Cerca:pia

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

Back in soon, note new price. The second Silver Mt Zion album featured an expanded band, with a similarly expanded band name. The addition of cello, second violin and second guitar allowed SMZ to develop richer, denser arrangements while preserving live ensemble playing. The opening instrumental pieces picked up where the debut left off, with found-sound loops and treatments introducing repeated melodic themes that move slowly through various counter-melodies the greater breadth of instrumentation brought extra subtlety, complexity and harmonic range to bear on these neo-classical dirges. Guitars and vocals moved to the fore on the album’s centerpiece tracks. “Take These Hands And Throw Them In The River” is an astounding juxtaposition of rhythmic thrust and ricocheting vocals, driven by a battered lyrical paranoia that conjures equal parts fear and rage. The calm after this storming piece comes by way of another vocal tune, this time fragile and near-whispered, with dual lines that alternately mask and reinforce each other. A piano and cello interlude prefaces the last side of the record, which features two guitar-driven songs, the first a blazing rock piece that builds to an exuberant distorted climax, the second as close to a pop masterpiece as this band is likely to craft, highlighted by a lovely arpeggio guitar riff and the defiant refrain “musicians are cowards”. While remaining anchored in an underlying sadness and mourning over this failed world, this album reveals an angrier, more urgent face as this unique ensemble charted ever-widening sonic and emotional terrain.



[c] B1 . Built Then Burnt [Hurrah! Hurrah!]

Madfish are extremely proud to present:

LAURA NYRO - AMERICAN DREAMER

An 8LP Deluxe Vinyl Box Set housing 7 of Laura’s breathtaking original albums - More Than A New Discovery, Eli And The Thirteenth Confession, New York Tendaberry, Christmas And The Beads Of Sweat, Gonna Take A Miracle, Smile & Nested, alongside an original LP of Rarities & Live Recordings.

During the singer/songwriter movement in the late ‘60s and early ‘70s, Laura Nyro was one of the most celebrated tunesmiths of her day. She penned soulful, literate songs that took the folky introspection of her peers and infused it with elements of soul, R&B, jazz, and gospel, giving them an emotional heat that set her apart. Nyro was a hugely respected recording artist, whose confident piano work and rich, expressive vocals made other sonic trailblazers such as Miles Davis and Alice Coltrane navigate towards her. She has influenced the greatest of songwriters - Bob Dylan, Joni Mitchell, Elton John, Neil Young, Carole King, Kate Bush and Elvis Costello among them. That influence continues today being heard in the works of Alicia Keys, Tori Amos, Suzanne Vega, Jenny Lewis and more. Nyro’s wonderfully
expressive and poetic songs – of which many became major hits by other artists, most notably The 5th Dimension, Three Dog Night and Barbra Streisand – remain hallmarks of outstanding quality. ‘Eli’s Comin’, ‘Gibsom Street’, ‘Wedding Bell Blues’, ‘And When I Die’, ‘Stoned Soul Picnic’, ‘Map To The Treasure’, ‘Sweet Blindness’ and ‘Stoney End’ are magnificent examples. Nyro was 18 years old when
she signed her first recording contract and wrote the songs for which she is likely to be best remembered. By the time she was 22, she had become one of the most successful composers in American popular music. But at the age of just 24, she drew back from her creativity and fame, battered and drained by the sheer energy and nerve required to sustain her career. Fortunately for those of us who loved her music, that was not the end of the story. She returned briefly to the fray for three turbulent years in the mid-to-late 1970s, and then enjoyed a final decade of artistic achievement and public acclaim, before illness took her from us at the tragically early age of 49 in 1997. Nyro found her early fame challenging yet despite living under an unrelenting spotlight, she was able to create this series of utterly beautiful
and stunningly unique albums.

There have been many great Jazz Pianists, but foremost amongst them is Bill Evans.
Accepted by all fans as being supremely influential for defining the format and scope of the
Jazz trio, Evans entered his first purple patch in the mid to late fifties and refined his playing
with a series of album. Over the years he recorded many trio albums with frequent changes
of members, with the most lauded being his first and second line-ups. By May 1962 Evans
cut what would be his seventh album for Riverside . New Bassist, Chuck Israels, joined the
group, and together this second classic line-up cut two albums in the same sessions. The
first was Moon Beams which contained ballads, while the second one, How My Heart Sings,
had the up-tempo numbers. These were recorded as a mixture during the sessions as
producer Orrin Keepnews wanted to release an album of just ballads from Evans, and so
made up the album from the varied session tracks. During the recordings, Evans only
revealed the tracks to his trio at the session itself. Fans and critics alike were more than
appreciative of Chuck Israels' ability to meld into the trio with his punchy lines, meshing in
especially well with Motian

Grammy nominated, Love Scenes features Diana's mastery of the romantic ballad in an intimate piano trio setting with Russell Malone on guitar and Christian McBride on bass.

"When my producer, Tommy LiPuma, and I were deciding on the songs for my newest album, it never occurred to me that the songs we ultimately chose would be all about love. I selected songs that I personally liked, and that had a special meaning for me. However, as is often the case during the creative process, a connection among the songs just seemed to organically appear. The songs are indeed about romance. But to me there is a broader and more personal attachment to each of the songs than the standard definition of romantic love might imply. I think that these songs represent the strength of love, including the love of family and friends. But rather than describing my own thoughts about each song, it is my hope that all of you who listen to the music and read the lyrics will discover and imagine your own personal "love scenes" among the mountains, oceans, rain and gardens of these songs." - Diana Krall

Blue Mitchell's run of albums for Blue Note are among the great jazz recordings of the era. His '70s output has often been overlooked, however Blue Mitchell remains a fantastic set featuring the stellar lineup of Black Jazz recording artist Walter Bishop, Jr. on piano and keys, the legendary Doug Sides on drums, bass extraordinaire Larry Gales and the one and only Jimmy Forrest on tenor sax. This record deserves reappraisal as a fine selection of recordings. Licensed officially from Mainstream and remastered from the original tape transfers, this is the best the record has ever sounded. Featuring new words from Doug Sides especially for this release.

Truly one of the great trumpeters of the bop era, Howard McGhee suffered with drug addiction his whole career which meant his band-leading recorded output was minimal. Although the 1950s had largely been a waste for McGhee, Dusty Blue, recorded in 1960, marked a strong return-to-form and is credited amongst fans as some of his best recordings. Featuring an all-star band of Bennie Green, Pepper Adams, Tommy Flanagan, Roland Alexander as well as the ever-touring Ron Carter, this is a collective of musicians at their very best. Mastered from the original tape transfers by Kevin Gray, this is a sublime recording from start to finish.

Features:

180g Vinyl
Remastered from the Original Analog Tape Transfers by Kevin Gray
Printed & Pressed at Pallas
12" Insert Featuring a Photographic Print
Deluxe Reverse-Board Jacket
Officially Licensed from Bethlehem/BMG

Musicians:
Pepper Adams baritone saxophone
Ronald Carter bass
Walter Bolden drums
Tommy Flanagan piano
Roland Alexander tenor saxophone
Bennie Green trombone
Howard McGhee trumpet

THE ICONIC 1993 MASTERPIECE OF UK GOTHIC DOOM PRESENTED ON
SINGLE BLACK VINYL. My Dying Bride has been the leading light of doom
metal since the debut album "As The Flower Withers" was released on
Peaceville Records back in 1992
Influenced by acts such as Celtic Frost & Candlemass, the band's heavy
atmospherics have carved a huge worldwide following over the years & they
remain at the pinnacle of the genre & one of the most instantly distinguishable
metal bands.
Originally released on Peaceville in October 1993 & recorded at Academy Studios
in Yorkshire, 'Turn Loose The Swans' saw the arrival of long- time session
musician & classically trained violin & piano player Martin Powell. The album also
saw the band stretching & pushing the grandiose textures & epic doom dynamics
to create an opus of previously unrivalled atmosphere & stark emotion.
Fans & critics have since hailed 'Turn Loose The Swans' as the blueprint for the
new Gothic Metal genre, with many often still citing the release as among the
defining albums of the band's distinguished career.
This edition of 'Turn Loose The Swans' is presented on single black vinyl, now
with cover artwork from the original CD edition.

‘Cupid & Psyche 85’: Originally released in 1985, includes sleeve notes written by Green Gartside and David Gamson.

From a bedsit in London to New York recording studios… Alternative acclaim to mainstream adulation… Indie label hopefuls to major signings… Despite the series of radical shifts that underpinned its creation, Scritti Politti's second album, ‘Cupid & Psyche 85’, achieved the virtually impossible. While everything was scaled up - the ambition, the sound, the audience - the singular artistic vision that drove the group not only remained intact and undiluted in these bigger surroundings but became more inventive, more adventurous and, ultimately, more beloved. Introduced to pianist and programmer David Gamson while making of the band's debut album ‘Songs To Remember’, Green Gartside realised he had found a creative foil to help him achieve the ambitions he had for Scritti Politti Partially recorded in New York, with several tracks produced by Arif Mardin (who had worked on Aretha Franklin’s ‘I Say A Little Prayer’, a track Green beautifully commemorates on this record) and partially in the UK, with Green and Gamson directly overseeing the process, ‘Cupid & Psyche 85’ is infused shimmering synths and the heat of classic funk.

Yet weaved together by Green’s intoxicating melodies, it is also embroidered with ideas from philosophical writings, while taking cues from myths and fables.

Oli Stewart is Casbah 73. American-born, Madrid-based DJ, producer, vinyl collector and selector extraordinaire with several decades of experience under his belt.

Classic soul, funk and disco at its finest, with releases on mainstay outlets such as Glitterbox and Lovemonk, we're extremely proud to have him in the Boogie Angst record bins.

Casbah 73's Boogie Angst debut is a two-sided live band funk workout reminiscent of early 70's acts and labels such as 24 Carat Black, Black Heat and Strata East, but also connects to the current sounds of Black Jazz Chronicles, Sault and Nu Genea.

Let's Invade the Amazon is a highly grooved piece of live musical wizardry, with vocal performances to match. Beautifully extended and ongoing, the steady backbone interplay with funky electric pianos, with the occasional synth riff popping up for a breath of fresh air. And in the words of Casbah himself: "Quite possibly - no, definitely, the only soul-disco track ever to be inspired by Michael Mann's book "The New Climate War", The Clash, Sun Ra... and Dr Seuss".

On the B-side we find Pale Splash of Blue; some top shelf live Moog-, Rhodes- and Hammond featuring jazz funk. Punchy organs stab away alongside Casbah 73's signature electric piano sprinkles, bouncing around his unique rhythmic groove. All resulting in a driving pace and attractive up-tempo moment; more than worthy of that evening beach club get-together.

Casbah 73's sound is a clear amalgamation of his broad range of influences, and the two songs on this release are a definite showcase of his love for funk, soul and disco.

With some excellent remixes on their way, keep an eye out for the upcoming limited edition vinyl release.

'Casbah 73 – Let's Invade the Amazon' is out on all digital portals on May 20, 2022, via Boogie Angst

On 21 April 1960, Claudio Arrau recorded Johannes
Brahms' 1st Piano Concerto in London with the
Philharmonia Orchestra and Carlo Maria Giulini - under
the auspices of Walter Legge, the legendary artistic
director of EMI, who hired the pianist. The Chilean pianist
is an immense Brahmsian, and here he delivers a
masterly version that is at once heroic and tragically
profound.
The LP benefits from a new remastering in 192htz/24 bit
done in 2022 from original tapes by Art & Son Studio,
Annecy.

With arrangements and piano by Alfredo Linares, this is a thrilling double-sider sought after by collectors and DJs because of the funky dancefloor cuts 'Enyere Kumbara' (covered by Quantic a few years back) and 'INS-Rock'. Proper Afroantillano party business melting Cuban, Nuyorican and Colombian tropical traditions. First time reissue on 7" vinyl. Julián y su Combo was founded in 1962 by left-handed guitarist Julián Angulo Ponce, who was originally from Guapi, Cauca, Colombia and made his name in Cali and Buenaventura, signing initially with Bogotá's Sello Vergara in 1966. During a 20-year period Julián y su Combo released eight records (with several band name variations). Angulo was part of the first generation of artists from the Colombian Pacific who migrated to Bogotá in the 1970s, and his combo enjoyed popularity in his adopted city as well as in Medellín and Mexico. The band also travelled to Venezuela and the US. Angulo described his sound as Afroantillano, combining Cuban, New York Latin and Puerto Rican elements with Colombia's own tropical traditions. The combo's arrangements were distinguished by the bandleader's funky, jazzy electric guitar work (Angulo played without changing the order of the strings), a hot rhythm section and the potent brass line-up of two saxophones and a trumpet (much like Cortijo y su Combo). At that time Alfredo Linares was musical director at INS and this album -the first one Julián Angulo recorded for the label- bears his influence in the funky 'Mambo Rock' sections (breaks and handclaps galore!) and hot Cuban and Latin jazz piano styles that also graced his own records.

This mega-rare 1969 album pays tribute to the Bronx and Brooklyn neighborhoods where young Latinos had invented the boogaloo a few years earlier. This record highlights the quality of Peruvian boogaloo and the talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos. First time reissue. In the mid-sixties, when young Latino musicians in New York fused Afro-Cuban rhythms with rock, soul and jazz, they had no idea that their boogaloo bang bang would reverberate just as strong and loud in a distant South American country. From 1955, La Sonora Macedo, took Cuban music to every corner of Peru, backed the leading musicians of the Peruvian tropical universe, such as Ñiko Estrada, Joe di Roma, the double bass player Pepe Hernández, and the trumpet players Tito Chicoma and Charlie Palomares. All diehard fans of Cuban music, always alert to any new artist arriving from the island. In the early sixties, light rock, doo-wop, ballads, Italian songs and bossa nova paraded across Lima's stages, making performances by Cuban bands, previously so frequent, a thing of the past. Moreover, the unanimous success of the Beatles from 1964 onwards, gave the impression that music from the English-speaking world would dominate the rest of the decade. But this was not the case. In large part because of Manuel Guerrero's good relations with U.S Latino labels, such as Alegre Records, which released the initial recordings by Johnny Pacheco and Charlie Palmieri, allowing listeners in Lima to follow the development of the salsa movement almost from the beginning. MAG was undoubtedly the best representative of these new sounds. In 1969, the LP "Acabo con Lima, huyo pa' Nueva York" was released on this label, a project which brought together three figures from Lima's show business world: Manuel Antonio Guerrero, owner and founder of MAG, who wasn't shy of joining in on the chorus and percussion during recordings, Pablo Villanueva "Melcochita", a multifaceted artist from a talented musical family from the popular district of La Victoria, was responsible for the vocals and percussion on the album. And the third Lima show business figure in this project was the musician, singer and comedian Alberto Montroy Laostervened, who gained fame in the sixties while still in his twenties for his imitation of Cantinflas, the Mexican actor. Alberto bore a devilish resemblance to Cantinflas, not only in his gestures but also physically. Under the name of Pepe Moreno "Karamanduka" he also went on to record songs abroad such as "El boogaloo de Cantinflitas". "Acabo con Lima, huyo pa' Nueva York" was immediately re-released in other countries, highlighting the quality of Peruvian boogaloo and talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos, who feature prominently on the album. Songs such as 'Vuela mi descarga', 'Peruvian boogaloo' and 'Peruvian guajira', pay tribute to the Bronx and Brooklyn, neighborhoods where young Latinos had invented the boogaloo a few years earlier.

"His music filled me with the urge to connect with the world," Kaitlyn Aurelia Smith says of Emile Mosseri. She first heard his work while watching the 2019 film The Last Black Man In San Francisco; just minutes in, she paused it to look up who did the score and wrote to him immediately. "I love Emile's ability to create melodies that feel magically scenic and familiar like they are reminding you of the innocence of loving life." Those talents saw recognition in 2020 with an Oscar nomination for Mosseri's original score to the film Minari. He was already a fan of Smith's and became increasingly intrigued by her impressionistic process as they started to talk. "The music feels so spiritual and alive and made from the earth," Mosseri says. "I think of her as the great conductor, summoning musical poetry from her orchestra of machines." I Could Be Your Dog / I Could Be Your Moon, their two-part collaborative album, introduces an uncanny fusion of their sonics. Constructed using synthesizer, piano, electronics, and voice, this soft-focus dream world is lush, evocative, and fleeting. It finds two composers tuning their respective styles inward as an ode to mutual inspiration, a celebration of the human spirit and its will to surrender to the currents of life. As a full album set, I Could Be Your Dog / I Could Be Your Moon moves fluidly from track to track, panning through textural vignettes. Two roughly 17-minute halves, the set evokes the bittersweet sense of something too bright or rare to last, a short-lived glimpse into a golden hour. There is a dreamy, elemental intention to this music, which Smith and Mosseri say came naturally, as they both embraced intuitive interplay throughout their creative back-and-forth. The stylistic threads of each composer are recognizable yet become more ambiguous as the album progresses, sewn into a singular vision.

Unter den großen Komponisten ist Bach unbestritten der
Größte: Kaum ein Musiker, der ihn nicht verehrt. Kein
Wunder, denn seine Musik erreicht unsere Herzen ganz
unmittelbar. Unter den jüngeren Pianisten hat sich der
Franzose David Fray als einzigartiger Bach-Interpret einen
Namen gemacht. In seinem Spiel verbinden sich
Klangsensibilität und Geist auf höchstem Niveau.

Pello Joxepe is in the bar, but this time he's moving his hips to the sound of Curtis Mayfield's Superfly funk-soul Groove. These are the kind of psychedelic visions created by this esoteric "Akelarre Sorta", an unparalleled gem. The African American saxophonist, pianist and composer William S. Fischer, who worked in the 1950s with stars of the stature of Ray Charles, Muddy Waters, Joe Zawinul and Roberta Flack, in 1972 made an album of catchy, funky versions of popular tunes. And that's it, as simple as it is mysterious and surprising. Little more has ever been known about this recording or about the reasons behind William's visit to the Basque Country. So here it is, ready to attract a new audience to join the cult following it has gradually built up over nearly 50 years. Warning: Try it once and you'll be hooked.

Fast-emerging British singer, songwriter and pianist Reuben James’ virtuoso jazz techniques and soulful, evocative voice have led him to be widely regarded as one of the most exciting and creatively assured artists to have emerged in recent years.

He has written for and performed with an array of international star acts including the likes of Joni Mitchell, Herbie Hancock, John Legend, Disclosure etc.

Reuben’s Sophmore EP ‘Slow Down’ landed to critical acclaim in 2020 we also have in stock (last few copies) in addition to his debut EP from 2019 ‘Adore’ which first brought us to his attention.

Reuben released his single ‘BBQ Energy’ in late 2020 followed by the star-studded ‘Tunnel Vision’ featuring Frida Touray, Daley with Tom Misch in early 2021.

Here we have his most recent and arguably most popular singles available for the first time on Vinyl as a Limited Edition release.

"Megatone" ist das dritte Studioalbum des Side-Projekts von Klaus Schulze, Richard Wahnfried, das 1984 veröffentlicht wurde. Auf diesem Album arbeitet Schulze mit Michael Garvens, Axel-Glenn Müller, Ulli Schober, Michael Shrieve und Harald Katzsch zusammen. Im Gegensatz zu den Projekten, die unter dem "Klaus Schulze" Namen laufen, wird bei Richard Wahnfried eifrig kollaboriert und improvisiert. Handgespielte Instrumente, wie elektrische und akustische Gitarre, Saxofon, E-Piano oder auch simple Perkussion bekommen hier großen Raum zur Entfaltung. In "Angry Young Boys" wird sogar auf sehr rockige Weise gesungen. "Megatone" ist ein durchaus hörenswertes und abwechslungsreiches Album. Keine Spur von Verlorenheit in wabernden Synthesizerwänden, sondern sehr erdig und lebendig.

Funk friven early Italo Disco by Phono! "Music Is My Sex" is to be inserted in the Italo-Disco trend of the early 80s, but also with a nod to Funk and Disco Music from overseas. The use of the Nile Rodgers-style guitar completes a rhythmic base in which the bass is played on the synthesizer, while the melodic lines are entrusted, in addition to the voice, to the electronic keyboards. Three members of Phono sang the various verses, while the bridge was entrusted to a carpet of keyboards. The keyboardist and arranger Paolo Biasich, a great fan of electronics, had built some synthesizers (also used by Giorgio Moroder) used in the song. The piece was recorded in Sandy Dian's studio in Gambellara (close to Vicenza), whit text by the eclectic author and dee-jay Art De Rosa was a declaration of love for the music that goes around ("around and around") and that "gives us more", coming to compete with sex... The vocal version on the A side of the vinyl is joined by an instrumental version on the flip that ends with a piano solo. Limited edition of 300 copies in vinyl reissue at 180 grams.

Fresh and zesty with subtle tropical flavours, this is a delightfully listenable debut from Matthieu Beck on Growing Bin. Inspired by the lilting rhythms, jazzy instrumentation and slow listening gems found on his Love In The Afternoon radio show, the Frenchman has crafted a gorgeous collection of laid back sophisti-pop, perfect for long summer days or seasonally affected escapism.
Any suggestion of sorrow in the album title is actually a mislead - this may be a solo LP, but Matthieu's surrounded himself with the musical friends he's made over the years, serving as composer and bandleader to a willing troop of collaborators. Longtime friend and former Metronomy bassist Gabriel Stebbing, Source Ensemble drummer Emmanuel Mario, and of course Laetitia Sadier herself, stepped in to lend their services and bring Matthieu's music to life, before Jérôme Caron (Blackjoy) expertly mixed it all down.
Though the tracklist may read like a travelogue, these nine tracks all began at home with Matthieu sat behind a Fender Rhodes with a drum machine by his side. Soon live bass, saxophone and flute strolled into his unhurried arrangements, retaining the simplicity of his demos while expanding the emotion. Weighty synth drones and bubbling bass balance the airy elements of tracks like "California" or the dream-pop romance of "Rooftop Rome", while the mellow "Malika" and joyful "Retour De Plage" showcase the Frenchman's relationship with jazz. Elsewhere there's hints of digi-dub ("Island" and "Suede"), coastal boogie ("Tokyo Montana"), stripped back city pop ("California") and downtown nostalgia ("Dora"), before Beck arrives at the poetic, progressive but peaceful finale "Piano Fin", which recalls Air at their prettiest, without stepping outside Matthieu's well defined sound.

Atomnation marks its 100th release with Peter, Barbara, Beth & Friends, the stunning debut album from Blomfelt & Narby. The immersive nine-track record arrives on August 26th and is a widescreen listen that fuses acoustic and electronic sounds with loose field recordings and tightly programmed drums.

Finnish-born Henrik Blomfelt grew up in Gaspar Narby's homeland of Switzerland, but the pair met on the dance floor of a pool club in Peckham while studying in London. Gaspar’s indie pop solo project was rewarded with a broad sweep of tastemaker tips from new music and electronica media alike, while Henrik had co-founded Resolution, an audio-visual collective and event series. The two eventually moved in together, but it's only a couple of years later, when Gaspar visited Henrik’s homeland of Finland, that they began making music together. They wrote half of the tracks that appear on the LP there, using an old piano, a cassette recorder found on location and their laptops. The second half was finished back in London.

Spanish artist Helena Piti continues to establish her artful Argia alias with a mini-album on Atomnation. Across six superb tracks, the formally trained artist brings serenity, musicality and gorgeous melody to her stylishly designed sounds.

Piti has been immersed in music all her life. From a young age, she studied piano and double bass at the conservatory before evolving into the electronic world and quickly making her mark. She has released with the likes of Stil Vor Talent, Sincopat and DUAT while holding down her esteemed residency at Madrid's well-known Mondo Disko and touring places like Watergate and about:blank. This self-taught producer uses music as a way of expressing a wide range of inner feelings and she has plenty lined up for 2022 including this adventurous new release.

SONIKKU announces the release of their new album ‘Joyful Death’, via Bella Union. “I love songs that make you want to cry and dance at the same time,” says Tony Donson, the London-based musician who records as SONIKKU. That sense of unfettered release and liberation drives their new album, ‘Joyful Death’. A fluent, fertile and full-colour hybrid of vibrant Italo-house, liquid synth-pop, righteous disco and French philosophical asides, it’s an album that signals the emergence proper of SONIKKU - a fully formed dancefloor artist. It’s also a farewell of sorts, perhaps, but with an emphatic rebirth at its heart. “This album feels like a transformation in the sense that I’m creating the music I’ve always wanted to make. A fully realised, coherent pop record that showcases my craft as a song-writer and producer.” Total control of their craft is swiftly asserted on ‘Let The Light In’, where the
influences of lost-in-music disco and the Pet Shop Boys merge under vocals from immersive, exploratory British singer-songwriter Douglas Dare. The pace accelerates as ‘WKND’ gets into a groove pitched somewhere between Madonna, Daft Punk and Indeep, with LA future-pop singer LIZ primed for dancefloor abandon on vocals. Meanwhile, SONIKKU’s independent intent is firmly asserted on the freestyle-inspired ‘Don’t Wanna Dance with You’, where singer Aisha Zoe coolly brushes off unwanted advances in favour of dancefloor pleasures.
LIZ assumes vocal duties again for ‘Sweat’, a song fully equipped to make dancefloor devotees do as its title suggests. Dreamily melodic evidence of SONIKKU’s dynamism (and love of melancholy Swedish electro-pop queen Robyn) beckons on ‘X Hopeless Romantic’, where Little Boots contributes a sweetly loved-up vocal over a sublimely
infectious chorus. Pummelling synths signal a dramatic shift of pace on the almost electro-darkwave dash of ‘Remember To Forget Me’, where actor/singer Chester Lockhart presides over a summit meeting between Depeche Mode and New Order. Performance artist Tyler Matthew Oyer takes the vocals for the Italo-disco-inspired title-track, a vividly imagined album manifesto - of sorts - inspired to varying degrees by an 1892 poem, French thinker Gilles Deleuze’s concept of the “body without organs” and a 1997 anime called The End Of Evangelion. Finally, that grand piano takes over as Dare returns, presiding over an achingly stripped-back version of ‘Remember To Forget Me’. With help from friends and artists they admires on vocals, ‘Joyful Death’ is a hugely confident and self-contained leap forward for SONIKKU after his time as a feted DJ. Having moved from Derby to London at the age of 18, Donson worked as an intern (at MTV, Dazed & Confused, SHOWstudio and elsewhere) then turned to DJing (from
London to Tokyo, Paris and Berlin) after they were signed to London label Lobster Theremin. Though they continues to DJ regularly at Tottenham’s LGBTQ rave-up Adonis, they have extra ambitions in mind: “I love DJing but I’m more looking forward to developing a live show.” LP pressed on mint green vinyl with digital download.

Nigerian Afrobeat composer, bandleader, and multi-instrumentalist Fela Kuti has a vast catalogue that dates back over half a century. Roforofo Fight is one of the many standouts and it was recorded in Lagos in 1972 on the Jofabro label with the legendary Tony Allen on drums as well as Christopher Uwaifor on tenor, Lekan Animashaun on baritone and many other key players alongside the main man. The lyrics convey Fela's frustration at intolerant and violent behaviour as told through the story of a street fight.

Just 100 copies pressed – make sure to book your place for this unforgettable journey.

Celebrating our tenth release, First Cut delivers the label’s first split release. Like the arbitrary scheduling of our hometown Dublin’s bus system, it took a while for these tracks to appear – and then they all came at once!

Tr One drops ‘Fold’, a rousing house track, led by insistent piano keys and tough drums, while on ‘Crash2’, Lerosa delivers a wonderfully sub-aquatic electro-techno jam. Bringing the listener back to earth with a driving bass and powerful rhythm is Giles Armstrong’s ‘Deep is For Dopes!’

Im Dezember 2021 veröffentlichte Alicia Keys ihr neues Album »Keys«, zunächst digital. 2022 dürfen wir uns nun über das physische Release des Longplayers auf Doppel-Vinyl freuen.

»Keys« ist bereits das achte Studioalbum der amerikanischen Sängerin, Songwriterin und R’n’B-Ikone, der Nachfolger von »Alicia« aus dem Jahr 2020.

Das Doppelalbum umfasst 26 Tracks und besteht aus zwei Teilen, einem Piano-Album mit dem Titel »Original« und einem Bonusalbum namens »Unlocked«, das sich zwischen Hip-Hop, R’n’B und EDM bewegt. Zehn der Titel findet man auf beiden CDs und demnach in unterschiedlichen Versionen, neben sechs weiteren Songs.

»Die Originals kommen von der klassischen Seite von mir! Es ist die AK, die wir wollen! Eine Heimkehr. Auf der Unlocked-Seite wollte ich die Originale sampeln, um ein ganz anderes Klangerlebnis zu schaffen«, so die Sängerin. Das ihr das gelungen ist, machte sie bereits mit den Singles »Lala (Unlocked)« und »Best Of Me« klar.

Auf ihrem neuen Album »Keys« war Alicia Keys als Produzentin und Songwriterin an allen Songs beteiligt. Unterstützt wurde sie allerdings von Kollegen wie Mike Will Made It, Sia, Raphael Saadiq oder Natalie Hemby. Außerdem lud sich die Sängerin ein paar Duettpartner ein. Auf beiden Albumteilen warten Gäste wie die Sänger und Rapper Khalid, Lil Wayne, Pusha T, Swae Lee, die Country-Sängerin Brandi Carlile und der britische Sänger und Komponist Jacob Collier.

Alicia Keys gehört zweifelsohne zu den größten R’n’B-Sängerinnen der Welt. 2001 veröffentlichte sie ihr Debütalbum »Songs In A Mirror«, das es auf Platz eins der US-Charts schaffte. Von sechs weiteren Alben erreichten drei ebenfalls Platz eins in den USA. Im Laufe ihrer Karriere verkaufte die Sängerin und Songwriterin weltweit mehr als 30 Millionen Tonträger. Zudem gewann sie zahlreiche Preise, darunter bislang 15 Grammys.

. An original suite by Bruno, the starting point for Out of Doors was the eight Hungarian folk melodies used by Bela Bartók in his 1920 composition 8 Improvisations Op. 20.
Over the 8 movements, Bruno's roots in impressionistic classical music are concentrated by Andrea's classical training and deep understanding of European jazz and Gene’s renowned groove and swing.

Bruno Heinen – Piano
Andrea Di Biase – Bass
Gene Calderazzo – Drums

Norwegian magic with style and enchanting voice! In 2021 LIV KRISTINE‘s EP „Have Courage Dear Heart“ was released and now the
re-release „Enter My Religion“. The album will be released for the first time as a vinyl with an extra single, as a cassette with two bonus tracks and as a double CD with unreleased tracks and demo recordings. The songs were also adorned with universal influences. Sitar sounds introduce the title track, which comfortably gets under your skin with its insinuating melody arcs and LIV KRISTINE‘s delicate voice. The opener „Over the Moon“ (PETER TÄGTGREN) hints at powerful metal, but then develops into a driving pop song. „Fake a Smile“ is an airy ballad, with LIV KRISTINE‘s voice charmingly taking center stage and setting the tone for most of the songs on the album. The title track „Enter my Religion“ is a mid-tempo anthem with a wise appeal to your inner self, your self-esteem, happiness and creativity. The pace continues with „All the Time in the World“. Straighter and more guitar-driven is „My Revelation“. Pleasing harmonies are in the foreground in the warm and soothing composition „Coming Home“. ‚Streets of Philadelphia‘ - BRUCE
SPRINGSTEEN‘s theme song to the Oscar-winning movie was interpreted as a tribute. The arrangements being technically based on the original, LIV KRISTINE adds new and softer accents to the track. „You Take Me Higher“ is extraordinarily different and more dance-oriented, with a subtle drum‘n‘bass overlay. With „Trapped in Your Labyrinth“ and „Fake a Smile“ LIV KRISTINE spoils her listeners
with profoundly sensual ballads and rock songs. The fairy-like singing, accentuated by piano sounds, envelops music lovers in a web of security, melancholy and longing.

„Enter My Religion“ convinces as a spicy and varied album. The blond Norwegian succeeds in creating a fine album with romantic touches, which never slips into kitsch. Simply authentic, profoundly philosophical, surprising and absolutely LIV KRISTINE - luminous and enlightening.

Kalevala’s classic third album “Abraham’s Blue Refrain”, came out with the band’s revamped, more international name “Kalevala Orchestra”. The album was recorded in the spring of 1977 and produced by Tommi Liuhala together with the band, with lyrics by Jim Pembroke of Wigwam, who also plays the piano in the title track. The overall sweeping tone of this progressive and monumental record is dark and sombre with a spiritual weight to it. The songs themes and lyrics, sung in English which is rare for a Finnish band of the day, are on a grand scale imbued with deep sentiment and sacred intention. According to Lido, the album’s title track: “… actually describes my relationship to spirituality, and the song “Silver Fish” is also a self-portrait: “I’m a Pisces in the horoscope and I made this song to describe myself.” “Marketbox Street” and “Highland Temple” are Prog rock bangers that illuminate slightly different corners of the world taking the listener through far off valleys of feeling and meaning. With roaring hammond organ and crunching guitars that heap on the fuzz and then take flight into intricate but highly emotional solos from one beat to the next and back, Kalevala Orchestra mean business. “Abraham’s Blue Refrain” won’t let the keen listener down for one second and is altogether much more soul-searching and grandiose than their more obviously rocking “Boogie Jungle” album and remains an underrated cult favourite for that reason. Heavyweight Class-A Prog from Finland, sung in English with lyrics by one of the genre’s originators, Jim Pembrooke, with beautifully soaring guitar and piano, “Abraham’s Blue Refrain” is an unmissable thrill. On a par with bands like Camel, Bo Hansson and countrymates Haikara and Elonkorjuu, Kalevala’s music is an overdose of sentiment and spiritual emotion hammered out through epic Prog for those who know or soon will.

This release will have you dancing and crying at the same time. On his debut album, Paris-based producer and founder of the "raw poetry" aesthetic Loyce Demellier - AKA DJ Physical - takes us on a fast-paced journey through techno, electro, breaks and more. Whilst the music's indisputable home is the club, Physical teases out moments of playfulness and sentimentality amongst hard-hitting electronics.

"Silver Lake" LP resides on the colder, more industrial side of Demellier's sonic spectrum, following on from his latest release on London imprint 10 PILLS MATE which saw him depart from the more lofi quality of his previous releases in favour of a raw, club-focused sound. On the A-side, Demellier situates the release within the context of old warehouse raves, with euphoric acid melodies and a 140BPM propulsion ("Uranium"): and high-pitched synth stabs that ascend from darkness ("Gold Mines").

The B-side maintains the pace, but this time it's about electro and breaks. On "Overshoot", reverberating cymbals add another layer of depth to Amen break interludes whilst "Lawbreaker" harnesses a cheekier tone, offering respite from the previous tracks' venom. This air of playfulness sticks around on "Lunatic State" helped by MPC drum claps and a ludic electro melody, before fellow Parisian Ika Sile steps up for "Early Sprinter" and "Bootybounce": the former offering a slicker take on acid techno and the latter: rave music at its absolute with piano stabs and sleazy vocal chops. Silver Lake LP drops 22nd July 2022 via Lost Palms

Norwegian magic with style and enchanting voice! In 2021 LIV KRISTINE‘s EP „Have Courage Dear Heart“ was released and now the
re-release „Enter My Religion“. The album will be released for the first time as a vinyl with an extra single, as a cassette with two bonus tracks and as a double CD with unreleased tracks and demo recordings. The songs were also adorned with universal influences. Sitar sounds introduce the title track, which comfortably gets under your skin with its insinuating melody arcs and LIV KRISTINE‘s delicate voice. The opener „Over the Moon“ (PETER TÄGTGREN) hints at powerful metal, but then develops into a driving pop song. „Fake a Smile“ is an airy ballad, with LIV KRISTINE‘s voice charmingly taking center stage and setting the tone for most of the songs on the album. The title track „Enter my Religion“ is a mid-tempo anthem with a wise appeal to your inner self, your self-esteem, happiness and creativity. The pace continues with „All the Time in the World“. Straighter and more guitar-driven is „My Revelation“. Pleasing harmonies are in the foreground in the warm and soothing composition „Coming Home“. ‚Streets of Philadelphia‘ - BRUCE
SPRINGSTEEN‘s theme song to the Oscar-winning movie was interpreted as a tribute. The arrangements being technically based on the original, LIV KRISTINE adds new and softer accents to the track. „You Take Me Higher“ is extraordinarily different and more dance-oriented, with a subtle drum‘n‘bass overlay. With „Trapped in Your Labyrinth“ and „Fake a Smile“ LIV KRISTINE spoils her listeners
with profoundly sensual ballads and rock songs. The fairy-like singing, accentuated by piano sounds, envelops music lovers in a web of security, melancholy and longing.

„Enter My Religion“ convinces as a spicy and varied album. The blond Norwegian succeeds in creating a fine album with romantic touches, which never slips into kitsch. Simply authentic, profoundly philosophical, surprising and absolutely LIV KRISTINE - luminous and enlightening.

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators.

Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music.

Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others.

It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot.

Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave.

Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future.

“Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities.

As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like.

– exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

• 180 GRAM AUDIOPHILE VINYL
• INCLUDING PRINTED INNERSLEEVE
• 4-PAGE BOOKLET WITH LYRICS AND PICTURES
• 2019 ALBUM FEATURING ELEW, ERIC HARLAND, KASSA
OVERALL AND JAMAICAN SINGER CHRONIXX
• MASTERED & MIXED BY GRAMMY AWARD WINNING
PRODUCER BOB POWER (D’ANGELO, ERYKAH BADU)
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED
COPIES ON TRANSLUCENT BLUE COLOURED VINYL

Star People Nation is a project described by Theo Croker himself as an intimate exploration of “the everyday rituals of blackness”. A translation of his personal, spiritual and creative experience, the album is a self-reflective collection of powerfully passionate and boundary-busting compositions that speak to our greater, shared human existence. The album features jazz pianist ELEW on “The Messenger”, which is a great combination of a smoky blues piano with a traditional swing rhythm, locking into the pocket and showcasing Croker’s mastery of the swing.

Star People Nation is available as a limited edition of 750 individually numbered copies on translucent blue coloured vinyl. The vinyl package includes a printed innersleeve and 4-page booklet with lyrics and pictures.

Rose City Band is celebrated guitarist Ripley Johnson. A prolific songwriter, Johnson started Rose City Band to have an outlet to explore songwriting styles apart from Wooden Shjips and Moon Duo, where he is often not the lead songwriter. Rose City Band allowed him to follow his musical muses as they greet him and not be bound by the schedule of bandmates and demands of a touring group. Stepping out from behind the psychedelic haze that envelops his other output, Rose City Band"s lean yet richly textured arrangements lay bare the beauty of his songcraft. On Earth Trip, Johnson reveals more of himself than ever before, coloring the project"s country-rock twang with a melancholic, wistful undertone. It charts a journey of personal growth and introspection with surprising honesty, from pining for summers spent with friends to meditations on space, stillness and the splendor of the natural world. It continues Rose City Band"s celebration of summer warmth and the great outdoors, seen from a new vantage point, and with newfound appreciation for the freedom and joy that nature provides. Earth Trip was written during a period of sudden shocks and drastic lifestyle changes for Johnson. Forced to cancel extensive touring plans for 2020, the guitarist found himself home for an extended period for the first time in years. No longer in constant motion, he was able to experience and enjoy the simple pleasures of home life, of being in one place: hikes in nature, bathing outside, and waking with the dawn. Forming new connections to his surroundings, from tending to a garden to sleeping out under the stars, Johnson found hope and healing in a more mindful relationship with the natural world. Themes of recalibration and finding personal space are equally mirrored in Earth Trip"s lean production. Recorded at his home studio in Portland and mixed by Cooper Crain (Bitchin" Bajas, Cave), Johnson makes deft use of space while experimenting with new sonics. Shimmering pedal steel, woozy harmonica melodies, and stately piano enhance the album"s introspective tone without ever clouding arrangements. Psychedelic elements that nod to Johnson"s other projects and influences still appear throughout, but hover at the edge of perception, a subtle halo adding colour and texture to Johnson"s songwriting rather than taking centrer-stage. He elaborates: "I told Cooper I was trying to capture that feeling when you take psychedelics and they just start coming on - maybe objects start buzzing in the edges of your vision, you start seeing slight trails, maybe the characteristics of sound change subtly. But you"re not fully tripping yet. He got the idea right away and his mix really captures that feeling." Johnson"s lithe guitar playing throughout treads a fine line between country and cosmic, taut melodies spiralling out into long reverb trails or free-form solos buoyed by a breeze, radiating summer warmth. Through its daring honesty and masteful arrangements, Earth Trip cements Johnson"s place as a singular songwriter of inimitable skill. It"s message of mindfulness and our interconnectedness to the environment expands on a long country and blues music tradition that draws a symbiotic relationship between storyteller and the land, capturing the beauty of the natural world while also emphasising our responsibility in preserving it for future generations

Properly transcendent deep-dream jazz fantasy from prolific trumpet virtuoso Arve Henriksen (Supersilent) and Norwegian pianist Kjetil Husebø, together shaping an album that’s much, much more than the not so inconsiderable sum of its parts. Like a fever-dream comedown, it takes us from insanely rich sounding 4th world topographies to fizzing, electric ambience and fluttering prepared piano, perfectly soundtracking the humid un-reality we’re living through. read on / listen

May saw the release of Matthias Vogt's extraordinary new album: Pianissimo. A sound journey based on piano compositions, enriched with guitar sounds, drum and percussion parts, electronic influences and snippets of interviews with environmental activists.
Music that is very unique and cannot be directly assigned to any genre.
Two club mixes of Pianissimo tracks were created, which are now released on Flaneurecordings: The Losoul mix of "The Mind Traveller" is a twisted dub that is cleverly teasing original elements again and again and finally boils up in a break. Peter Kremeier aka Losoul, producer legend from Frankfurt's Playhouse environment is himself a traveler in electronic music and takes us here on his very own internalized trip.
Flaneur boss DJ Jauche takes on "Shimmering Sea" and works close to the original, but refines the track masterfully for the deep dancefloors. A sound that works great for open airs as well as clubs. Very soulful, crisp and stylistically confident.

Green Vinyl

Here we have the third instalment of the highly anticipated Knitebreed Remixes series on clear green vinyl. Following on from volumes 1 and 2, we have yet another amazing remix EP. Our headliner this time is none other than NRG, remixing an Ant To Be classic. NRG has a sound all his own and he really expresses that with this remix. Heavy chopped vocals and sharp as a knife breaks throughout, that leave you in no doubt that this is professional at the height of his powers. Meanwhile, Paul Bradley remixes Knitebreeds very own Sunny & Deck Hussy taking their piano based track and adding some filthy stabs and toughening up the breaks. On the flip side, Tenerife meets Germany when Wislov remixes TNO Project. These 2 have very different styles, but Wislov’s style really fits the manic style of TNO and this remix is wonderful. Rounding out this EP is a Hired Gun & Lowercase remix of a Wislov track, Do You Wanna Stay. The original is a very atmospheric track so when it was time to remix the only way to do it justice was to make it jungle, Hired Gun provided that perfectly whilst The Lowercase pushed him to go harder and then bring it back with a piano

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Round three of Rebirth’s bonus EP series that follows on from the massively popular Ciao Italia. Generazioni Underground compilation. Digging deep to reissue some of the most treasured Italian dream house tracks out there, volume three goes one step further unearthing two unreleased treasures.

Highly sought-after cuts, EP Tre brings together two certified gems on the A side in the form of the piano laden, Paolino & Gianni Bini - Love (Classic Mix) and Sasha’s blissful ‘Key To Heaven’. On the flip side, two previously unreleased tracks via Paramour & Adrian Morrison – Transmutation and Open Spaces - The Far Side Of The Mood, finally get their time in the limelight.