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London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.
Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.
“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”
Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.
“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”
“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”
“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”
So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.
Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.
Side A
Bleat Melisma
Suffer One
y-rod
Side B
No Relief
Plenary
Marquee
Side C
Dusk Song
Earth Of Worms
No Sentry
Side D
Bend
I Was Surprised
Windfarm
More
London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.
Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.
“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”
Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.
“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”
“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”
“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”
So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.
Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.
Side A
Bleat Melisma
Suffer One
y-rod
Side B
No Relief
Plenary
Marquee
Side C
Dusk Song
Earth Of Worms
No Sentry
Side D
Bend
I Was Surprised
Windfarm
More
More records from Adult Jazz
Label:Spare Thought
Cat-No:SPTH003CD
Release-Date:03.05.2024
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London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.
Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.
“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”
Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.
“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”
“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”
“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”
So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.
Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.
More
London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.
Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.
“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”
Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.
“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”
“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”
“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”
So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.
Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.
More
More records from Spare Thought
Label:Spare Thought
Cat-No:SPTH003CD
Release-Date:03.05.2024
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Cat-No:SPTH003CD
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CD
London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.
Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.
“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”
Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.
“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”
“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”
“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”
So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.
Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.
More
London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.
Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.
“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”
Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.
“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”
“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”
“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”
So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.
Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.
More
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Turbojazz feat. Rona Ray - Like You (original mix)
2
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4
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The EP "Turbojazz & Friends" once again brings to light the sound and vision of Turbojazz, following the success of his debut album "Whateverism". This time collaborating with Rona Ray on the instant classic "Like You" with a remix by Sean McCabe, Broke One on the modern "Take 3" and closing the EP with the solo track "Star Chaser" which discovers the deep-tech side of Turbojazz.
Vital Sales Point:
- This Ep follows the successful Turbojazz's album "Whateverism"
- The song "lLike You" features the hottest voice in the house music scene right now Rona Ray
- Extensive Global Promo from Hype Filter UK for "Take 3" and "Star Chaser" and via Shine UK for "Like You" with a large support of people like Laurent Garnier, Danny Krivit, Carista, Horse Meet Disco, Jimpster, Session Victim, Bicep, Mr. V and Quentin Harris to name a few.
- Air plays on BBC, NTS, Rinse Fm and largely played in clubs including Ministry Of Sound London.
A1 - Turbojazz feat. Rona Ray - Like You (original mix)
A2 - Turbojazz feat. Rona Ray - Like You (Sean McCabe remix)
B1 - Turbojazz & Broke One - Take 3
B2 - Turbojazz - Star Chaser
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Vital Sales Point:
- This Ep follows the successful Turbojazz's album "Whateverism"
- The song "lLike You" features the hottest voice in the house music scene right now Rona Ray
- Extensive Global Promo from Hype Filter UK for "Take 3" and "Star Chaser" and via Shine UK for "Like You" with a large support of people like Laurent Garnier, Danny Krivit, Carista, Horse Meet Disco, Jimpster, Session Victim, Bicep, Mr. V and Quentin Harris to name a few.
- Air plays on BBC, NTS, Rinse Fm and largely played in clubs including Ministry Of Sound London.
A1 - Turbojazz feat. Rona Ray - Like You (original mix)
A2 - Turbojazz feat. Rona Ray - Like You (Sean McCabe remix)
B1 - Turbojazz & Broke One - Take 3
B2 - Turbojazz - Star Chaser
More
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Label:Yore
Cat-No:yre-009ltd
Release-Date:03.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804129442
1
Kaidi Tatham - It never Stops (06:40)
2
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2024 Repress
Genre: House, Jazz, Breaks, Electronic, Beatdown,
Tracklist 12":
A1. It never Stops 06:40
B1. One For The Brain 06:36
Release Info:
Imagine a held-up-in-traffic Wayne Shorter arriving late to a Weather Report studio session and Joe Zawinul, Victor Bailey, and Omar Hakim filling in the time by jamming on a grooving house cut. Had that happened, it might have sounded a little bit like “It Never Stops,” one of two ultra-fresh tracks on Kaidi Tatham's Yore debut. Jazz and house are obviously distinct genres, yet as this irresistible cut makes clear swing is common to both. The other track, the cerebrally titled “One for the Brain,” locates itself closer to house music proper but is no less appealing for doing so.
Given the jazzy vibe of “It Never Stops,” it's fitting that Benji B once deemed Tatham the "Herbie Hancock of the United Kingdom.” Regarded as one of the originators of the Broken Beat sound, the UK-based multi-instrumentalist has worked with many an artist, from Bugz In The Attic and The Herbaliser to DJ Jazzy Jeff, and his session work credits list Slum Village, Amy Winehouse, Soul II Soul, and others. His own discography includes EPs and releases for labels such as 2000 Black, First World Records, Theo Parrish's Sound Signature, Eglo Records, and now, of course, Yore.
“It Never Stops” rolls in on a wave of silky synthesizer textures and percolating precision with a tight, funky groove that instantly pulls you into its velvety world. Triangles, electric bass, and clavinet add collective radiance to the material as the tune struts its way into your psyche. As if to make the jazz connection even more explicit, Tatham works an acoustic piano solo into the cut's second half before shifting focus back to the groove for the coda. “One for the Brain,” by comparison, digs into its chugging house pulse with fervour whilst also sweetening the arrangement with painterly synth flourishes. This one charges with breathless determination and like “It Never Stops” nods in jazz's direction with the inclusion of a freewheeling piano solo. Every minute and second on this strictly limited 12“ release seem's meaningful.
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Genre: House, Jazz, Breaks, Electronic, Beatdown,
Tracklist 12":
A1. It never Stops 06:40
B1. One For The Brain 06:36
Release Info:
Imagine a held-up-in-traffic Wayne Shorter arriving late to a Weather Report studio session and Joe Zawinul, Victor Bailey, and Omar Hakim filling in the time by jamming on a grooving house cut. Had that happened, it might have sounded a little bit like “It Never Stops,” one of two ultra-fresh tracks on Kaidi Tatham's Yore debut. Jazz and house are obviously distinct genres, yet as this irresistible cut makes clear swing is common to both. The other track, the cerebrally titled “One for the Brain,” locates itself closer to house music proper but is no less appealing for doing so.
Given the jazzy vibe of “It Never Stops,” it's fitting that Benji B once deemed Tatham the "Herbie Hancock of the United Kingdom.” Regarded as one of the originators of the Broken Beat sound, the UK-based multi-instrumentalist has worked with many an artist, from Bugz In The Attic and The Herbaliser to DJ Jazzy Jeff, and his session work credits list Slum Village, Amy Winehouse, Soul II Soul, and others. His own discography includes EPs and releases for labels such as 2000 Black, First World Records, Theo Parrish's Sound Signature, Eglo Records, and now, of course, Yore.
“It Never Stops” rolls in on a wave of silky synthesizer textures and percolating precision with a tight, funky groove that instantly pulls you into its velvety world. Triangles, electric bass, and clavinet add collective radiance to the material as the tune struts its way into your psyche. As if to make the jazz connection even more explicit, Tatham works an acoustic piano solo into the cut's second half before shifting focus back to the groove for the coda. “One for the Brain,” by comparison, digs into its chugging house pulse with fervour whilst also sweetening the arrangement with painterly synth flourishes. This one charges with breathless determination and like “It Never Stops” nods in jazz's direction with the inclusion of a freewheeling piano solo. Every minute and second on this strictly limited 12“ release seem's meaningful.
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Label:Acid Test
Cat-No:AcidTest09.1
Release-Date:12.04.2024
Genre:House / Techno
Configuration:12" Excl
Barcode:4251804144964
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Label:Acid Test
Cat-No:AcidTest09.1
Release-Date:12.04.2024
Genre:House / Techno
Configuration:12" Excl
Barcode:4251804144964
1
Donato Dozzy & Tin Man - Test 7
2
Donato Dozzy & Tin Man - Test 3 (Vocal Version)
3
Donato Dozzy & Tin Man - Test 2
4
Donato Dozzy & Tin Man - Test 3
Tracklist
A1. Test 7
A2. Test 3 (Vocal Version)
B1. Test 2
B2. Test 3
The now 10 year old Acid Test 09 sees a special 10th Anniversary Edition repress with a new vocal mix of track “Test 3”.
The original EP saw acid nomad Tin Man team up with techno dreamweaver Donato Dozzy for three slices of deep acid and dubby, bleepy ambient.
In this special 10 Year Anniversary Edition Test 3” comes with a new vocal mix and it’s a welcome return to the mic for Tin Man. Perfectly-placed words sit among chiming bells and are layered deep into the echoes, almost like the synths themselves are speaking.
Acid Test 09 proved to be pairing in 303 paradise, but the results outclassed even Dozzy and Tin Man’s special partnership - they created simply a timeless signal that could broadcast through space ad infinitum.
Mastered and recut by Rashad.
More
A1. Test 7
A2. Test 3 (Vocal Version)
B1. Test 2
B2. Test 3
The now 10 year old Acid Test 09 sees a special 10th Anniversary Edition repress with a new vocal mix of track “Test 3”.
The original EP saw acid nomad Tin Man team up with techno dreamweaver Donato Dozzy for three slices of deep acid and dubby, bleepy ambient.
In this special 10 Year Anniversary Edition Test 3” comes with a new vocal mix and it’s a welcome return to the mic for Tin Man. Perfectly-placed words sit among chiming bells and are layered deep into the echoes, almost like the synths themselves are speaking.
Acid Test 09 proved to be pairing in 303 paradise, but the results outclassed even Dozzy and Tin Man’s special partnership - they created simply a timeless signal that could broadcast through space ad infinitum.
Mastered and recut by Rashad.
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Label:Pudel Produkte
Cat-No:pp43
Release-Date:03.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144742
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Label:Pudel Produkte
Cat-No:pp43
Release-Date:03.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144742
1
devi g. - EDEN 123 (SUNDAY CLUB)
2
devi g. - CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX)
3
devi g. - HOLISTIC HEAVEN (INTERNATIONAL)
4
devi g. - FREQUENCY OV TRUTH
Tracklist 12":
A1 EDEN 123 (SUNDAY CLUB)
A2 CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX)
B1 HOLISTIC HEAVEN (INTERNATIONAL)
B2 FREQUENCY OV TRUTH
In the annals of German techno history of the early 90s, Mannheim's Milk Club was always something like the dirty little brother between Berlin's Tresor and Frankfurt's Omen - not as cocky as the two big siblings, but secretly all the more clever. Less pretentious than the Äppelwoi metropolis, less dirty than the capital and, despite squaring the circle, less straightforward than both together. Instead, they delight with breakdancers of almost Wigan Casino-like elegance. Very British, even in the musical mix of house, techno and breakbeats, breakbeats, breakbeats. A club like a kind of mother raising the nightclubbers with her milk.
Devi g. pay tribute to this club with their MILK EP. on Pudel Produkte.
Devi g. are Dirk Mantei aka Dman (DJ and former manager of the Milk Club) and Oliver Bradford (one half of Thee Church Ov Acid House and resident DJ at the equally legendary Brückenkopf parties in Mainz). Pudel Produkte because, well, Golden Pudel Club - Legend binding.
A four-part promenade mix is on offer that has it all. It contains house, techno and, yes, breakbeats, breakbeats, breakbeats.
There are:
EDEN 123 (SUNDAY CLUB):
a light-footed breakbeat ride across psylocibin-laden summer meadows, driven by pyromaniac shamanistic power.
CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX):
which wraps the rave classic We are i.e. around a sheet metal framework of breakbeats, drenching it in acid-soaked bass waves.
HOLISTIC HEAVEN (INTERNATIONAL):
where vacuum cleaner-carrying milk droids perform unheard-of rituals in the low-frequency forest before one of the finest 303 melodies dissolves everything into bliss.
FREQUENCY OV TRUTH:
which invites you to techno dance with a blunt droning bass drum and then stimulates your ov power with a back and forth twirling acid sequence.
Four tracks that transfer the milk legend into the 21st century with 90s-inspired rave finesse.
Dross for the posse. Or as the connoisseur says: effervescent tablet in the brain, highly recommended!
And did I mention the breakbeats?
Tim Lorenz aka Superdefekt
More
A1 EDEN 123 (SUNDAY CLUB)
A2 CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX)
B1 HOLISTIC HEAVEN (INTERNATIONAL)
B2 FREQUENCY OV TRUTH
In the annals of German techno history of the early 90s, Mannheim's Milk Club was always something like the dirty little brother between Berlin's Tresor and Frankfurt's Omen - not as cocky as the two big siblings, but secretly all the more clever. Less pretentious than the Äppelwoi metropolis, less dirty than the capital and, despite squaring the circle, less straightforward than both together. Instead, they delight with breakdancers of almost Wigan Casino-like elegance. Very British, even in the musical mix of house, techno and breakbeats, breakbeats, breakbeats. A club like a kind of mother raising the nightclubbers with her milk.
Devi g. pay tribute to this club with their MILK EP. on Pudel Produkte.
Devi g. are Dirk Mantei aka Dman (DJ and former manager of the Milk Club) and Oliver Bradford (one half of Thee Church Ov Acid House and resident DJ at the equally legendary Brückenkopf parties in Mainz). Pudel Produkte because, well, Golden Pudel Club - Legend binding.
A four-part promenade mix is on offer that has it all. It contains house, techno and, yes, breakbeats, breakbeats, breakbeats.
There are:
EDEN 123 (SUNDAY CLUB):
a light-footed breakbeat ride across psylocibin-laden summer meadows, driven by pyromaniac shamanistic power.
CLUBBERS PARADISE (BE A CYBERSPACE CADET MIX):
which wraps the rave classic We are i.e. around a sheet metal framework of breakbeats, drenching it in acid-soaked bass waves.
HOLISTIC HEAVEN (INTERNATIONAL):
where vacuum cleaner-carrying milk droids perform unheard-of rituals in the low-frequency forest before one of the finest 303 melodies dissolves everything into bliss.
FREQUENCY OV TRUTH:
which invites you to techno dance with a blunt droning bass drum and then stimulates your ov power with a back and forth twirling acid sequence.
Four tracks that transfer the milk legend into the 21st century with 90s-inspired rave finesse.
Dross for the posse. Or as the connoisseur says: effervescent tablet in the brain, highly recommended!
And did I mention the breakbeats?
Tim Lorenz aka Superdefekt
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12" Excl
in stock
Label:Running Back
Cat-No:rb114
Release-Date:27.01.2023
Genre:House
Configuration:12" Excl
Barcode:4251804139915
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Label:Running Back
Cat-No:rb114
Release-Date:27.01.2023
Genre:House
Configuration:12" Excl
Barcode:4251804139915
1
Space Dimension Controller - Neuclidea
2
Space Dimension Controller - Life Window
3
Space Dimension Controller - Sunset Operator
4
Space Dimension Controller - Neuclidea – Hodge Remix
Tracklist
A1. Neuclidea
A2. Life Window
A3. Sunset Operator
B1. Neuclidea – Hodge Remix
Release Info:
Space Dimension Controller’s first release in 2023 is also his first outing to Running Back. Needless to say that it pushes all the right buttons. Warm and playful, but forcing and with fresh jive, Neuclidea and its siblings revolve around classic SDC values. Nevertheless, the Irish melodist is also moving on to new pastures. Hardware sequencing, vintage digital synthesizers via analogue processing spawn a sound that pirouettes as much around the lost cyber-hippie poetry of Border Community as it’s the effigy of fast balearic euphoria – if Ibiza would have been a party scene in Gattaca. Completing this treasure chest is a remix by Hodge for the pragmatic minded out there. Using some heavy drums of the west, his version of Neuclidea extracts the trance-like elements of the original and turns it into a floor-polishing brush. To sum up: music for heartbroken and lovesick victims alike.
More
A1. Neuclidea
A2. Life Window
A3. Sunset Operator
B1. Neuclidea – Hodge Remix
Release Info:
Space Dimension Controller’s first release in 2023 is also his first outing to Running Back. Needless to say that it pushes all the right buttons. Warm and playful, but forcing and with fresh jive, Neuclidea and its siblings revolve around classic SDC values. Nevertheless, the Irish melodist is also moving on to new pastures. Hardware sequencing, vintage digital synthesizers via analogue processing spawn a sound that pirouettes as much around the lost cyber-hippie poetry of Border Community as it’s the effigy of fast balearic euphoria – if Ibiza would have been a party scene in Gattaca. Completing this treasure chest is a remix by Hodge for the pragmatic minded out there. Using some heavy drums of the west, his version of Neuclidea extracts the trance-like elements of the original and turns it into a floor-polishing brush. To sum up: music for heartbroken and lovesick victims alike.
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Label:Stolen Goods Records
Cat-No:sgr007
Release-Date:03.05.2024
Configuration:12" Excl
Barcode:8059575150339
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Last in:22.04.2024
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Label:Stolen Goods Records
Cat-No:sgr007
Release-Date:03.05.2024
Configuration:12" Excl
Barcode:8059575150339
1
Bawrut - Freedom
2
Lele Sacchi - Flim Flam
GENRE/S: Indie Dance
TRACKLISTS:
A-SIDE
A1_Bawrut “Freedom”
B-SIDE
B1_Lele Sacchi “Flim Flam”
Short Info:
For the second release of the Back to Back series of Stolen Goods goes for two stables of the scene: label manager and old school pillar of the Italian scene Lele Sacchi and Italo Spanish beat master Bawrut.
After B2B1 saw the funky deep sound of Rogue D feat Joe Le Groove and the raw house grooves of Ruff Stuff got played by Laurent Garnier on his show and by peeps like Jamie Jones and Oliver Dollar in their sets and chosen by Beatport in most of their weekend picks here we are ready for two bangers for clubbing prime time! Bawrut's fame goes a long way back to in the best of Europe's crossover of electronic dancefloor music and indie and urban flavours. An album on Ransome Note, hits for Life & Death, Correspondant and tracks supported by Dixon, Jennifer Cardini, Ricardo Villalobos Sven Bath and playing B2B with Kink and Skream in festival and clubs like Sonar, Nuits Sonores, Fabric, Sub Club, Nitsa, etc. and now this massive hands in the hair, goosebumps in the back monster of retro future rave piece of music!
Lele Sacchi is known to have an ear for bangers having been behind the decks all over the world for nearly 30 years, so whenever and with various aliases he turns into producer is quite normal to find his music out on labels like Snatch, Soul Clap, Nervous, Internasjonal, Crosstown Rebels, Pokerflat, Rebirth and more and more classic underground dance stables. This time he keeps his know funkier deep groove but adds a kille stab in the breakdown to represent a vein of peaktime monster attitude.
Again a message 'From Clubbers to Clubbers' as we love to say here at Stolen Goods records.
More
TRACKLISTS:
A-SIDE
A1_Bawrut “Freedom”
B-SIDE
B1_Lele Sacchi “Flim Flam”
Short Info:
For the second release of the Back to Back series of Stolen Goods goes for two stables of the scene: label manager and old school pillar of the Italian scene Lele Sacchi and Italo Spanish beat master Bawrut.
After B2B1 saw the funky deep sound of Rogue D feat Joe Le Groove and the raw house grooves of Ruff Stuff got played by Laurent Garnier on his show and by peeps like Jamie Jones and Oliver Dollar in their sets and chosen by Beatport in most of their weekend picks here we are ready for two bangers for clubbing prime time! Bawrut's fame goes a long way back to in the best of Europe's crossover of electronic dancefloor music and indie and urban flavours. An album on Ransome Note, hits for Life & Death, Correspondant and tracks supported by Dixon, Jennifer Cardini, Ricardo Villalobos Sven Bath and playing B2B with Kink and Skream in festival and clubs like Sonar, Nuits Sonores, Fabric, Sub Club, Nitsa, etc. and now this massive hands in the hair, goosebumps in the back monster of retro future rave piece of music!
Lele Sacchi is known to have an ear for bangers having been behind the decks all over the world for nearly 30 years, so whenever and with various aliases he turns into producer is quite normal to find his music out on labels like Snatch, Soul Clap, Nervous, Internasjonal, Crosstown Rebels, Pokerflat, Rebirth and more and more classic underground dance stables. This time he keeps his know funkier deep groove but adds a kille stab in the breakdown to represent a vein of peaktime monster attitude.
Again a message 'From Clubbers to Clubbers' as we love to say here at Stolen Goods records.
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12" Excl
in stock
Label:Smallville Records
Cat-No:smallville61
Release-Date:26.04.2024
Genre:House
Configuration:12" Excl
Barcode:4251804143295
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Last in:16.04.2024
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Last in:16.04.2024
Label:Smallville Records
Cat-No:smallville61
Release-Date:26.04.2024
Genre:House
Configuration:12" Excl
Barcode:4251804143295
1
Christopher Rau - Abspace
2
Christopher Rau - Set It Off
3
Christopher Rau - Do It
4
Christopher Rau - One More Time
2024 repress in white standard sleeve
Tracklist:
A1 Abspace
A2 Set It Off
B1 Do It
B2 One More Time
Get down with 4 magic House-cuts by Christopher Rau. These irresistible grooves
will make the sun shine brighter for forever. Including full cover Artwork by Stefan Marx.
All tracks written, produced and mixed by Christopher Rau
Mastering by Helmut Erler
Vinyl Cut by Lathesville
Artwork and Typography by Stefan Marx
Distributed by Wordandsound
Smallville, 2023 More
Tracklist:
A1 Abspace
A2 Set It Off
B1 Do It
B2 One More Time
Get down with 4 magic House-cuts by Christopher Rau. These irresistible grooves
will make the sun shine brighter for forever. Including full cover Artwork by Stefan Marx.
All tracks written, produced and mixed by Christopher Rau
Mastering by Helmut Erler
Vinyl Cut by Lathesville
Artwork and Typography by Stefan Marx
Distributed by Wordandsound
Smallville, 2023 More
3LP Excl
in stock
Label:Magnetism Records
Cat-No:MRCLP003
Release-Date:26.04.2024
Genre:Electronic
Configuration:3LP Excl
Barcode:4251804180764
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Last in:18.04.2024
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Last in:18.04.2024
Label:Magnetism Records
Cat-No:MRCLP003
Release-Date:26.04.2024
Genre:Electronic
Configuration:3LP Excl
Barcode:4251804180764
1
Digitalism - A1 Magnets 3:52
2
Digitalism - A2 Zdarlight (Original) 5:42
3
Digitalism - A3 I Want I Want 3:32
4
Digitalism - B1 Idealistic 4:08
5
Digitalism - B2 Digitalism In Cairo / Departure From Cairo 5:47
6
Digitalism - B3 Echoes 3:34
7
Digitalism - C1 The Pulse 4:24
8
Digitalism - C2 Moonlight 2:51
9
Digitalism - C3 Anything New 4:58
10
Digitalism - D1 Pogo 3:48
11
Digitalism - D2 Jupiter Approach / Jupiter Room 6:18
12
Digitalism - D3 Home Zone 2:07
13
Digitalism - D4 Apollo-Gize 2:19
14
Digitalism - E1 Faust 1:16*
15
Digitalism - E2 Hot Spot 3:27*
16
Digitalism - E3 Kontakt 4:16*
17
Digitalism - E4 Maya 1:58*
18
Digitalism - E5 Indoor Sunshine 4:09*
19
Digitalism - F- etching (no sound)
Limited 20th Anniversary Edition (The first Digitalism Single Release from this album dating 2004)
2 x 12" LP on coloured "neon green" vinyl + 1 x 12" LP one side with bonus tracks 1 side etched black vinyl, including unreleased bonus material and poster, spot lacquer paint
- 2 x 12" LP on coloured "neon green" vinyl + 1 x 12" LP one side with bonus tracks, 1 side etched black vinyl spot lacquer paint
- limited edition
- Including 5 unreleased bonus tracks from the original album recordings
- Including poster
- 20th anniversary
- special exclusive "Idealism Forever" live shows in Europe in April and May (TBA soon)
- Reissued on Digitalism's own label Magnetism
GENRE/S: Electronic, Indie, Techno, Dance, Indiepop
TRACKLISTS:
A1 Magnets 3:52
A2 Zdarlight (Original) 5:42
A3 I Want I Want 3:32
B1 Idealistic 4:08
B2 Digitalism In Cairo / Departure From Cairo 5:47
B3 Echoes 3:34
C1 The Pulse 4:24
C2 Moonlight 2:51
C3 Anything New 4:58
D1 Pogo 3:48
D2 Jupiter Approach / Jupiter Room 6:18
D3 Home Zone 2:07
D4 Apollo-Gize 2:19
E1 Faust 1:16*
E2 Hot Spot 3:27*
E3 Kontakt 4:16*
E4 Maya 1:58*
E5 Indoor Sunshine 4:09*
F - etching
* bonus tracks
SHORT INFO:
Idealism Forever is the reissue of Digitalism's genre defining debut studio album from 2007. Now it will be released as a remastered 3 LP set with 2 x 12 " on coloured vinyl and 1 x 12" LP on etched vinyl with bonus tracks, a poster, spot lacquer paint, as a limited edition. The original album double LP is sold out for years.
To date the album tracks have been used in numerous games and commercials. They have been sampled and used in new song interpretations all around the world. The songs have millions of streams over the different platforms and never lost their appeal. The new analogue master of the album shows the songs in their best outfit and the bonus material, which originally was recorded while making the album back in the days, have never been heard before.
More
2 x 12" LP on coloured "neon green" vinyl + 1 x 12" LP one side with bonus tracks 1 side etched black vinyl, including unreleased bonus material and poster, spot lacquer paint
- 2 x 12" LP on coloured "neon green" vinyl + 1 x 12" LP one side with bonus tracks, 1 side etched black vinyl spot lacquer paint
- limited edition
- Including 5 unreleased bonus tracks from the original album recordings
- Including poster
- 20th anniversary
- special exclusive "Idealism Forever" live shows in Europe in April and May (TBA soon)
- Reissued on Digitalism's own label Magnetism
GENRE/S: Electronic, Indie, Techno, Dance, Indiepop
TRACKLISTS:
A1 Magnets 3:52
A2 Zdarlight (Original) 5:42
A3 I Want I Want 3:32
B1 Idealistic 4:08
B2 Digitalism In Cairo / Departure From Cairo 5:47
B3 Echoes 3:34
C1 The Pulse 4:24
C2 Moonlight 2:51
C3 Anything New 4:58
D1 Pogo 3:48
D2 Jupiter Approach / Jupiter Room 6:18
D3 Home Zone 2:07
D4 Apollo-Gize 2:19
E1 Faust 1:16*
E2 Hot Spot 3:27*
E3 Kontakt 4:16*
E4 Maya 1:58*
E5 Indoor Sunshine 4:09*
F - etching
* bonus tracks
SHORT INFO:
Idealism Forever is the reissue of Digitalism's genre defining debut studio album from 2007. Now it will be released as a remastered 3 LP set with 2 x 12 " on coloured vinyl and 1 x 12" LP on etched vinyl with bonus tracks, a poster, spot lacquer paint, as a limited edition. The original album double LP is sold out for years.
To date the album tracks have been used in numerous games and commercials. They have been sampled and used in new song interpretations all around the world. The songs have millions of streams over the different platforms and never lost their appeal. The new analogue master of the album shows the songs in their best outfit and the bonus material, which originally was recorded while making the album back in the days, have never been heard before.
More
Label:Exhibition
Cat-No:XBITRF2
Release-Date:26.04.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804181082
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Label:Exhibition
Cat-No:XBITRF2
Release-Date:26.04.2024
Genre:Techno
Configuration:12" Excl
Barcode:4251804181082
1
Rico Friebe - S. (Rico Puestel Dub Version)
2
Rico Friebe - .. (Rico Puestel Dub Version)
Genre: Techno, Tech-House
Tracklist 12":
A1 – S. (Rico Puestel Dub Version)
B1 – .. (Rico Puestel Dub Version)
Info:
Beauty at its peak with Rico Puestel dubs from soon-to-be-released originals by Rico Friebe!
More
Tracklist 12":
A1 – S. (Rico Puestel Dub Version)
B1 – .. (Rico Puestel Dub Version)
Info:
Beauty at its peak with Rico Puestel dubs from soon-to-be-released originals by Rico Friebe!
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12" Excl
in stock
Label:Léman Records
Cat-No:LEMAN002
Release-Date:26.04.2024
Genre:Deephouse
Configuration:12" Excl
Barcode:
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Label:Léman Records
Cat-No:LEMAN002
Release-Date:26.04.2024
Genre:Deephouse
Configuration:12" Excl
Barcode:
1
Mystic V - Miracles (Kai Alcé NDATL Vocal Mix)
2
Mystic V - Miracles (Kai Alcé NDATL Dubstrumental Mix)
3
Mystic V - Miracles (Main Mix)
4
Mystic V - All One's Hopes
"In Search of the Good" features 4 tracks - 2 originals from our own Mystic V and 2 remixes from legend Kai Alcé, with vocals from Peter Jericho, known for his work with Vick Lavender and solo projects.
A-side starts with Kai's vocal mix - solid and efficient track with the signature NDATL groove! A2 features the flute instrumental dub, adding a melodic and airy element blending seamlessly with Peter Jericho's cut out vocals.
On the flip, check out the original version of "Miracles" - a percussive classic house track with lush chords and strings, warm bassline and of course Peter Jericho's vocals for that extra spirituality and emotion. B2 features "All One's Hope", a captivating dance floor-ready track built around a powerful bassline and deep synths.
(A1) Miracles (Kai Alcé NDATL Vocal Mix)
(A2) Miracles (Kai Alcé NDATL Dubstrumental Mix)
(B1) Miracles (Main Mix)
(B2) All One's Hopes
More
A-side starts with Kai's vocal mix - solid and efficient track with the signature NDATL groove! A2 features the flute instrumental dub, adding a melodic and airy element blending seamlessly with Peter Jericho's cut out vocals.
On the flip, check out the original version of "Miracles" - a percussive classic house track with lush chords and strings, warm bassline and of course Peter Jericho's vocals for that extra spirituality and emotion. B2 features "All One's Hope", a captivating dance floor-ready track built around a powerful bassline and deep synths.
(A1) Miracles (Kai Alcé NDATL Vocal Mix)
(A2) Miracles (Kai Alcé NDATL Dubstrumental Mix)
(B1) Miracles (Main Mix)
(B2) All One's Hopes
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Label:Studio Barnhus
Cat-No:barn097
Release-Date:26.04.2024
Genre:House
Configuration:12" Excl
Barcode:196922918841
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Last in:24.04.2024
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Label:Studio Barnhus
Cat-No:barn097
Release-Date:26.04.2024
Genre:House
Configuration:12" Excl
Barcode:196922918841
1
Blende - Rodeo
2
Blende - First Rodeo
3
Blende - Kampai
GENRE/S: House, Dance, Pop
Tracklist:
[12” vinyl]
A1. Rodeo
A2. First Rodeo
B1. Kampai
SHORT INFO:
Veteran producer Blende debuts on Studio Barnhus, the Athens-based Swede delivering 3 cuts full of
force and rich in detail, perfectly straddling that line between weirdo pop and freaky dance that the Stockholm
label loves to explore. Vocal contributions from Belgian rock experimentalist Mickael Karkousse and Los
Angeles-based singer-DJ sensation Smiles Davis complete the package, along with a trippy and menacing
cover by graphic wizard Stefan Fält. An essential Studio Barnhus dance record!
Johan Blende is a Swedish music producer, song writer and DJ. For the biggest part of this side of the millennium
he’s been weaving together modern dance music elements with retro sounds of the ‘70s and ‘80s.
VITAL SALES POINTS:
- limited edition of 500 copies
- purple vinyl with sticker on sleeve front and extra sticker inlay
More
Tracklist:
[12” vinyl]
A1. Rodeo
A2. First Rodeo
B1. Kampai
SHORT INFO:
Veteran producer Blende debuts on Studio Barnhus, the Athens-based Swede delivering 3 cuts full of
force and rich in detail, perfectly straddling that line between weirdo pop and freaky dance that the Stockholm
label loves to explore. Vocal contributions from Belgian rock experimentalist Mickael Karkousse and Los
Angeles-based singer-DJ sensation Smiles Davis complete the package, along with a trippy and menacing
cover by graphic wizard Stefan Fält. An essential Studio Barnhus dance record!
Johan Blende is a Swedish music producer, song writer and DJ. For the biggest part of this side of the millennium
he’s been weaving together modern dance music elements with retro sounds of the ‘70s and ‘80s.
VITAL SALES POINTS:
- limited edition of 500 copies
- purple vinyl with sticker on sleeve front and extra sticker inlay
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Label:Imogen Recordings
Cat-No:IMO020
Release-Date:26.04.2024
Genre:House
Configuration:12" Excl
Barcode:
in stock
Last in:12.03.2024
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in stock
Last in:12.03.2024
Label:Imogen Recordings
Cat-No:IMO020
Release-Date:26.04.2024
Genre:House
Configuration:12" Excl
Barcode:
1
Imogen Soundsystem - Paloma (Original Mix)
2
Antonio Zuza - Palmizana (Original Mix)
3
Imogen Soundsystem - Paloma (Darshan Jesrani Remix )
4
Antonio Zuza - Palmizana (Ilija Rudman's King Of Snakes Mix)
Entering a decade of existence since the first release back in 2015, Imogen Recordings has a constant flow of hi-quality releases. Based on an inhouse sound and artists that perfectly fits to that sound, Imogen label gained small but finger picked releases catalog and artists repertoire. Among those few Label released music from Darshan Jesrani ( Metro Area, Startree ), Charles Webster - Presence, Don Carlos, Ian Pooley, Ilija Rudman, Kai Alce to name a few and most recently Antonio Zuza.
New Catalog Number 19, brings Antonio Zuza and a duo Project between Ilija and Antonio - Imogen Soundsystem on the table. It's a "never leave my bag" material.
Antonio's "Palmizana" or Imogen Soundsystem's " Paloma" are both strong munition for any dancefloor request by simply delivering that vibe that we all love.
Powered by pristine production as Imogen's standard signature Darshan Jesrani and Ilija Rudman brought 2 sublime remixes to wrap this beautiful 12" Vinyl.
If we are talking about modern house approach with all the respect to it roots, we are talking about this record. It is here to satisfy old diggers and new people on the scene.
A1 - Imogen Soundsystem - Paloma (Original Mix)
A2 - Antonio Zuza - Palmizana (Original Mix)
B1 - Imogen Soundsystem - Paloma (Darshan Jesrani Remix )
B2 - Antonio Zuza - Palmizana (Ilija Rudman's King Of Snakes Mix)
More
New Catalog Number 19, brings Antonio Zuza and a duo Project between Ilija and Antonio - Imogen Soundsystem on the table. It's a "never leave my bag" material.
Antonio's "Palmizana" or Imogen Soundsystem's " Paloma" are both strong munition for any dancefloor request by simply delivering that vibe that we all love.
Powered by pristine production as Imogen's standard signature Darshan Jesrani and Ilija Rudman brought 2 sublime remixes to wrap this beautiful 12" Vinyl.
If we are talking about modern house approach with all the respect to it roots, we are talking about this record. It is here to satisfy old diggers and new people on the scene.
A1 - Imogen Soundsystem - Paloma (Original Mix)
A2 - Antonio Zuza - Palmizana (Original Mix)
B1 - Imogen Soundsystem - Paloma (Darshan Jesrani Remix )
B2 - Antonio Zuza - Palmizana (Ilija Rudman's King Of Snakes Mix)
More