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When Lindstrom and Prins Thomas get together, expect the unexpected. The Norwegian production duo's third album III is also their first outing together in eleven years, since II from 2009 and as ever, Lindstrom and Prins Thomas have crafted their own unique sonic world between the two of them. This is expansive, luscious electronic music rich with texture and intricacy, patiently revealing every eccentricity while constantly pulling the listener in. Getting lost never sounded so good. Since the release of II, Lindstrom and Prins Thomas have remained more than busy with their respective solo careers, but work on III was taking place behind the scenes the whole time - slow and steady by sending files back and forth. "There's a different process with every album," Thomas explains. "With the first two albums, we had a door between separate rooms in the studio, so I could open my door and play him something. We also toured together a lot after the first album, and after that experience we realized that we work better together at a distance. We're doing our best work by not worrying too much about what the other one of us is doing." Eventually, the bulk of III came together over the last year, as Lindstrom and Prins Thomas teamed up to craft a lush and lovely work that recalls the hazy atmospherics of Air, the loose-fit jazz of Lonnie Liston Smith, and the genreresistant electronic music that both artists have made their name on over the course of their impressive careers. "Our partnership is very democratic "we never turn down each other's ideas. And if it goes wrong, we blame it on the other guy," Thomas says with a laugh. "The tracks that Lindstrom sent me this time were almost like standard house tracks. I already had an idea of what I wanted to do, so I forced those tracks into new shoes and dresses." Above all else, III is a testament to the adventurousness of Lindstrom and Prins Thomas when it comes to soundcraft. Both artists have established separate careers on bodies of work that feature infinite twists and turns, thrilling their audiences with the suggestion of where they've been and where they're about to go. Together, they've crafted what might be their most beguiling and inviting work yet, a jeweled box of electronic music ornately crafted but never losing the sense of playfulness that so many have come to love from them.

From their early days hosting parties in Oxford through to the huge success of their two-part ‘Everything Not Saved Will Be Lost’ album, Foals have consistently explored their interest in dance and electronica. Now the band chart the most essential remixes from their career so far as they share the new remix package ‘Collected Reworks Vol 1’.

The tracks featured on ‘Collected Reworks’, are a compilation from an eclectic range of artists who have uncovered new angles to Foals’ discography. It includes one of their earliest remixes, from Ewan Pearson who blends Balearic bliss into ‘Olympic Airways’, as well as Solumun’s huge version of ‘Late Night’, which has been viewed over 50 million times at YouTube. Another standout moment is Hot Chip’s inventive interpretation of ‘My Number’.

‘Collected Reworks Vol. 1’ has been launched with Hot Since 82’s brand new remix of ‘Into The Surf’. The tech house producer / DJ behind ‘Buggin’’ and ‘Restless’ subverts the track from its original desolate beauty into something fresh and invigorating. The relentless driving beat maximises its energy throughout its eight minute duration, while its progressive leanings are given some unexpected throwback flavour with ‘80s style sax.

Portuguese- Italian Producer "Vhycepicks" up where he left off,
once again teaming up with the talentedvocalistYves Paqueton Kraak & Smaak's very own Boogie Angst imprint.

He's already got an impressive list of top DJ fans in the shape of
Pete Tong, Claptone, Gorgon CityandSatin Jackets, and it's no surprise given his clean, pop aesthetics and catchy dancefloor sensibilities.Indeed it has led to releases on some of today's most respected dance labels like Kitsune, Future Disco and Casablanca Sunset.

As well as collaborating on their previous single 'Duran Duran' together, Brazilian born soulful vocalist Yves Paquethas previously collaborated with the likes of Aeroplane,and scored #1 in the Belgian dance charts with The Subs. He provides the perfect foil to Vhyce'sbeats with just the tonic – a melodic toplineall about the good times, having a drink and getting high…

In addition to the original mix there's another special treat as stepping up to provide a stellar remix is none other than PrinsThomas, a true pioneer of 'space disco' and regular bandmate of nu disco royaltyLindstrømin their imaginatively titled project 'Lindstrom & PrinsThomas'.

Yes, he takes his arpsynth lines out for a spin and serves up a prime cut of good time, ethereal, dancefloor fire. With all the hallmarks of his crisp and upbeat spacey productions it's not one to miss out on.

For those who are all about the beats, fear not we got you covered as there's an instrumental safely stowed in there too …

I felt totally unrestrained making this album” says Lindstrøm about his 6th solo album On A Clear Day I Can See You Forever (a title inspired by the 1970’s musical On A Clear Day You Can See Forever starring Barbra Streisand). “I’ve listened to Robert Wyatt’s solo albums and his Matching Mole’s debutalbum a lot lately. It so effortless, fearless and free. And not insisting. I was very inspired by this” In the autumn of 2018, Lindstrøm composed a commissioned piece for Norway’s premiere art centre Henie Onstad Kunstsenter. Sketches from the three sold-out performances became the foundation for the new tracks. “I decided to keep some of the initial ideas and develop them further. All the songs are based on long one-take recordings”, says Lindstrøm “Also I’ve been very conscious about the music on the album not exceeding the length of the physical limitations of the vinyl-format, finding that 2 long tracks on each side were the perfect balance for this album” This is also the first time ever Lindstrøm has made an album entirely with hardware instead of computer-plugins. He utilised thirty plus synthesizers and drum-machines during his performance at Henie Onstad Kunstsenter. The experience inspired him to embrace a similar set-up when making the album. “The joy of making music on actual physical objects and devices makes a lot of sense to me now. After working on a computer for over 15 years, I don’t think I’ll ever look back” he says with an almost childlike excitement. It was the accessibility to his enviable collection of music gear – largely consisting of sought after synthesizers – that allowed Lindstrøm to experiment so freely with ideas and soundscapes. “The title track is a 10-minutes improvisation on the Moog Memorymoog. I liked the loose feel so I decided to keep everything unedited. The other tracks were written and arranged prior to the recordings. I then set up the instruments needed for my sessions, then recorded more or less everything in a single take. I’m really happy with the way this album came together.” Lindstrøm has cited classical music as an inspiration the last couple of years “I used to study classical music at school. Back then I was listening to a lot of Opera, orchestral music and solo music on the piano. Listening to classical music again has been a revisit to my childhood days, just like I did when I embraced the 80s in the early 2000s”
Once embracing the freedom and the joy of making music without inhibitions, immersing himself in to the physical realm of making music with hardware, Lindstrøm learned something new not only about music – but about himself.
“I guess I've been trying to re-educate myself”

Smalltown Supersound Präsentiert Unveröffentlichte Aufnahmen Des Heute 58-jährigen, Norwegischen Ambient-meisters Erik Wollo Aus Der Zeit Zwischen 1986-1992. Inspiriert Von Jon Hassell, Brian Eno, Harold Budd Und Klaus Schulze, Fing Wollo Damals An, Mit Moderner Midi-technik Spacig-kosmische Klangkulissen Zu Erzeugen, Die Später Einen Massgeblichen Einfluss Auf Den Cosmic-sound Norwegischer Produzenten Wie Lindstrom, Björn Torske Und Prins Thomas Haben Sollten. Die Aufnahmen Auf "sources" Wurden Von Helge Sten (deathprod) Auf Basis Der Originaltapes In Seinem Audio Virus Lab Gemastered.

Smalltown Supersound is proud to present our new signing Bendik Giske from Oslo, Norway.

In addition to original track Adjust this EP also contains remixes from Total Freedom, Lotic, Rezzett and Deathprod.

The performance artist and saxophonist's mesmerizing debut takes listeners on a true journey through the euphoria and wanderlust of nights spent clubbing—using little more than his voice, saxophone, his instrument of choice, and more than a few well-placed microphones.

Giske finds a natural home in Smalltown Supersound as he cites Lindstrom's arpeggio sounds and Evan Parker's circular breathing as references, both of whom have released on the label. By combining the two extreme sides of the scale, he seamlessly fuses freeform jazz and club music.

Almost three decades after he put out his first record as one half of Tummy Touch twosome Tutto Matto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is 'Bella Topa', his first release on Leng Records.

Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer's usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas's early collaborative work. 'Bella Topa' cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.

Remixes come from Guigliemino's old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a 'Slow' club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo's twinkling, sun-baked original.

His other version, a 'Fast' club reconstruction, drags Guigliemino's track towards peak-time dancefloors kicking and screaming. Making the most of his friend's killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side's spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.

A long time ago, in a Norway far far away in time, keyboardist Bugge Wesseltoft introduced his New Conception of Jazz to the world. We're talking about the late 90s, when Bugge's cosmopolitan blend of jazz, hiphop and techno beats was pretty much the coolest music coming out of Norway at that moment. That was a golden time for Norwegian music, in fact, when the rest of the world began to sit up and take notice that something was stirring up north, and realised the music was more than just glacial tones hurtled from icy mountaintops and frozen lakes. This was the sound of urban Scandinavia.

A few years later came the electronic dance genre 'space disco'. Along with Todd Terje, Bjørn Torske and Lindstrøm, Prins Thomas was at the epicentre of this next big wave to surge out of Norway. Now, the two generations have come together in this exclusive collaboration between Bugge and Prins Thomas on the Smalltown Supersound label. Jazz and electronics combine for that energising vitamin D shot of Nordic sunshine.

The Rainbow Studio in Oslo is a familiar name to anyone who follows the ECM label - many of its classic 1970s jazz albums were recorded there under the eye of resident producer Jan Erik Kongshaug. Bugge and Thomas booked a couple of sessions at the legendary space with Kongshaug at the controls, and improvised some tunes in the style and spirit of some of their favourite ECM moments, like the fresh, open sounds of Codona, Egberto Gismonti, Oregon and Kenny Wheeler. Bugge had previously done a remix of Thomas's 'Bobletekno' in 2015 but this is the first time they have worked together as active musicians. The results - also partly taped at Thomas's home studio - fuse programmed rhythms, live synths and percussion, all captured in a sumptuously spacious acoustic.

For an even more authentic touch they called up one of their all time local heroes and one of Norway's most famous jazz drummers, Jon Christensen, who's been the go-to guy for Jan Garbarek, Terje Rypdal, Keith Jarrett and many more. At 75 years he's still pretty spry behind the kit, as you'll hear on several tracks here.

Make no mistake, though, this is not retro pastiche but contemporary music, coasting on gently insistent programmed grooves and bubbling basslines. The whole thing feels not so much like a consciously hip fusion of DJ and jazz musician, more like two great musicians totally enjoying themselves. Which is exactly what it is.

Key facts:
Bugge Wesseltoft is one of Norway's leading jazz figures. He set up Jazzland Recordings in 1996. His solo Christmas LP It's Snowing On My Piano remains Norway's best selling jazz album!

Prins Thomas's real name is Thomas Hermansen. His label, Full Pupp, means 'full breast'. He's released several albums under his own name, as well as collaborations with Bjørn Torske and Lindström. Check out his amazing Paradise Goulash mixtapes.

A near-perfect record, White Magic was the lauded CD-only debut album by Sorcerer (Californian native Dan Judd, one half of Windsurf with Hatchback). Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

Back in summer 2007, this majestic set gently nestled itself into the Balearic soundtrack-to-summer slot for many, making him a household name for Cosmic Disco heads alongside the likes of Lindstrom, Metro Area, Todd Terje, Mudd, Studio and Quiet Village. In the intervening years, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"White Magic is a reflection of personal freedom and discovery. Having been in bands for years, this was a chance to develop music that stood alone and for me to be in full control.

I was living alone and worked on jams whenever I could. I was highly inspired by a new openness to music as a pure inspiration, not being part of any scene. I tapped into the mixes I was hearing coming out the UK where deejays were playing "cosmic" sounds that were so strangely familiar.

I was picking up all kinds of $1 vinyl and throwing bits of it into my sampler almost randomly to see what would come out.

In my mind, I was making music to be played at my friend's Broker/Dealer Pop nights where they fused golden German techno sounds with the new disco emerging at the time. Also, I took vacations and reconnected with the Pacific Ocean where I spent so much time as a kid: it spilled out into the sounds.

Lastly, I forged a partnership with Hatchback (Sam Grawe) who was working on music in the same way. I learned so much about arrangement and the colors of music. We began recording together as Windsurf and released our own stuff. It all seems like a small glorious moment in time, so I am so excited to keep the legacy alive and I continue to work on my music with these spirits inside of me."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

New 12" from Hans-Peter Lindstrøm not feautred on his latest album 'It's Alright Between Us As It Is'. Accompanied with a remix and a acapella version.

Hot off the back of "On Top" that featured on our "Deep Love 2017" compilation, Lorenz Rhode returns to the label with his debut full length EP "Risa". A gifted musician, known for his fierce take on funk, performance prowess on German TV show "NEO Magazin Royale" and as part of Detroit Swindle's live outfit, he's sent us a three-tracker packed full of vibe and musicality.

Opening the A-side "And I Said" is an uplifting, funked-up house jam. Exuberant and alive it's built around a Rhodes riff with a romantic twist, swelling stabs and straight forward percussion direct from Lorenz' collection of Roland machines. The following "Risa" is loaded with energy. A gritty analogue snare and raw drums punch as central synth lines and rippling arps ramp up the intensity to bursting.

On the B1 the mysterious Amsterdam based K.98 returns with his second ever remix! After the huge success of the "Thrilogy" remix for WOLF Music in 2015, we are extremely happy to see Lorenz' original turned into a blasting 909 frenzy, 100% guaranteed dance floor action on this one!

Closing we have "Xpandau", a feel-good indie/disco gem reminiscent of Lindstrøm and Röyksopp. The central lead that sounds like something sampled from a dusty African guitar recording, actually came from a vintage Oberheim Lorenz recently fell in love with. Warbling key melodies dance over the top along with tuned percussion, maintaining the light hearted, tropical tinged tone to the end.

Andre Bratten was born in Oslo and grew up in a suburb of the Norwegian capital, which borders on the deep, dark Scandinavian forest. Like most kids in the late 1990s, he was bitten by the hiphop bug, but he also got turned on by the Led Zeppelin records he picked out from his father's record collection. He's broadminded enough to be into everything from the Norwegian electronica masters Røyksopp to Metro Area, Sigur Rós, Eno, Cluster and Weather Report. Currently dwelling in the heart of the city, his efforts with the synthesizer coincided with a huge boom in Norwegian electronic music, his productions recently came to the attention of Norwegian 'cosmic disco' mogul Prins Thomas and his Full Pupp colony. Andre's tracks share the exploratory vibe of the 80s synth pop pioneers, and misfit electronic pop musicians like John Foxx, who were forced learning to sculpt new sounds with new tools. Yet he updates those sounds to a contemporary rhythm matrix, in parallel with the dayglo analogue dance music of Lindstrøm, Todd Terje and Prins Thomas himself - and he just happens to share the central Oslo studio space used by that glorious trinity. But Andre has always known his own mind and was never going to be content with being just another anonymous insect in the logpile. So his debut album, Be A Man You Ant, is a string individual statement, his 'I am Spartacus!' moment. It computes almost infinite variations on the sounds he could extract from a single modular synthesizer - 'the limitations are inspiring', he says. So you'll find squelchy bugs in the bassbin, weird analogue squeegee smears, bright drum machine splats and the occasional significant pause. The spaces in his music are at least as important as what fills it.

Special Remarks: 12'' EP in 3mm spine sleeve with download card included.



1978 This EP is an extract from the Cosmic Machine LP compilation to be released on October, the 14th. The first track, Spirit, an Uncle O remix, originally released on Frederic Mercier's "Pacific" in 1978, synthesized on its own the whole concept of Cosmic Machine. Track 2, "Motel show" is a Pierre Bachelet remix (from the original soundtrack of "le dernier amant", also released in 1978). This mix is a dancefloor version by DJ Prins Thomas,famous space disco Prince from Norway (Lindström, Todd Terje...). The Cosmic Machine LP gathers stars (such as Cerrone, Juvet, Jarre, Marouani, Bachelet and even Gainsbourg with a rare proto techno track), talented pionneers (De Roubaix, Estardy, Massiera, Fèvre or Perrey) and even shooting stars (such as Rocket Men, Quartz, Chris Craft, Video Liszt, Milways...). Cosmic Machine combines all the major and inspired individualities that gave birth to the early 70's electro galaxy.

April 2013 sees the release of Norwegian Disco Viking Rune Linbaek's latest long player, on his Drum Island label

Its his first album since the 2000 release (Sondag) on Paper Recordings RePap offshoot

Last year's single 'Wonder' feat Kurt Maloo on the label was a day one sell out here at All Ears and marked a significant maturing of Rune's trademark sound.
The influence of Norway on the world's forward thinking Disco scene & beyond is more than evident, with countrymen like Todd Terje, Prins Thomas and Hans Peter Lindstrom
all leading the charge for years now. The creative cauldron of the infamous 'club in a public toilet' Skansen has much to answer for !

Krasava is a very much vocal led project, with a cast of featured vocalists which includes Norwegian popstar Anneli Drecker alongside recent collaborator Øyvind Blikstad.
The album is steeped in Norwegian folklore, visually and musically and the gentle lilt of the Norse/Balearic sound, sits comfortably alongside more Cosmic flavours, Rock and beautifully crafted pop.

Some clean, remixed, re-edited tracks by Amplified orchestra. Quite obscure material, essential stuff and a must have for all the italo / cosmic disco heads & CBS.nu addicts, fans of Lindstrom & Thomas, Clone, Environ, Rong music, Idjut boys... actually for everyone who is always on the search for fresh tunes, new or old!