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As time moves forward, it becomes increasingly clear that the need for emotional expression through artistry is more important than ever, especially in the wake of emerging AI technology that threatens to replace human creativity. Minus & MRDolly's new album, "Giant Stops," is a testament to the enduring power of art to connect with audiences on a deep emotional level.

Named in direct reference to arguably one of the greatest albums ever created, "Giant Steps" by John Coltrane, "Giant Stops" pays homage to the rich legacy of jazz while pushing the boundaries of the genre with a contemporary twist. The album seamlessly blends jazz, hip-hop, and electronic elements to create a unique sonic landscape that is both nostalgic and modern.

For Minus & MRDolly, "Giant Stops" represents a new chapter in his evolution as a musician, showcasing his growth and commitment to pushing boundaries in his genre-bending style. Taking inspiration from the creative process of Makaya McCraven, the album features dynamic instrumentals backed by a live band, with Minus & MRDolly's signature lyricism and storytelling shining through both the instrumentals and the lended work of guest musician such as Meta_ or Luca Argel. By using this production method the album takes a bold stand for the importance of sampling as an art form hoping to encourage listeners to appreciate the rich history and evolution of hip hop and to recognize the essential role that sampling has played in shaping the genre.

As a nod to his Portuguese roots, "Giant Stops" represents a deeper exploration of the artist's identity and a commitment to looking inward to find creative inspiration. With this album, Minus & MRDolly hopes to inspire others to embrace their own unique perspectives and use them to create art that connects with audiences on a deeply emotional level.

In a world where technology threatens to replace human creativity, "Giant Stops" is a reminder that the power of art to connect with people on a fundamental level is enduring and will continue to shape our world for generations to come.

Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskeyburned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species.
There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe
recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue.

The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated, and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we need to go on? This hand-picked list of luminaries have answered the call and certainly don’t disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up, the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent, melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is extended as a reverence to Sven himself. Sven's profound vocal clearly infuse time and space and leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher

Bourassa is back and serving us a scorching new summer hit. This time, label boss Smolny doesn't hold back, unleashing a powerful holiday anthem titled "Need Love." If you're truly in dire need of some love, this track is definitely for you!

It starts off slowly and nostalgically, seasoned with a distinct amen break. The growing tension sends shivers down your spine, while a beautiful trance chord intertwines with a long pad in the background. Adding to the flavor is a twisted female vocal that seductively flirts with your senses. It all culminates in a euphoric experience, gradually building up to release the accumulated energy. Finally, everything explodes as a strong and expressive bass line hits you like a ton of bricks.

The following track "Running" takes a more tranquil approach, transporting us to a dreamy realm. Broken drums keep propelling us forward, never allowing us to pause. The melodic chord gracefully emerges, creating a chill atmosphere and setting the mood. After the breakdown, grooving bongos complete the picture.

The B-side features two fantastic remixes of the title track, "Need Love." The first one is a fierce breakbeat roller from Denham Audio. With its powerful bass and mesmerizing droplets cascading in the background, it creates a distinct hypnotic atmosphere. The change in bassline to the typical speed garage sound delivers an even more potent punch at the end.

The second remix is crafted by SLG, who flawlessly captures the sound of the '97s, creating a track in the progressive trance style from that era. A brilliantly composed bass line constantly propels the track forward, building tension alongside the melodic line. A real dance floor killer!

THE PLAYGROUND drops a magical 4 tracker from Chicago original JORDAN FIELDS. This record is a vibe period. Featuring Chicago style deep jazzy vibes with a splash of Detroit-ish dub. These raw and nostalgic tracks that will stay in your record box time after time.

An exciting new Record producer, with a sound that blends elements of Electro, Breaks, and Techno, Doppelbanger is quickly making a name for himself in the underground music circuit.
Drawing inspiration from the pulsing rhythms of the latest Electro sound with artists like Locked Club , Re:drum , Dagga, Manao & Hermeth leading the revolution. He infuses his tracks with a gritty energy that sure gets crowds moving on the dancefloor, but he also brings a modern twist to the genre, incorporating lush synths, intricate percussion, and cleverly manipulated samples to create a sound that is both nostalgic and forward-thinking.

Whether you’re a die-hard Electro fan or just looking for some fresh beats to get your groove on, Doppelbanger is sure to deliver the goods. So tune in, turn up, and let the vibes wash over you!

His first EP has just been released across all streaming platforms, along with the 1st press of Vinyl Records, grab a copy soon, before it is sold out!

Write up for EP: 2020 Vision

Welcome to an Electro-infused sonic journey! This EP captures the essence of a unique musical vision, blending captivating melodies, pulsating beats, and intricate soundscapes. With five tracks that span a range of moods and emotions, you are invited to immerse yourself in this electrifying experience.
From the moment the first track kicks in, you’ll find yourself transported to a world where synths come alive and rhythms intertwine with ethereal soundscapes. Each composition has been carefully crafted to take you on a sonic adventure, weaving together elements of Electro, pulsing basslines, and mesmerizing textures that will leave you craving for more.

Throughout this EP, Doppelbanger has pushed the boundaries of the genre, exploring new sonic territories while staying true to its roots.

The five tracks on this EP are meticulously arranged and mixed to ensure a seamless flow, creating an immersive experience that will keep you engaged from start to finish. Whether you’re looking to lose yourself in the infectious grooves or find solace in the introspective moments, this collection of songs has something for everyone.

Lori McKenna titled her album 1988 after the year she married her husband, Gene, yet the 10 songs within also serve as a love letter to lifelong friendships, people she’s lost, and her family. Recorded with producer Dave Cobb in Savannah, Georgia, 1988 naturally has its nostalgic moments, even if not every ending is a happy one. With more of an electric edge than her past projects, 1988 feels in step with classic ‘90s albums by Sheryl Crow or Gin Blossoms, where the lyrics pulled you in as much as the melody or production. Playing together on acoustic guitars while facing one another in the studio, McKenna and Cobb tracked the album live, giving it a feeling of immediacy and authenticity.

Yasushi Ide, the Japanese Street Music Icon Unleashed "Cosmic Suite 2" in a Revolutionary Blend of Genres.

Yasushi Ide, the revered figure in Japanese street music, has recently unveiled his latest musical opus titled "Cosmic Suite 2," a rebel music masterpiece that pushes the boundaries of musical genres.

This groundbreaking album features collaborations with esteemed pioneers including Afrika Bambaataa, Don Letts, Josh Millan, Jeff Mills, DJ Krush, Tony Allen, and more. By transcending the limitations of time, genre, and even mortality, Ide has crafted a truly unique and eclectic street music experience unlike anything seen before.
Notably, Ide enlisted the expertise of Grammy-winning sound engineer Steven Stanley to embark on the reconstruction of "Cosmic Suite 2" using his renowned dub mix techniques. The outcome of this collaboration is the birth of "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," a mesmerizing rendition that showcases the genius of both artists.

Hailing from Jamaica, Steven Stanley is a highly regarded sound engineer and producer whose illustrious career spans several decades, primarily in the realms of reggae, dub, and rock music. Having worked with acclaimed acts such as Talking Heads, Black Uhuru, and Tom Tom Club, Stanley has solidified his status as a living legend within the industry. His contributions to Tom Tom Club's "Genius of Love" and his Grammy-winning work on Black Uhuru's "Anthem" further exemplify his unparalleled expertise. Additionally, Stanley has collaborated with notable artists including Grace Jones and B-52's.

In "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," Stanley expertly integrates elements from the original "Cosmic Suite 2" tracks, employing his unique dubbing techniques to enhance the sonic experience. Through the addition of his signature dubby reverb and other distinctive sound manipulations, Stanley elevates the album to an entirely new dimension.
"The Battle" Transformed into an Enchanting Disco Dub Experience, Infused with Stanley's Horn Section Effects for a smoky ambience.

In the mesmerizing track "Galactic Beats," the legendary Afrobeat pioneer Tony Allen's powerful drums take center stage. Skillfully applying his dub effects, Stanley adds vibrant layers and new dimensions to the composition, further enhancing its sonic palette.
Another standout is the dub version of "LAVA," featuring acclaimed Japanese singer UA. The track, which was already a fan favorite in its original form, undergoes a remarkable transformation in this dub rendition, further accentuating its appeal.

"Outer Space" Transcends Time and Genre with a Dream Collaboration Between the Late Legendary Reggae Drummer Style Scott and Japan's Turntablist Extraordinaire, DJ Krush. While the original track exudes a stoic and deep cosmic dub essence, Stanley ingeniously reimagines it as a nostalgic old-school dancehall masterpiece.

"Sumimasen" is a track that exemplifies Stanley's mastery, where the unique Japanese word "Sumimasen" (meaning "I'm sorry") is transformed into a psychedelic and deeply immersive dub journey. The track features captivating echoes on the vocals and twisted synth elements, transporting listeners to a cosmic realm of sonic exploration.
Furthermore, it is crucial to highlight "Hear, There, and Beyond," a collaboration between Yasushi Ide, Kan Takagi, the pioneering figure of Japanese hip-hop, and RECK, the bassist from the legendary punk rock band FRICTION. This reconstructed version takes the original track to unprecedented heights. With a remarkable shift to tribal drums in the midst of the song, the energy intensifies, resulting in a wild and exhilarating musical experience.
The reconstruction of this album evokes memories of Mad Professor's "No Protection," a renowned dub reconstruction of Massive Attack's work that remains an enduring masterpiece in the genre. With its exceptional craftsmanship and artistic vision, "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub" has the potential to be regarded as another timeless dub reconstruction masterpiece, solidifying its place in music history.

Next up in Veyl’s ever-evolving and diverse catalog comes of an experimental sonic experience from Llimbs.

The project of Hagen Ebejer, he began making music in the early 2000’s and started Llimbs in 2016, which allowed him to officially release music and perform live, making his debut at Berlin’s legendary Tresor. Now he arrives on Veyl with Midnight Amber, an 8-track album which fully realizes the Llimbs sound and vision. Inspired by dark and experimental sounds, Midnight Amber is a tour de force of genre-bending compositions, conjured using downtempo and dreamlike sounds which explore both the organic and digital.

The result is an undefinable affair which is both haunting and infectious at once. 'Unfold' commences the album with a soft yet powerful piece of melodic melancholy, inviting the listener through the gates and into the world of Llimbs. 'Divergent' picks things up with a ritual work of stirring chants which leads us to the evocative chords on 'Origin'. Finishing off side A is 'Absent', a slow burning rhythmic piece which encapsulates the listener, creating an almost nostalgic atmosphere for a time unknown.

'Phase' begins the B side with cinematic flair, creating a palpable tension which then evaporates into the ether. 'Eclipse' returns to a familiar dreamworld, traversing the skies which feel both familiar yet mysteriousbefore 'Fragment' dives deeper into a hidden universe of emotion, fusing ancient works with modern technology. Concluding the album is 'Midnight', a perfect end to a journey which exists at the intersection of the natural and mechanical, reality and surreality, marking a tremendous finale which can only lead to a new beginning.

From the city of Tampere, Finland, comes Type-303 with a brand new EP ”Näsinpuisto” on a new local label VERRAZZANO. This time we take a detour from his usual acid sounds and head to the park for summer vibes.

Taking inspiration from early 90’s Italo house and balearic scene, ”Näsinpuisto” EP gives four sunny, mysterious and long drink fuelled cuts to cheer up the thirsty crowd.

Opening with a lovely haunting flute melody, ”Is It Magic” asks the question if there is some special magic in northern summer days, and the answer is fairy whistling YES! Part nostalgic and part forward looking, the song is relaxing house par excellence.

Second track ”Sexy Sax” sounds something like it was meant for fashion shows in Milan, or to be played at terraces with international tasteful clientele. With solid bass, sophisticated rhythms, sax melody and sea-breeze sounds, 90’s N.Y. house vibes are evident.

”Garden Of Love” is a playful tune that might be playing in the background when you stumble upon a secret garden in the park. The question is dare you enter in? Because Ecstasy comes to those who dare to step out of their comfort zone.

Lastly ”Summer Nights” is a relaxing late evening tune, ending the summer day journey with reassuring sounds in the after glow. Still with enough punch to work great either as set starter, or when you want to chill the dance floor.

Verrazzano calls you to enjoy summer, love and friendships!

smokey vinyl

French label and promoter Much More recordings is proud to present the first vinyl our collection.

This vinyl features 6 tracks ranging from breaks to techno and passing by acid and electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

We believe that redefining the essence of the genre is now critical. After years of promoting parties in Paris and Europe, Much More has gathered artists considered to be the essence of techno. Artists who know how to turn knobs without screens.

They continue to make the mob sweat on the dance-floor, with a simple at first yet efficient recipe that holds a myriad of subtleties.

On our table lies a lemon slowly withering away, a fruit that once was as much suave than sour. Our artists are as ripe as this yellow sphere lying in the open. They possess the experience and knowledge needed to forcefully broadcast this emergency rebirth that techno desperately needs. Our creations are neither nostalgic nor futuristic, they aim to be atemporal. They are naked to artifices, raw to over-tuning, built and cut upon the very ageless tools that defined and will name what is Techno.

Far from us the desire of claiming to be the only definition of the genre, nor forgetting about its primal cravings. Whereas Amarou, Skudge and Sawlin showcast the narrative scope of our passion, Wrong Assessment, Arnaud le Texier and Falling Echoes will remind us what is raving under the strobe's fire.

It's music from urban centers and countrysides, for big room and inner space.
It's music without tag or time, where every loop stops and unfolds on its own.

We are back to the essence, and yet, much more.

Eyolf Dale is an exceptional Norwegian pianist and composer whose exceptional nuance and expressive improvisational voice is of ever-growing importance in the European scene. The Wayfarers is his latest album with long-term collaborators Per Zanussi and Audun Kleive . His second trio album, The Wayfarers follows on from the success of Being (2021) as well as an extraordinary body of solo piano work. Evoking a journey through Norway's sublime landscape, The Wayfarers captures the highs and lows, twists and turns of life on the road - expansive, joyful grooves one moment turn to nostalgic solo piano interludes the next. A meeting of nordic folk, classical and jazz influences, Eyolf's music is profoundly lyrical and emotive. This is a beautiful album from one of Europe's finest piano trios.

*Very limited LP reissue on blue vinyl*

Canadian crooner star Calvin Love’s long sold out debut album ‘New Radar’ now as a repress for its 10th year anniversary on blue vinyl.
New Radar’, Love's debut album, blends memories of the late '80s cassette/analog era, '90s cable-TV generation, and 'aughts social media confessionalism into a satisfying collage of evocative and moody yet familiar and comforting music.

From the simple synths of "Magic Hearts", which bemoans love gone wrong, to the frustrating relationship detailed in "Waiting On You", Love's music is both catchy and emotionally resonant. In "Treasure Hunters", a flirty yet laid-back bubblegum rock and roller, Calvin Love invites us to share our secrets. while in "Missions", snarky, wailing guitars duet with Love's vocals in a noisy wash of exchanged frequencies. Throughout, Love relies on throwback synths and jangly guitar sounds to pick out unorthodox melodies, driven by a dutifully clicking drum machine. The overall effect of New Radar is a uniquely nostalgic yet forward-looking sound, at once evocative and comforting.

Calvin Love's music is distinctively characterized by its sparse yet focused arrangements, featuring thin guitars, electronic drums, and vintage synthesizers that impart a warm and wooly electronic texture. The lo-fi, cassette, 4-track recording quality creates an ambiance that feels both retro and futuristic, as if transmitted from an intimate and isolated space. Despite the arena-rock hooks, Love's use of primitive home-recording gear lends his music a folksy quality indebted to artists ranging from Ariel Pink to Unknown Mortal Orchestra.
About Calvin Love:

Conceived as a means to get out of a songwriting rut, When We Were Younger, is an EP centered around the concept of nostalgia. This was partly motivated by grentperez’s desire to stave off cynicism and embrace the carefree creativity of childhood. When We Were Younger fuses the signifiers of a wide variety of nostalgic sounds: his beloved bossa nova, yes, but also sprightly Philadelphia soul, the swelling strings of golden-era Hollywood, even the soundtracks and general vibe of 90s romcoms. Different musical gestures and lyrics stimulating long-dormant memories while simultaneously providing a soundtrack for new ones.

***AUGMENTED REALITY COVER***

Merak EP by Sev Dah marks the debut release on the Berlin-based label Dust in Grooves. Heavily influenced by the grit and zeal of Berlin, Detroit, Birmingham, and, his own, Sarajevo, Sev Dah unleashes his distinctively punchy and deviously structured spheric sound across this 4 track EP.

Opening with a stomping dancefloor tool that sets the energy high with playful and nostalgic loops, "Audio Grape" showcases the dynamic range of the techno proletarian. The dexterity of "Butter Knife" cuts intensely through the air with unexpected tones and drums, evolving into a steamy big-room journey made of sinister spins all the way through.

On the B side, "Dense Fog" permeates the space with a thick grip, softly engulfing all the senses in a labyrinth of sound, steadily building up anticipation with gleaming pads and elevated melodies as the story unfolds. The final track "Meraki" glistens with cold, robotic, fast-paced beats, roaring with otherworldly chords, like omens from the dystopian future, and melancholic subtlety that leaves a feeling of bitter hope.

From start to end, the EP Merak is an expression of the thriving and techno-revolutionary spirit of Sev Dah, crafting powerful narratives through a minimalistic approach. As a founder of DIG records, Olivia Mendez aims to bring precisely this signature sound, and a dedication to vinyl culture, which puts Dust In Grooves at the forefront of the contemporary techno scene. Further bridging classic and current formats, is the dynamic augmented reality cover designed by visual artist Bileam Tschepe. To unlock its motion, follow the riddle on the back.

All tracks are mastered by Nihad Tule.
Words by Lora Mateeva, MONUMENT

If "Forgiveness of Blood" | KR3.009 was marked by a modern vision of techno voiced by Tensal's sound, this remixes EP chronicles the tension that shapes the sound of the artists involved: SHED, Anthony Linell, Alessandro Adriani and Tensal himself. Static and hypnotic waves of strain recur, even though the 4 tracks represent 4 different major expressions of what techno explicitly and implicitly stands for.

Forgiveness of Blood Remixes - is a distillation of the modernist and nostalgic sound capable of impacting both on the dancefloor and mentally.
Four strongly evocative tracks that narrate not only the artists' but also the label's path.

Released in 1975, Schoolboys In Disgrace is The Kinks fifteenth studio album.

The album is a return to the Kinks simpler, traditional rock sound from the more theatrical style of their recent releases of the time, and combines rock ‘n roll with harder rock, ‘50s pop and doo-wop.

The album is a nostalgic trip through childhood and
tells the origin story of Mr. Flash, the villain from previous Kinks titles, with well-known tracks such as ‘I’m In Disgrace’, ‘No More Looking Back’ and ‘Schooldays’.

Faithfully reproduced heavyweight vinyl 1LP and first repress, apart from a limited edition 2008 US run, since its original release in 1975.

In the realm of computer-generated music, all compositions are essentially binary, consisting of zeros and ones, representing data and information. Within this binary structure, every musical event exists amidst a backdrop of unchosen possibilities, creating a sense of absence and mourning for what could have been. The bittersweet emotional quality often found in certain electronic music may stem from a combination of its underlying aesthetic principles, a yearning for a lost vision of the future, and the subtle interplay between presence and absence inherent in the creative process itself.

Released for the first time on vinyl and including 2 unreleased tracks, Tales From The Silent City is a deep electronic journey with the unmistakable Niko Tzoukmanis's sound and sensitivity. The album features sequences that shimmer and persist, while gentle pads offer soothing relief to weary listeners.
Tales From The Silent City not only draws inspiration from a nostalgic era of sequencer-driven music but also anticipates the trend of seeking solace in '90s-influenced ambient techno during uncertain times.

The English is Federico Jusid's sweeping, nostalgic and raw score to Hugo Blick's six part contemporary Western. Giving a nod to 1950s western soundtracks, the score is enriched by Dvořák’s String Quartet No. 12. known as the "American", written during Dvořák’s stay in America, and only three years after the events of the series. Also featured on the album are the beautiful folk songs by The Wailin' Jennys, Melanie, Crooked Still, Ora Cogan and Tom McRae. The second track on the album, Tâtačiksta_ - I Cherish You, features a tender reading by Emily Blunt.

Jusid’s music structure is based on leitmotifs, very simple and symmetric, constantly varied and developed to mirror the protagonists’ journeys. Big orchestral sounds underpin epic and romantic themes. Sound design, processed percussion and ethnic instruments effortlessly blend in with the orchestral material. Federico describes his compositional process – “Unlike other projects, I started working with Hugo Blick, at a very early stage, some time before he even started shooting. Inspired by the scripts, his story board and chatting about the classics, I wrote different piano tunes and first mock-ups and sent them over to him… Often, I have received scenes cut to my own music and that made the process deeply organic and profound. The music became a core element of the structure of the show, instead of a later addition. In the end, Hugo and I worked for an entire year to develop this score”.

Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour printed inner sleeve exclusive to this edition.

In 2009 the Type Recordings label run by John Twells had just released seminal records by Grouper, Jóhann Jóhannsson and Yellow Swans when they signed Richter and put out his breakthrough Alphabet 1968 album. The LP sold out within two weeks, receiving a glowing full-page review in The Wire Magazine by the late Mark Fisher (later reprinted in his book Ghosts Of My Life), was selected for Boomkat's Top 10 releases of the year (alongside debut albums by Leyland Kirby, Demdike Stare and Oneohtrix Point Never) and was greeted with universal praise in the underground blog network as well as established magazines such as The New Yorker and Pitchfork.

The music itself played with the notion of nostalgia without being nostalgic itself. It's the sound of half-remembered dreams, a surreal distorted vision of the past, an aural polaroid of long forgotten musics, a ghostly voice from a non-existent era.

From the original Type one-sheet:
"The mission statement for Alphabet 1968 was to write an album of "songs" for want of a better word. Short tracks which represented genre points, the milestones which stuck in Richter's mind when he thought back to his favorite records. What we arrive at is a breathtaking 10-track album which, over the course of 45 minutes, explores world music, techno, noise, avant-garde, ambient music and even exotica. Each track is linked with a loose thread of radio static or environmental sound, dragging you through the album, as if tuning in to a stray broadcast or a particularly adventurous mix. Richter has pieced the album together from hours of recordings made at his studio with home made gamelan, small instruments and loops gathered from a collection of ancient vinyl and 78 records. The scope of the album is admirable, but ignoring this, it is simply a shockingly arresting collection of experimental oddities, with references ranging from Moondog to Basic Channel by way of Bernard Herrmann. It's not hard to fall in love with Alphabet 1968, far harder would be to place exactly where the record should fit into your collection."

Mark Fisher in The Wire:
"But what if we were to take Richter's provocation seriously - what would a song without a singer be like? What would it be like, that is to say, if objects themselves could sing? It’s a question that connects fairy tales with cybernetics, and listening to Alphabet 1968, I’m reminded of a filmic space in which magic and mechanism meet: JF Sebastian’s apartment in Blade Runner. The tracks on the LP are crafted with the same minute attention to detail that the genetic designer and toymaker brought to his miniature automata, with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister. Richter’s musical pieces have been built from similarly heterogeneous materials - record crackle, shortwave radio, glockenspiels, all manner of samples, mostly of acoustic instruments. ….. JF Sebastian's apartment was itself an update of older spaces in which science and sorcery co-existed: the workshops of ETA Hoffmann's inventor-magicians, or of Pinocchio's creator, Geppetto. I think, too, of Auguste Villiers de l'Isle-Adam's astonishing 1886 tale The Future Eve in which Edison, using the expertise he has recently acquired from inventing the phonograph, sets himself the task of constructing an artificial woman. But if there are songs here, they are sung by the gramophone and other recording and playback machines. Richter so successfully effaces himself as author that it is as if he has snuck into a room and recorded the objects as they played (to) themselves. Rather than simply automating his music, as in the case of Pierre Bastien and his mechanical machines, Richter makes us feel that he has merely recorded the unlife of objects. ….. Indeed, the impression of things winding down is persistent on Alphabet 1968. Entropy has not been excluded from Richter's enchanted soundworld. It feels as if the magic is always about to wear off, that the enchanted objects will slip back into the inanimate again at any moment."

Following hot in the footsteps of his debut HF release ‘Cocoa Butter’, ‘Off The Grid’ sees Renelle 893 team up with producer Bay29 on a body of work that offers an escape route from the monotonous every day; the duo taking us further and further off the beaten track, marrying moments of purest hedonism with stark reminders that the real world lies in wait, just after sunrise, with no pause button in sight.

Laying the foundations with summer anthem (and lead single) ’Spaghetti’, Renelle wrestles with the fleeting nature of youth, and his topsy turvy relationship with the finer things in life. The dynamic is both gritty and nostalgic as Renelle walks the fine line between Hollywood hedonism and slurry excess, his mood swinging between moments of invincibility and vulnerability, expertly scored by Bay29’s ethereal, bass dripping instrumentals.

Another SE London / Brighton hook up, one of many on the label in recent years, Renelle utilised his late night train rides to-and-from Bay29’s Brighton studio as an opportunity to refine the verses that make up the bones of the project.

Twelve-tracks; six vocal, six instrumental, ‘Off The Grid’ is the first in a series of new works from Renelle 893 & Bay29. A perfect scene-setter for what’s to come.

As Renelle 893 explains… “Off The Grid is about soul searching and figuring out what kind of adult I am looking to be, navigating a world filled with distractions that will do everything to numb the pain as life inevitably passes you by…”

Repress!

Montreal’s eclectic producer CFCF (aka Mike Silver) follows 2019’s effusive corporate jungle opus Liquid Colours with a kaleidoscopic capital-E Electronica album that takes a range of styles from his earliest formative listening years (1997-2000) and throws them in a blender. Elements of jungle, house, UK garage, trance, pop and post-grunge are blended to form a glossy picture of restless youth in an
identity crisis: memoryland.

Inspired as much by Sonic Youth and Smashing Pumpkins as the Chemical Brothers and Basement Jaxx; as much by films like Millennium Mambo, Demonlover, Morvern Callar, Safe and Perfect Blue as late 90’s Prada — CFCF jumps across genres as a means of portraying a breadth of overlapping milieus and identities in this hyperactive Y2K period-piece that both explores and criticizes our own nostalgic impulses. From the opening intro’s announcement of arrival to the final credits, it’s an album as film as RPG, with the listener as its protagonist.

Opener “welcome.WAV” functions as a start-up sound file for the journey ahead: from “Life is Perfecto”, a propulsive breakbeat-dreampop hybrid, to a grotesquely-remixed ultra-French-house version of previously released single “Self Service”, and the recursive, metaphysical garage of “After the After”. Two guest vocalists lend their talents: Montreal neo-shoegaze icons No Joy, fresh off their own genre-defying Y2K exploration Motherhood, laconically lists off advice for aspiring fashion ingenues with bite in the alt-rock-IDM “Model Castings”, while Kero Kero Bonito’s Sarah Bonito sweetly delivers the penultimate “Heaven”, grunge-pop paean to the myth of Icarus.

In CFCF’s words:
“I was feeling fatigued by an overabundance of ‘calming’, productivity-oriented music, and wanted to explore something angsty, messy, and dark, while also applying a pop sheen. I see a loose narrative across the album: your early 20’s, a new city, new people, new temptations and new traps. Losing your sense of self to the whims of your surroundings and trends in music and fashion; the wrong people, and trying to dig yourself out of that hole. There’s a hope of moving forward that glimmers in the last quarter of the album, but it’s out of reach and seems to come at a price. And then the looking back on it later with perspective; or the looking forward to it before with anticipation. As a kid I couldn’t wait to be in my 20’s; in my 30’s it’s bittersweet to look back. That’s the core of memoryland: the gulf between the fantasy, the reality, and the memory, and how we live inside each of those at different points.”

Dread Recordings have made another return with a fiery new release from Dread regulars Ray Keith and Dark Soldier. The vibrant joint consists of two unmissable tracks dubbed ‘Chopper’ and ‘Back To Me’. Opening with a lively VIP remixfrom Dilligent Fingers, “Chopper” encompasses a lively atmosphere upon its rapid bassline and fluctuating drum patterns. Each element fuses together to manufacture a stylish VIP mix perfectly produced to bless up the dancefloor.

Following on from the opener, the two-parter fades into a lively production courtesy of Dark Soldier. Opening with a sampled version of the iconic riff from Nirvana “Smells Like Teen Spirit” the track explodes into a controlled drop incorporating nostalgic jungle-esque soundscapes and a harmonic vocal. Both tracks hold their own as memorable productions. Each offering flexes the prowess of both producers seamlessly; adding further layers to their credible discographies

São Vicente Di Longe is Cesaria Evora's eighth album and features multiple guest appearances, including Pedro Guerra, Caetano Veloso, Chucho Valdés, and North American blues superstar Bonnie Raitt.

The album includes more Latin-tinged songs, including "Tiempo Y Silencio" where Cesaria sings in Spanish, and nostalgic torch songs, such as "Linda Mimosa" and "Negue," which finds Cesaria accompanied by the piano. The tracks are recorded with a wide range of instruments like strings, horns, guitars, percussion and even a gospel choir (on "Bondade e Maldade").

São Vicente Di Longe is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on orange and black marbled vinyl and includes a 4-page booklet with photos and lyrics.

After the acclaimed ΠΟΛΙΣ, Subheim returns with RAEON; a collection of eight new tracks for lonely evenings and long night drives. With RAEON, Subheim continues to expand into the sonic territory he has steadily been exploring since 2015’s Foray, the album that marked the project’s shift towards moodier, highly textured, lofi compositions through the use of sampling and heavy audio manipulation. While this EP feels like a natural continuation of the producer’s most recent work, it is intentionally stripped of any percussive elements, with the focus being entirely placed on space and melody.

Each composition feels like a distant, fading memory that unfolds faster than you expect it to and dissolves into an echoing nothingness before you’re able to hold on to it for more than a few seconds. Much like a long-distance train passing by or perhaps like a song you might hear in your sleep.

Every piece serves as a different chapter of the same open-ended narrative; one where stillness, grief and hope simultaneously coexist in perfect harmony. Intentionally imperfect, naturally gritty, spacious as ever, this new record balances between fragility and conviction, and once more illustrates the deeply human side of its creator.

In contrast to some of the producer’s darker work, RAEON is filled with an undertone of bittersweet hopefulness and a strong desire for new life. With the juxtaposition of nostalgic, synthesized, analog sounds and neoclassical elements, Subheim strikes the perfect balance between past and future, between melancholy and hope. And while the closing track is almost ironically called “Forget”, its ending will leave you longing for more and wondering what else is there.

After some time of laying in the dark, the Warsaw-based Syntetyk label and club night series emits waves yet again with their very first cassette release by various friends from the local and global underground.

Tape starts with a pathos ambient track by Mchy i Porosty, followed by a desert night drive dub by Rapha. The A side continues with a wavy melodic thumper by Olivia, accompanied by a nostalgic club diver by Czech maestro Exhausted Modern and a punkish fast paced hymn done by the Colombian prodigy – Filmmaker.

The B side opens with Dogpatrol’s broken jungle track and carries on with Astma’s industrial dub-driven tune. Album slowly comes to a close with a nasty distorted wave by Dyktando, dystopian radiation emitter by Chino and ends with Mala Herba’s folk inspired epic ambient drone.

Eric Emm and Jesse Cohen of Tanlines are indie-rock lifers turned reasonable, happy middle-aged fathers of two, figuring out their place in a chaotic culture and industry that can no longer command their full attention. They are emblematic of a particular time and place that doesn't really exist anymore, yet here they are existing, and thriving, in 2023. The Big Mess came together when Emm and his family moved from Brooklyn to rural Connecticut, while Cohen launched a marketing career and a successful podcast and stayed in the city. Emm continued writing songs_hundreds of them _ through all the weirdness of the past few years, but he wasn't exactly sure who he was writing them for. "I spent years figuring out in my mind, `What is my musical life going to look like?'" he says. "I just kept writing." Cohen gave Emm his blessing to continue Tanlines, even if his own contributions would be limited due to his own non-musical obligations. "I'm like, `Whatever you can do to keep this thing going, do it,'" Cohen says. And with that, Tanlines was reborn. By January 2022 Emm felt he had a body of work that made sense as a Tanlines album. Cohen spent ten days with Emm at his Connecticut studio, along with unofficial third Tanline Patrick Ford (!!!). This was tied together with a sleek final mix from Peter Katis (The National, Interpol) at his famed Tarquin Studios, resulting in a clear vision of what Emm's musical life was going to look like: The Big Mess. The first sounds on The Big Mess are the title track's coiled guitars and thumping drums, building into the kind of outsize, choral rock anthem artists like Tanlines were almost a reaction to. It is warm and nostalgic, and Cohen likens a lot of the prevailing mood to "a sepia filter on a digital photo." He continues, "we were pretty intentional about making this the first song on the album, underlining the way that this is a new phase of the band." Cohen says. The moody, scintillating "Burns Effect" serves as one of the biggest pushes forward for the Tanlines sound, and for Emm as a lyricist. He says that the song is "deep and dark and dangerous, but in a fun way. It's one of the more personal tracks on the album where this ungrounded part of my personality surfaces, but with an over-the-top machismo, almost an ironic character." Other tracks like "New Reality" and closer "The Age of Innocence" are also demonstrably guitar-forward in ways that wouldn't seem obvious for Tanlines (despite Emm's pedigree in austere avant-garde math-rock outfits Storm & Stress and Don Caballero), but Emm is less sure The Big Mess is a total departure. "I'm trying to make these absolutely simple things," he says. "I think of these songs as Rothko paintings: They're big and they're bold and they're seemingly straightforward, but they have a lot of depth and they engage with you and make you feel something."

Tommy Prine’s debut album is not only a long-awaited introduction but a testimony to Prine’s twenties and the loss, love, and growth that has defined them. Co-produced by close friend and kindred musical spirit, Ruston Kelly, and beloved Nashville engineer and producer, Gena Johnson, the album is rich and dynamic, from cathartic jams to nostalgic storytelling. The son of late songwriting legend, John Prine, Tommy Prine grew up in Nashville surrounded by music, art and writing. As a child, he thought all parents were musicians, as his father “going to work” meant performing shows for adoring fans and writing songs. Tommy learned to play guitar by watching his father play, copying the ways his fingers moved and inadvertently developing his own singular style. Summers spent in his mother’s homeland of Ireland lent their own inspiration too and ten straight years camping at Bonnaroo introduced Prine to a swath of music not belonging under the greater Americana umbrella and his musical tastes grew to become decidedly eclectic, spanning John Mayer, Outkast, Bon Iver, the Strokes and more. In a way, what makes Prine’s own music so special is how he’s navigated life and creativity apart from his family’s name—as he once said, on stage, to a disorderly request for one of his dad’s songs, “You’re not about to get an hour of John Prine Junior.” It wasn’t until Prine reached his mid-twenties, though, that he considered a career of his own in music and began to share with others the songs he wrote in private. It took a long while for Prine to even share the songs he’d been writing about the triumphs and tragedies of his life, only recently deciding to let his friends and now-collaborators Ruston Kelly and Gena Johnson hear what he’d been putting together. This Far South is an emotionally complex but universally accessible debut that sonically brings together a colorful patchwork of musical influences and lyrically explores existential questions and emotional experiences.

After an international tour of over 100 dates, French 79 is ready to unveil his third album entitled TEENAGERS. This opus gives us such unique and strong sensations, partly because the synths were recorded at Jean-Michel Jarre's studio in Paris and the tracks were mixed and mastered by Damien Quintard a Miraval studios.

TEENAGERS alternates between signature songs like the masterful opening song, as well as unsuspected romantic and nostalgic songs, epic and flamboyant

tracks, tracks with liberating harmonies, sensational electronic swirls, pop gems ("You Always Say" feat. Prudence, the singer of The Dø) and sumptuous introspective tracks ("Walking on Mars"). Not only does this opus reflect his wide range of talents as a songwriter and producer, but also it definitely takes us on a very powerful sensorial and introspective journey.

Kundan Lal is a highly understated artist. Little is known about his background, though some refer to him as Kunsaf Halil, his personal life remains largely a mystery.

Gathering a cult following amongst people like Den Sorte Skole or DJ Marcelle with his previous releases, he is now set to sail new shores. There is a sense of wanderlust as he opens his box of field recordings, collected on his many travels. From the buzzing streets of Alexandria, early sunday markets in Tafraoute or a crackling bonfire down by the banks of the river Ganges. Each track takes you places.

Kundan's second album is a captivating blend of dubby beats, collages, and exotic instrumentation. Drawing from classic tools like the Roland 808, SC7 and the famous Space Echo, Kundan has created a unique and minimalistic sound that is sure to captivate listeners. At once nostalgic and experimental, "Power of Ra" is a must-listen for both electronic music purists and fans of adventurous soundscapes.

Compelled to work from home on his computer during lockdown, Kundan dusted his pawnshop e-piano, downloaded some orchestral soundkits and started to digitize almost forgotten field recordings. The "Power of Ra“ came to him.

“Illgrimage” is a good example of his approach. Combining atmospheric soundscapes with swirling strings, trombones and pianos. Echoes of birds and children playing in the streets. A small town filled with life and a theremin leading the way while you hear the faint yet powerful words of Greta Thunberg saying: "Imagine...“

“Raqaqa,” a powerful orchestral journey with a hip-hop edge. Tinkling chimes add a groovy vibe, while lush layers of wind instruments weave a masterful soundscape. It’s the slow-burning intensity of this track that pulls you in.

"Nasi Chip" is a signature song that exemplifies Kundan Lal’s musical prowess. An engaging beat coupled with chopped up vocals, 8-bit synth melodies and an arpeggiated piano provide an energetic atmosphere that is both cunning and unique.

”Cen" lures you into the egyptian realm. A Harmonium slithers serpent like around a pounding beat.Horns gently swaying to the rhythm of the desert.

It is hard to put your finger on his style or genre. You can feel Kundan Lal‘s DIY spirit in his production, carving his own ethnic genre. For enthusiasts of Roberto Musci or Muslimgauze, this avant-garde album is one for your collection. Keep your senses open and let the Power of Ra pass you to another world.

Eric Emm and Jesse Cohen of Tanlines are indie-rock lifers turned reasonable, happy middle-aged fathers of two, figuring out their place in a chaotic culture and industry that can no longer command their full attention. They are emblematic of a particular time and place that doesn't really exist anymore, yet here they are existing, and thriving, in 2023. The Big Mess came together when Emm and his family moved from Brooklyn to rural Connecticut, while Cohen launched a marketing career and a successful podcast and stayed in the city. Emm continued writing songs_hundreds of them _ through all the weirdness of the past few years, but he wasn't exactly sure who he was writing them for. "I spent years figuring out in my mind, `What is my musical life going to look like?'" he says. "I just kept writing." Cohen gave Emm his blessing to continue Tanlines, even if his own contributions would be limited due to his own non-musical obligations. "I'm like, `Whatever you can do to keep this thing going, do it,'" Cohen says. And with that, Tanlines was reborn. By January 2022 Emm felt he had a body of work that made sense as a Tanlines album. Cohen spent ten days with Emm at his Connecticut studio, along with unofficial third Tanline Patrick Ford (!!!). This was tied together with a sleek final mix from Peter Katis (The National, Interpol) at his famed Tarquin Studios, resulting in a clear vision of what Emm's musical life was going to look like: The Big Mess. The first sounds on The Big Mess are the title track's coiled guitars and thumping drums, building into the kind of outsize, choral rock anthem artists like Tanlines were almost a reaction to. It is warm and nostalgic, and Cohen likens a lot of the prevailing mood to "a sepia filter on a digital photo." He continues, "we were pretty intentional about making this the first song on the album, underlining the way that this is a new phase of the band." Cohen says. The moody, scintillating "Burns Effect" serves as one of the biggest pushes forward for the Tanlines sound, and for Emm as a lyricist. He says that the song is "deep and dark and dangerous, but in a fun way. It's one of the more personal tracks on the album where this ungrounded part of my personality surfaces, but with an over-the-top machismo, almost an ironic character." Other tracks like "New Reality" and closer "The Age of Innocence" are also demonstrably guitar-forward in ways that wouldn't seem obvious for Tanlines (despite Emm's pedigree in austere avant-garde math-rock outfits Storm & Stress and Don Caballero), but Emm is less sure The Big Mess is a total departure. "I'm trying to make these absolutely simple things," he says. "I think of these songs as Rothko paintings: They're big and they're bold and they're seemingly straightforward, but they have a lot of depth and they engage with you and make you feel something."

After releasing their debut project “Voyage” in 2022, Tapioca, the Brussels-Kigali-based, Brazil-inspired duo return with LP “Samba em Kigali.” Building on their sound and influence, “Samba em Kigali” is a definitive step up and clear sonic growth for the twosome, whose debut, RA wrote, is "if Anderson Paak. & Marco Valle made a Brazilian pop-funk record.” Arriving via Berlin’s Jakarta Records May 19th.

Tapioca (32k Monthly Listeners on Spotify), the Belgian duo made of rapper / lyricist Alessandro “Le Tagarel” Vlerick and producer & composer Simon “SiKa” Carlier, tapped into a unique and infectious groove with their debut LP “Voyage,” released in 2022 via Jakarta Records’ “Dubplates” series. Positive reviews came flooding in, including coverage from, among others, BBC Radio 6, KCRW, Resident Advisor, JAZZIZ as well as performances and features on Worldwide FM and Bandcamp Daily. Their debut also landed on global editorial playlists such as Spotify’s “Global Groove,” (600k) “Tulum Vibes” (110k) and Deezer’s “Chilling Pool” (31k). “Voyage,” as the name indicates, was an ode to freedom, escape and the discovery of alternative cultural horizons that brought together various spoken-word testimonies from Portuguese friends around the world. Tapioca’s upcoming LP, “Samba em Kigali,” picks up the thread where “Voyage” left off, acting as an ode to traveling and, more broadly, of the inherent beauty of the African continent. Le Tagarel has worked as a teacher in Kigali, Ruanda, for the past years and his time there is reflected in the album’s buttery lyricism, putting forth the proposition that Africa and Brazil are in fact not so far apart - Africa is, and will always be, present in Brazilian culture. Featuring the Dillaesque sound infused with inspiration from rap, jazz, MPB and funk of the 70/80’s to the stunningly fleshed out lyricism - the LP sways like a ship on the smoothest of seas, a pure ray of aural sunshine to welcome the warm weather. Artwork was stunningly put together by Simone Cihlar (Anderson Paak. Tom Misch, Ivan Ave) and visualizers done by the stalwart crew at Die Ottos (Flofilz, K Le Maestro, Suff Daddy, S.Fidelity, Gianni Brezzo). Jakarta is ecstatic to share such a high-water mark of an album, out everywhere physically / digitally May 19th.

Kicking off “Samba em Kigali” is the impeccably smooth 1st single, “Lagoas de Ruanda” out March 22nd along with LP pre-order announcement. Instantly catchy, the crisp guitar, funky bass and buoyant underlying percussion are the perfect vitamin of joy that gives rise to Le Tagarel’s vocals. The track is a perfect sonic voyage that encapsulates the continued growth of Tapioca’s sound and gives a sonic peek into the LP. Infectious and groovy, the song skirts a line along samba, R&B and jazz with an almost hip-hop bounce.

2nd single, “Sabor Swahili,” out April 12th, is a nostalgic groovy splash that melds soft keys, bass and a percussive edge that slides you into an aural pocket. The song moves in a joyous melancholy that is almost impossible to move to, the under-water synth stabs keep your shoulders loose while the rhythm keeps you bouncing along. Even if you don’t know Portuguese, you’ll be singing along by the tracks end. The joyous 3rd single “Terra Preta” is out April 26th and will lift you up high to keep you in a serene mood anytime, anywhere. Focus track is the headnodding grooves of “Cara de Arabe.” Building from “Voyage,” Tapioca provides a fresh, rare vibe, adding a slight dose of disco to the R&B-driven progressions. “Samba em Kigali” is a unique album that is soaked and marinated in a sonic and visual aesthetic that brings with it feelings of joy, movement, and a global home, and sonic moods ranging from Bruno Berle and Marcos Valle inspired arrangements to bouncing progressions with a swingin’ percussive edge. Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US and UK.

Though the trio of John
Medeski, Billy Martin, and
Chris Wood had already
expanded the jazz genre with
their first three records (two
of which we have reissued
here at Real Gone Music),
it was this 1996 album that
really crossed over and won
the ensemble a whole new
legion of listeners in the “jam
band” camp. Recorded in a remote, solar-powered plywood
shack in Hawaii (hence the title), Shack-Man brought the ‘70s
soul-jazz beloved by the band firmly into the ‘90s, propelled
by Medeski’s simultaneously nostalgic yet forward-thinking
excursions on the Hammond B-3. A masterpiece of groove, out
on vinyl for the first time!

Fresh off his explosive Boiler Room performance in Liverpool, the dust is yet to settle from the electronic eruptions caused by GTOWN head-honcho and energy inducer, KETTAMA. Namely, the damage caused by his latest armoured artillery; ‘GTOWN004’, a radioactive EP with devastatingly euphoric consequences.

‘Samba Soccer 2001’ is the track that opens the door to ‘GTOWN004’, as we’re welcomed by an anonymous voice that insults the listener; a perfect introduction to a project that is wildly unapologetic in its character, and utterly ruthless in its delivery. Released as the first single from the ‘GTOWN004’ EP, ‘Samba Soccer 2001’ has already been greatly received by the GTOWN faithful, and sets the tone for what is arguably KETTAMA’s most complete, and anticipated project yet.

The EP starts as it means to go on, as KETTAMA drops another bombshell with ‘Blitz Zuruck.’ With a euphoric soundscape which the producer partners with a punishing bassline, this track is deeply nostalgic, embodying a time-capsule in the thick of a modern rave-renaissance. Further elements of revamped rave-nostalgia are seen in ‘Slaap Lekker’, before we’re taken deep into the belly of the Galway beast with the atomic ‘GTOWN IN EFFEKT’, and finally killed off with the ‘Rock Da Cliffe Mix’ of ‘Blitz Zuruck.’

‘GTOWN004’ features an ungodly blend of sounds, and in the process, creates an atmosphere that is both ecstatic enough for heaven, and sinister enough for hell. Purpose built for dance-floor destruction, KETTAMA’s infusion of stomach-churning bass, hypnagogic synthesisers, soulful vocals and contagious drum patterns result in an utterly pure, addictive sound.

From Galway to Vienna, Liverpool to New York, the track will be road tested amongst an armoured artillery of records, with dance-floor devastation an inevitable outcome. With his name boldly imprinted on the lineups for the likes of AVA Festival in Belfast, CRSSD in Miami, 121 Festival in New Zealand and Terminal V Festival in Edinburgh, KETTAMA’s worldwide domination of sound-systems continues.

DJ Plant Texture's latest EP, "JUST EP", is a heartfelt tribute to the 90s rave era. With its heavy influences from the Early Acid House and Hardcore hip hop movements, the EP features infectious beats and classic synthesizer riffs that will transport listeners back in time. Each track on the EP is a testament to DJ Plant Texture's skill in production and composition, creating a sound that feels both fresh and nostalgic. Whether you're a long-time fan of the 90s rave scene or just discovering it for the first time, "JUST EP" is a must-listen for anyone who loves electronic music.

Dial D for Digitalism. The return of Hamburg’s most prolific and bewitching production duo is a two-sided one. Back To Haus is their second outing for Running Back after Reality 2 in 2020. And on top of that, it does what it says on the tin. Based on the roots of house, which was the sound that Ismail Tuefekci and Jens Moelle started their DJ careers with, their modern day interpretation of it is far from nostalgic, boring or conservative.

Take the title track for instance. Now a track-id favorite, it was meant to be a sound test. It’s recipe is as simple as it is infectious. Mix some Roland drum machines with a few piano chords and expertly arrange the rest with a marathon intro and a corresponding break down. Voilá! Patience might be bitter, but its fruits are sweet.

Chicagostrasse is not only an existing street in the warehouse district of Hamburg’s harbor, but also a nod to all-time heroes Johnny D and Nicky P of Henry Street fame and their samplers-and-beats approach. Heavy hypno house.

4TH Floor sees the duo sampling themselves (again) for a fast paced and open-airy party jam the references one of their favorite New York labels, when they met at Hamburg’s late house music record store institution Underground Solution beginning of this millennium. Happiness is just a state of mind.

Closing it all off, but not winding it down is Warehaus and its convoying beat tool Empty Warehaus. Like Todd Terry visiting a Summer of Love rave in the UK. Descriptive and positively destructive. All in all, a worthy double, a DJ’s delight and a dancer’s delight.

Legendary 7X GRAMMY and Emmy Award-winning artist/producer Dr. Dre celebrates the 30th anniversary of his magnum opus, The Chronic by announcing the album will be re-released. The Chronic, which is not currently available on streaming services, will again be available to fans on all major DSPs .

Steve Berman, Vice Chairman of Interscope Geffen A&M, said: “Dr. Dre is without a doubt one of the most iconic and groundbreaking artists in the modern era. He has also used his platform to fuel some very impactful philanthropic efforts that will ensure his legacy is felt for generations to come. Dre’s solo career all started with the The Chronic, one of the most celebrated recordings of all time.

First released on December 15, 1992, The Chronic peaked at No. 3 on the Billboard 200 and has spent 97 weeks on the chart since its release. The album also spawned three top 40 hits on the Hot 100, including top ten records with "Nuthin' But a “G” Thang" (No. 2) featuring Snoop Dogg and "F— Wit Dre Day" (No. 8). The Chronic topped the Top R&B/Hip-Hop Albums chart for eight weeks, while "Nuthin’ But a "G" Thang" hit No. 1 for two weeks on Hot R&B/Hip-Hop Songs. Last June, Rolling Stone placed The Chronic on its 500 Greatest Albums of All-Time List, boasting how the album "redefined the West Coast Hip Hop sound." Pitchfork also holds the seminal album in high standing, saying The Chronic lives on as a “timeless show of strength” and “gave shape to L.A.’s present and future.” Videos from The Chronic are also available on Dr. Dre’s official YouTube channel.

Last year, Dr. Dre dazzled during the Super Bowl LVI Halftime Show in Los Angeles. His enormous set was star-studded, as Dre performed alongside some of music's biggest stars, including Snoop Dogg, Kendrick Lamar, Mary J. Blige, Eminem, and 50 Cent. Dre commanded the stage – just a few miles from his birthplace of Compton – with a groundbreaking setlist anchored by hits such as "The Next Episode" and the 2Pac-led "California Love." The historic performance earned Dr. Dre his first-ever Emmy for Outstanding Variety Special (Live). The Hollywood Reporter called the halftime show "thrilling and nostalgic," while Billboard credited Dre for his "seismic impact" on music.

smokey vinyl

French label and promoter Much More recordings is proud to present the first vinyl our collection.

This vinyl features 6 tracks ranging from breaks to techno and passing by acid and electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

We believe that redefining the essence of the genre is now critical. After years of promoting parties in Paris and Europe, Much More has gathered artists considered to be the essence of techno. Artists who know how to turn knobs without screens.

They continue to make the mob sweat on the dance-floor, with a simple at first yet efficient recipe that holds a myriad of subtleties.

On our table lies a lemon slowly withering away, a fruit that once was as much suave than sour. Our artists are as ripe as this yellow sphere lying in the open. They possess the experience and knowledge needed to forcefully broadcast this emergency rebirth that techno desperately needs. Our creations are neither nostalgic nor futuristic, they aim to be atemporal. They are naked to artifices, raw to over-tuning, built and cut upon the very ageless tools that defined and will name what is Techno.

Far from us the desire of claiming to be the only definition of the genre, nor forgetting about its primal cravings. Whereas Amarou, Skudge and Sawlin showcast the narrative scope of our passion, Wrong Assessment, Arnaud le Texier and Falling Echoes will remind us what is raving under the strobe's fire.

It's music from urban centers and countrysides, for big room and inner space.
It's music without tag or time, where every loop stops and unfolds on its own.

We are back to the essence, and yet, much more.