Steam'. Evolving over a crisp, club-ready rhythm, heavy funk guitars, dancing keys and distant vocal stabs cascade over driving bass before soaring strings herald the arrival of a slick breakdown section. The icing on the cake arrives as bubbling acid joins sensational horn motifs, breaking down once again for a starry-eyed beatless passage that leaves us yearning for a reprise.

'My Girl' features amorous vocal samples hovering over an irresistible disco beat, with alluring rhythm guitars and dreamy e-piano chords setting the scene for rousing horns to blast off into blissful summer skies. Before we've found time to catch our breath, 'Nu Funk' arrives with snappy hip hop samples scratched over tight beats and a delectable bass guitar hook. The groove pauses for dubbed-out space delays to echo into the night before a singing lead guitar joins the rhythm elements to burst back into life, with flute motifs, elegant strings, and otherworldly sweeps elegantly meandering across the panorama.

Set over a groove that arrives like a cool summer breeze, 'Sunbeam Symphony' drifts over soul-soothing chords, weighted bass and slick, rolling beats. Hypnotic keys guide us into position as the drums build energy and the bass notes power us forward. Third Attempt's dextrous keyboard solo dazzles momentarily before subsiding for a dub-infused break, with spaced-out vocal chops and rising sweeps building tension before the groove resumes and the virtuoso solo once again majestically soars. Maintaining the sun-kissed meditations, 'Definite' effortlessly floats through waves of thick bass, funk guitar chops and elegantly fused samples, with seductive chords, hypnotic horns and laser-tight drums combining to create a near overpowering dream state.

The heavy trip-hop rhythms of 'Nightfall' enrapture the listener as rich chords discreetly beckon, with cascading congas, mysterious melodies and exotic refrains building before the glorious lead vocal appears like a hyper-luminous flash of light. The chords disappear into the nothingness, before the carefully selected sample of 'Working Man' drifts in to fill the empty space. Smokey drums soon arrive, joined by weighted bass, foggy chords and an enigmatic whistle lead, fusing to conjure a half-lit world lifted from the pages of an evocative film noir novel.

The enlivening tablas, glitchy effects and saucer-eyed sweeps of 'Greed' hide subliminal messages casting a knowing eye over the consumer-driven society and self-help culture that pervade our society, before we arrive at the album's charmed finale. 'Last Winter Of My Childhood' yet again manages to transport the listener into a gently hallucinatory realm, with drowsy bass notes, tripped out pads and emotive strings building to a profound and rush-inducing crescendo.

'The Novel Sound' once again sees Third Attempt dextrously merging expansive musical aesthetics that fuse trip-hop, funk, soul and disco to deliver a sound that – although endowed with vintage sensibilities – feels proudly up to date. Continuing his breathtaking development in dazzling style, the album feels destined to echo over blissed-out sunsets, back-room excursions and twilight skies for many years to come.

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. The timeless songs of 'Mek A Menshun' amply reward the listener who can penetrate into the mystical musical realms of Rastafari. Longtime fans of Midnite and Akae Beka will note that Vaughn Benjamin's singing on 'Mek a Menshun' reached new heights of melodic delivery and emotional intensity. Coupled with his always poetic and insightful lyrics, these 10 original songs rank among his best recordings to date. The title track 'Mek A Menshun' includes vocals by Protoje Grammy (R)-nominated artist.

Mek A Menshun features the stellar musicianship of the ZIK distinguished in typical fashion by the rock-solid drumming of Lloyd "Junior" Richards. On this album, his playing is complemented by Aston Barrett Jr. ("By Day", "Only Now") and Kirk Bennett ( "Kagm Mystory", "Mek A Menshun"). The signature stylings of the other core ZIK musicians are augmented by horns (Andrew "Drew Keys" Stoch -trombone, Donald "Jahbless" Toney -saxophone), flute- Sheldon "Attiba" Bernard, kette- Andrew "Bassie" Campbell, and the guitar of Chet Samuel. ZIK guitarist Andrew "Moon" Bain contributes a string arrangement on "Only Now". Throughout the album, Laurent "Tippy I" Alfred's spot-on organ shuffle bubbles the rhythm forward. Many of the 'Mek A Menshun' tracks were among the last recordings done by the veteran engineer Gary Woung.

Originally released digitally and on CD, this LP is now being released for the first time on as a 12" vinyl LP courtesy of Before Zero Records.

Four of DFTD’s latest releases have arrived on wax for the very first time. The A-side begins with Darius Syrossian & George Smeddles’ collaboration ‘Back In The Dance’. This uplifting dancefloor-ready groove with ‘90s influences marked a solid return to the floor after a long lockdown, and quickly became a favourite of top selectors. Next up on the A-side is the Transcriptions Mix of youANDme’s raw DFTD debut: ‘Moment’. Released in collaboration with Georgian singer-songwriter Kristina Sheli, this record cemented their status as contemporary powerhouses of the Berlin club scene. The B-side opens with OFFAIAH’s ‘Up All Night’, a fiery track that makes the perfect addition to any house set; the Las Vegas based artist continues to demonstrate his taste for catchy hooks and intense builds. The B-side continues with a record that has consistently dominated dancefloors throughout summer ’22, Marco Faraone’s powered-up remix of R.E.A.D’s ‘Where’s My Phone?’ featuring Sailor Jane, which closes out the package.

Reissue of the oud / viola virtuoso SIMON SHAHEEN's interpretations of pieces by one of the Middle East's most important 20th Century composers, MOHAMED ABDEL WAHAB. Produced by BILL LASWELL, remastered for vinyl at D&M Berlin.

MOHAMED ABDEL WAHAB (1902-1991) was "a giant in the world of Middle Eastern entertainment" (Al Jadid Magazine) - as singer, actor and composer – and is commonly considered "the father of modern Egyptian song". After a visit to Paris, he revolutionized the film industry by introducing the genre "musical film" to the Arabic world, the movie "The White Rose" in which he starred broke all records and to this day is frequently presented in Cairo's cinemas. But in 1950, WAHAB left the film industry to focus on singing and composing – he wrote over 1800 songs (among others for Umm Kalthoum, an iconic artist in the Arabic music in her own right) that were deeply rooted in classical Arabic music but also laid the foundation for a new era of Egyptian music as WAHAB was open to Western elements such as waltz rhythms or even rock'n'roll in Abdel Halim Hafez's song "Ya Albi Ya Khali". He also composed several national anthems (Tunisia, Oman, Libya, United Arabic Emirates) and re-composed the Egyptian national anthem "Belady Belady Belady", based on the original by Sayed Darwish. WAHAB received several decorations of Arabic states, and at his death in 1991, Egypt honored its famous son with a huge military funeral at the Rabia al-Adawiya Mosque in Cairo, the six-horse carriage procession carrying his coffin was actually led by the prime and foreign ministers, followed by the ministers of defense, interior and culture!


SIMON SHAHEEN (born 1955) is the perfect choice for WAHAB's compositions. Born into a family of gifted musicians, he learned playing the oud at the age of 5 and the violin shortly thereafter. He earned degrees in Arabic literature and music performance at the Tel Aviv University, and later pursued further studies at Hebrew University of Jerusalem and after his emigration to the USA (in 1980) at the Manhattan School of Music and Columbia University. SHAHEEN lives in New York where he founded the Near Eastern Music Ensemble and Qantara, a formation that blends traditional Arabic Music with elements of Jazz and classical music, and he also has been organizing the Annual Arab Festival of Arts called Mahrajan al-Fan since 1994. The same year he received a National Heritage Fellowship from the National Endowment for the Arts at the White House. Solo albums like Saltanah (Water Lily Acoustics), Turath (CMP) or Taqasim (Lyrichord) underline his importance as one of the most significant Arab musicians, performers, and composers of his generation. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. SHAHEEN has participated in many cross-cultural musical projects with artists as diverse as Henry Threadgill, Vishwa Mohan Bhatt, or the Jewish klezmer ensemble The Klezmatics, contributed to the soundtracks for The Sheltering Sky and Malcolm X and composed the entire score for the United Nations sponsored documentary, For Everyone Everywhere, celebrating the 50th anniversary of the United Nations Human Rights Charter. SHAHEENS biggest success was the Qantara album Blue Flame (2001) which has been nominated for eleven Grammy Awards.

Besides all his activities as performer, he dedicates a good part of his time to working with schools and universities, including Julliard, Columbia, Cornell, Princeton, Brown, Harvard, Yale, University of California in San Diego, University of Michigan in Ann Arbor and many others.
The Music Of Mohamed Abdel Wahab was originally released in 1990 on Axiom, the record label curated by iconic producer and bass player Bill Laswell, and has been carefully remastered for this vinyl reissue at D&M, Berlin.


Press quotes:
"Master oud player and composer Simon Shaheen finds the perfect mix on this collection of Mohammed Abdel Wahab's pieces … seven wonderful interpretations sparkling with oud and strings interplay." Stephen Cook / AllMusic


"Shaheen's violin soars over a slicing string section and a bed of percolating percussion, while accordion, oud, finger cymbals and a chorus of singers weave in and out. Produced with sparkling clarity by Bill Laswell … this record opens a new world of harmonic and melodic possibilities to ears accustomed to Western pop." Greg Kot / Chicago Tribune


Musicians:
Simon Shaheen: Oud, Violin, Viola
Najib Shaheen: Oud
Sheikh Taha: Accordion
Anton Hajjar: Ney
Paula Bing: Flute
Ramzi Bisharat: Tabla
Hanna Mirhige: Mizhar
Michael Baklouk: Daff
Bobby Farah: Sagat
Ibrahim Salman: Quanoun
Artemis Theodos, Gabriel Palka, Nessim Dakwar, Kamil Shajrawi: Violin
Mike Richmond: Double Bass
Michael Finkel, Vladimir Greenberg: Cello
Laura Shaheen, Louise Salman, Maurice Chedid, Nermine Rawi,
Simon Shaheen, Youssef Kassab: Chorus

2022 marks the 25th anniversary of Suction Records, the Toronto-based electro/IDM label founded in 1997 by two emerging producers, Lowfish (aka Gregory De Rocher) and Solvent (aka Jason Amm), the latter still overseeing the label to this day. The label’s inaugural release was a split Lowfish/Solvent 12”, marking both artists’ debut vinyl appearance.

Gregory and Jason had known each other since high-school, but a deeper friendship was forged during their university years, after Gregory introduced Jason to early Rephlex releases by Aphex Twin and µ-Ziq. Gregory had been making electronic music in his bedroom for more than a decade, but it was those Rephlex releases that ignited Jason’s passion to do the same. After several years of obsessive gear buying, music making, and playing tracks for each other, Lowfish and Solvent had hit their stride, and their demos even attracted the interest of legendary early IDM labels labels Skam (for Lowfish), and Isophlux (for Solvent). But things were slow-moving in those days — letters, faxes, phone calls… nothing was panning out. So that’s when they decided to start their own label, and put out 300 copies of this 12”, suction001.

The label was heavily inspired by contemporary artists like AFX, Autechre, and Panasonic, but on suction001, those influences collided with their ‘80s synth-pop and industrial roots to create something unique. 25 years later, it still sounds fresh, and like nothing else out there. On suction001, 808 drum machines are run through distortion and breakbeats are chopped and mangled, contrasting with melodic OMD-style leads and catchy synth-pop basslines — a sound the label would refer to as ‘distortion pedal new wave.’

Over the past 25 years, Suction’s sound has morphed and evolved, but in recent years has shifted back to it’s original Rephlex-inspired roots. That makes 2022 the perfect year to revisit this wild, 1997 debut, now reissued in a new, expanded edition for it’s 25th anniversary. The reissue adds 2 bonus tracks — a 1999 remix by Detroit electro-punk duo ADULT., along with a previously-unreleased version of Lowfish’s A1 cut, and also features new and improved artwork, including an insert with full label discography.

Limited to 500 copies, and comes with a Bandcamp download card.

After Mani Festo's last contribution to our techno-oriented Basement Tracks series, a sequel was a no-brainer. It's no exaggeration to say that over the last couple of years the DJ, producer and label boss has become widely recognised as one of the UK's most exciting techno artists, given his easily identifiable sound, each release just as bold and hard-hitting as the last - this one included.

Synkron EP boasts Mani Festo's ability to create raw, industrial electronics which never sacrifice movement nor swing. Each track is crafted with a precise direction, some via industrial electro instrumentals ('Barrier'); others with acidic accents and the introduction of breaks ('Grass Snake') and another with hard techno proclivities ('Synkron'). If this weren't enough, we're stoked to draft in iconic Bristol producer Addison Groove who adds sharp rim shots and spasmodic synths to 'Barrier' to give it even more movement and body.

Synkron EP drops 28th October 2022 via Basement Tracks.

Formidable psychic warriors, channelers of the mystic and proponents of a spiritual quest that transcends this realm, Goat remain a band shrouded in mystery. Travelling from their inscrutable origins in the Swedish village of Korpilombo across the stages and festivals of the world in the last decade, this band has created their incendiary music entirely according to their own co-ordinates. With all this in mind, the casual observer might have guessed from its title that 'Requiem', their beatific and melancholic album of 2016, was to be their last. Yet the ancestral spirits summoned by their art are always restless. Thus the eternal cycles of rebirth have triumphantly produced 'Oh Death' - a ceremonial conflagration as powerful as any this band has made. Invigorated by forces we can only guess at the origins of, 'Oh Death' is a party to which all are welcome. Blithely waving away easy classification, these heat-hazed serenades are just as comfortable in the headspace of vicious '70s funk as they are in zesty ZE records post-punk. Folk-haunted incantations and free jazz skronk here find common ground, buoyed by relentless forward motion and raucous energy. Yet all of the above is locked into a delirious gnostic groove that threatens to throw the whole shebang spiralling into orbit. 'Oh Death' is driven by a supernatural charge that unifies, invigorates and transcends borders, whether geographical, musical, or between this world and the next. In the hands of these sages and soothsayers, this is just the beginning. Goat Is 'Oh Death', Long Live Goat!

Damian Schwartz makes a welcome return to Pulp for his third full-length album, La Sal De Tu Especie. The 11 track record was written over the last three years as a way of coping with some tough experiences and features remixes
from K15 and Gifted & Blessed. It once again finds the Madrid producer serving up the sort of richly musical house that has always stood him apart.

Schwartz has been away for a while but emerged in the early 2000s with an artful take on house music. As a student of jazz, composition and bass, his intricate grooves have always been embellished with real melodic craftsmanship. In the past, they have come on this label, Esperanza and A Harmless Deed which he co-runs with Jose Cabrera. He has put out two albums before now and also works under the Epiphany alias as a producer and live act. He is a real master of his analog machinery and someone who never fails to bring fresh ideas. This superbly adventurous and widescreen new album proves that once again and shows off diverse influences such as 90s broken beat by acts like Hanna and 4 Hero, the early IDM of LFO and Aphex Twin and the Detroit house and electro styles of greats such as Juan Atkins, Teknotika, Marcellus Pittman and Kyle Hall.

It kicks off with Renacido which is a cinematic synth opener that places you into orbit. La Elipa is expansive and jazzy house with cosmic chord work over the tight, punchy kicks and Lopp then gets physical with broken beat drums and funky bass dancing around each other to uplifting effect. The superb Zwei Danke is another masterclass in off-grid beat programming and soulful machine sounds that captures the essence of early Detroit house.

It is remixed by K15, a vital London beatmaker with credits on labels like Eglo and Wild Oats. His version showcases rugged, lo-fi and dusty drums softened by heart-melting chords and angelic vocal coos.

Schwartz's 'Morro Da Urca' is a suspensory ambient interlude that makes way for the crisp electro-funk and starry-eyed pads of 'Rufo,' then 'Meco' cuts loose
with boogie bass and glistening drums and perc that voyage through a whole eco-system of bright, nebulous synths. 'Mika' is another out of this world house composition with majestic leads and pixelated pads that bring warmth and future soul. There is real electricity in the freeform keys and corrugated drums of Coney Island that will ensure any dance floor takes off.

Final remixer Gabriel Reyes-Whittaker aka GB (Gifted & Blessed) is a composer and sound artist whose music is a constant exploration of the bridge between the technological and the ancestral. He flips 'Loop' into an Afro-future jazz dance with infectious percussion and expressive chords that never rest.

La Sal De Tu Especie is a timeless fusion of jazz freedom and house grooves that takes you into a magical new dimension.

Pedro Lima was certainly the most iconic singer from Sao Tomé Island. Born in 1944, his career began at teenage, with his faithful band Os Leonenses, who were mostly members of his family and shared most of his musical life; and lasted until his death on January 31st, 2019. Until the very end, he kept performing big events all around the country, and was among the very few singers and bands from Sao Tomé & Principe that recorded in Luanda Angola for N'Gola and Merengue labels in the 70's, and in Lisbon for the essential IEFE imprint in the 80's.

Immer schon war William Fitzsimmons auch ein hervorragender Interpret fremden Materials. Auf seinen Konzerten covert er gerne Songs seiner Helden wie Bob Dylan, Björk oder Kanye West. Einmal auf seine persönliche Musikgeschichte zurückzublicken und einige seiner Lieblingssongs für ein ganzes Album zu interpretieren, war da der nächste logische Schritt. Seine zärtlich hingetupfte, wehmütig-elegische Version des Joy-Division-Klassikers 'Love Will Tears Us Apart‘ schreibt dem eher düsteren Original ein hoffnungsvolles Element ein, 'Annie’s Song' von John Denver wird bei Fitzsimmons zur anmutigen Meditation, Peter Gabriels 'Solsbury Hill' zum intim berückenden Kammerspiel. Bereits an diesen Beispielen lässt sich das beeindruckend breite Spektrum des Albums ablesen, das zudem Songs von Künstler:innen wie Sarah Siskind, Chelsea Cutler, Sufjan Stevens und Iron & Wine enthält. 'Diese Vielstimmigkeit war mir wichtig', sagt Fitzsimmons. 'Ansonsten gab es eigentlich keine Regeln. Das sind alles Songs, die ich liebe. Die Bedeutung der Songs für mich persönlich war mir wichtiger als ihre Popularität. Ich habe allerdings bewusst darauf verzichtet, allzu offensichtliche Heldinnen und Helden wie Joni Mitchell und Bob Dylan zu covern.' Die Songs auf 'Covers, Vol. 1' kommen aus verschiedensten Ländern, Genres, Epochen und haben unterschiedliche Bekanntheitsgrade. Bei Fitzsimmons aber werden sie alle eins, es ist eine Anverwandlung der denkbar wunderbarsten Art. Erfüllt von der Liebe zu den Originalen, aber versehen mit der einmaligen Signatur dieses besonderen Künstlers. Die Geschichten, die William ganz konkret mit diesen Songs verbinden, sind so vielfältig wie die Musik selbst.

Lucrecia Dalt is a Colombian recording artist, songwriter, and producer currently based in Berlin, Germany. Dalt channels sensory echoes of growing up in Colombia on her eighth studio album ¡Ay!, where the sound and syncopation of Tropical Music encounter adventurous impulse, lush instrumentation, and metaphysical sci-fi meditations in an exclamation of liminal delight. Dalt's introspective approach to composition, last surfaced on her entrancing 2020 album No era sólida, refracts across ¡Ay! in a subconscious spectrum of the music genres she absorbed as a child. Treasured sounds and syncopations of bolero, mambo, salsa, and merengue rooted in Dalt's early surroundings awaken on ¡Ay! and give glow to the album's contours. The intuitive melodic structures of this music, processed by memory and modular synths, led Dalt to a mirage of her creative origins and the album she has always wanted to make. ¡Ay! is a tincture of rich acoustic textures filtered through the warmth of Dalt's signature machinic distortion, diffused of easily-defined edges as previously explored on No era sólida and her 2018 album Anticlines. Here, vivid incantations of upright bass, wind ensembles and brass form shimmers of harmonic motif, distilled across radiant rhythms. Dalt worked closely with friend and collaborator Alex Lázaro to cultivate new shapes and colors for slowed down tumbaos and bolero percussion patterns. Together they deconstructed the traditional drum kit into serpentine expansions of congas, bongos, temple blocks and timbales, all of which they tuned to dance among Lucrecia's lucid vocal processions. For Fans of David Sylvian, Rosalía, Robert Wyatt, Rita Indiana, Matías Aguayo, Tom Waits, Meridian Brothers.

Lucrecia Dalt is a Colombian recording artist, songwriter, and producer currently based in Berlin, Germany. Dalt channels sensory echoes of growing up in Colombia on her eighth studio album ¡Ay!, where the sound and syncopation of Tropical Music encounter adventurous impulse, lush instrumentation, and metaphysical sci-fi meditations in an exclamation of liminal delight. Dalt's introspective approach to composition, last surfaced on her entrancing 2020 album No era sólida, refracts across ¡Ay! in a subconscious spectrum of the music genres she absorbed as a child. Treasured sounds and syncopations of bolero, mambo, salsa, and merengue rooted in Dalt's early surroundings awaken on ¡Ay! and give glow to the album's contours. The intuitive melodic structures of this music, processed by memory and modular synths, led Dalt to a mirage of her creative origins and the album she has always wanted to make. ¡Ay! is a tincture of rich acoustic textures filtered through the warmth of Dalt's signature machinic distortion, diffused of easily-defined edges as previously explored on No era sólida and her 2018 album Anticlines. Here, vivid incantations of upright bass, wind ensembles and brass form shimmers of harmonic motif, distilled across radiant rhythms. Dalt worked closely with friend and collaborator Alex Lázaro to cultivate new shapes and colors for slowed down tumbaos and bolero percussion patterns. Together they deconstructed the traditional drum kit into serpentine expansions of congas, bongos, temple blocks and timbales, all of which they tuned to dance among Lucrecia's lucid vocal processions. For Fans of David Sylvian, Rosalía, Robert Wyatt, Rita Indiana, Matías Aguayo, Tom Waits, Meridian Brothers.

Third time's the charm - here comes the third vinyl release of TDS Records. The label's original artists formed a two-person formation under the name: Z1B2. ZOL and n-2b together wrote three tracks, commemorating their subjective perception of the last years, sublimating life into ambient technodub melodies. All three tacks are examples of sentimental minimalism, with a simple techno groove. The fourth track is a closing remix by krisz deak which delivers a very optimistic vibe that will make your feet move.

Armed with a disdain for pastiche and a penchant for experimentalism, rRoxymore has spent the last decade pushing the boundaries of what constitutes club music. Across a steady stream of releases, the Berlin-based artist has continually reinvented her sound, shifting from hypnotic leftfield techno to UK bass mutations, genre-eschewing dub oddities and so much more. On Perpetual Now, her sophomore album, she again displays this propensity for pushing the sonic envelope. It's a slow-burning record, and one that blurs the lines between the electronic and the organic. Subverting the traditional album format, Perpetual Now is made up of four extended soundscapes - each taking the listener on a journey through tempo, texture and emotional state. Downtempo opener `At The Crest' gently sets things into motion, allowing the sparse percussion to tentatively find its feet. `Sun In C' is a peculiarly meditative excursion, crafting a rich, intoxicating atmosphere across its nine minutes. `Fragmented Dreams', with its pulsating rhythms and fractured melodies, sees the album fleetingly burst into life, before `Water Stain' winds things down in the most effortless of manners. A daring, unconventional album, Perpetual Now is everything we've come to expect and more from one of electronic music's most unique producers. French-born, Berlin-based DJ, sound artist and producer rRoxymore first emerged on the scene with `Wheel of Fortune', a ten-minute epic released on Planningtorock's Human Level back in 2012. She has since put out music regularly, dropping her debut album Face To Phase in 2019, and more recently "I Wanted More", a four-track EP that veered from downtempo ambience to lush deep house.

2+ is the 3rd album of DjeuhDjoah & Lieutenant Nicholson. A new sound stopover in their funky trip since their beginning with T’es qui ? album in 2015. This new building stone prolongs their critically acclaimed album Aimez ces airs released in 2019.

What’s new? 15 tracks , eclectic, soft, deep, and funky, where electro, soul even afro beat touches , or bossa nova live together harmoniously. DjeuhDjoah & Lieutenant Nicholson make praise of slowness (« Pas si vite »), address environmental issues (« Coeur béton »), social statements on (« Police », « Raie publiques », « clic »), childhood on (« Bola Mba ») , the post colonial relation between Africa and the other continents. Love is also really well presented ( « Thé à la menthe «, « Ping Pong ») and why not sailing to Essaouira in Morocco ?

During the summer of 2020 , when the french national radio asked them to perform a live cover , our french funky duo chose the famous « Né quelque part » by Maxime Leforestier released in 1987. Their Suave interpretation, haunting beat and spatial & languid atmosphere give a fantastic tribute to this beautiful melody and strong lyrics. They found a very intimate link with chorus in Zulu, harking back to the strong connection they made with South Africa during their last tour.
It became clear that they needed to put this track on their new album , as their now club remix classic « Bwe Dlo « performed with their friend David Walters.

After their tour in South Africa, they met « Cool Affair », the musician and electro house producer in Johannesburg who made a beautiful remix of « Aimé Césaire » which close perfectly this new opus. Recorded at « Le triangle des Bermudes » the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement , even during the pandemic… On 2+, we can also hear the swirls of Antoine Berjeaut at the trumpet and bugle, magic keys from Florian Pellissier , two new flagships of the French jazz scene.

Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional « French song « to make the world dance. They want to keep their international audience , from Australia, Japan, Usa, South Africa to name a few the dance floors of the world will ignite with this new album . The French touch will still shine !