1. Christina Vantzou - "At Dawn", 2. Hot Chip - "Nothing's Changed", 3. Rhythm & Sound - "King In My Empire" (feat Cornell Campbell - Burial mix), 4. Pale Blue - "Have You Passed Through This Night", Side 2, 1. Suzanne Kraft - "Femme Cosmic", 2. Fever Ray - "To The Moon & Back", 3. Planningtotock - "Much To Touch", 4. Charlotte Adigery - "1,618", Side 3, 1. Mike Salta - "Hey Moloko", 2. Matthew Bourne - "Somewhere I Have Never Travelled", 3. Hot Chip - "Candy Says", 4. Kaitlyn Aurelia Smith - "Who I Am & Why Am I Here", 5. Beatrice Dillon - "Workaround Two", Side 4, 1. Hot Chip - "Worlds Within Worlds", 2. Daniel Blumberg - "The Bomb", 3. Nils Frahm - "Ode", 4. Hot Chip - "None Of These Things", 5. Neil Taylor - "Finnegan's Wake Excerpt", More

Floating Points' personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series.
TRACKLISTING:
1. Sarah Davachi - Untitled, live in Portland (Excerpt) (Exclusive track)
2. Carlos Walker - Via Láctea
3. The Rationals - Glowin'
4. William S. Fischer - Chains
5. Max Roach - Equipoise
6. Abu Talib (Bobby Wright) - Blood Of An American
7. Sweet & Innocent - Express Your Love
8. Robert Vanderbilt & The Foundation of Souls - A Message Especially From God
9. The Defaulters - Gentle Man
10. Alain Bellaïche - Sun Blues
11. Alain Bellaïche - Sea Fluorescent
12. Kara-Lis Coverdale - Moments In Love (Excerpt)
13. Azimuth - The Tunnel
14. Kaitlyn Aurelia Smith - Milk (Excerpt)
15. Toshimaru Nakamura - Nimb#59 (Exclusive track)
16. Floating Points - The Sweet Time Suite, Part I - Opening (Exclusive Kenny Wheeler cover version)
17. Lauren Laverne - Ah! Why, Because The Dazzling Sun (Exclusive spoken word piece)






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Floating Points' personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series.
TRACKLISTING:
1. Sarah Davachi - Untitled, live in Portland (Excerpt) (Exclusive track)
2. Carlos Walker - Via Láctea
3. The Rationals - Glowin'
4. William S. Fischer - Chains
5. Max Roach - Equipoise
6. Abu Talib (Bobby Wright) - Blood Of An American
7. Sweet & Innocent - Express Your Love
8. Robert Vanderbilt & The Foundation of Souls - A Message Especially From God
9. The Defaulters - Gentle Man
10. Alain Bellaïche - Sun Blues
11. Alain Bellaïche - Sea Fluorescent
12. Kara-Lis Coverdale - Moments In Love (Excerpt)
13. Azimuth - The Tunnel
14. Kaitlyn Aurelia Smith - Milk (Excerpt)
15. Toshimaru Nakamura - Nimb#59 (Exclusive track)
16. Floating Points - The Sweet Time Suite, Part I - Opening (Exclusive Kenny Wheeler cover version)
17. Lauren Laverne - Ah! Why, Because The Dazzling Sun (Exclusive spoken word piece)






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Tom Findlay and Tim Hutton form Sugardaddy, responsible for the tasty cover of the notorious classic 'How Long' from Ace. For this next release Hamburg's finest Tensnake puts his own spin on 'How Long' with two impressive remixes, with the 'Vocal Remix' achieving more than a staggering 56,000 plays in the first two weeks on Soundcloud.Born and raised on a diet of disco, soul, boogie and funk, Marco Niemerski aka Tensnake is nothing short of a class A producer and music connoisseur, having spent most of his life collecting records and being inspired by icons such as the legendary Larry Levan. Marco soon began to make his own music resulting in a string of highly successful releases on labels such as Defected and his own record label Mirau. Now an international star, Marco is soon to drop his debut album early in 2013. The single 'How Long' is taken from the recently released Late Night Tales compilation 'Music For Pleasure' - re-edited and mixed by Tom Findlay as a seamless voyage through some of the finest soulful pop music of the 70s and early 80s. Tom Findlay says of the record, "it's very much a 'concept' record, blue eyed soul, yacht rock. Vibe was very much tunes that I used to blast on the tour bus. I love that music in a very wrong way, its music to hug to"!"


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GLBDOM sub-label GLBDOM Classic is dedicated to nostalgic house sounds inspired by the great styles of Chicago, Detroit and New York vibes, with hints of Italo-Dream house and even the Balearics. We get all that here on this new split EP from French house producer Sunny Galaxy and Englishman Dan T. Sunny opens up with some happy, piano-laced party starters, well-swung garage-house grooves and steamy basement jams, then Dan T offers a B-side trio headed up by the gloriously vocal laced 'Wrong Time.' 'My Desire' cuts up the groove with some nice raw percussion and 'Want To Love You' is a sultry and jazz-tinged number for lovers. More

From the catlogue of Italy's charismatic Interactive Test label, helmed by the Falsini brothers, Sound Metaphors Records compiles a selection from the two volume "How To Use The World" series. A collection of raw, experimental proto sounding house numbers composed and played by Marco Calderoni with help on production and writing by Giacomo Brunetti. Originally released in 1991, these releases have since then become deeply craved items amongst collectors and specialists of Italo House. With a sound so unmistakably unique, these productions will be hard to forget, from a time when house music wasn't even concretely established as a genre, these experimental proto nuances in club oriented sound played a defining role in Italy's emerging club sound. Thoroughly remastered at manmade mastering in Berlin, same sound new body. More

Dan Lacksman is a Belgian electronic music pioneer who co-founded the Electro Pop Dance formation Telex and is credited for their classic 'Moskow Diskow.' He also worked under the Transvolta name but put out only one single, 1978's impossibly hard-to-find classic 'Disco Computer.' Dan himself has carefully remastered the original for this special 12" reissue. It's still a retro-future sound all these years later with the signature talk box vocals and sleek drum machines under cosmic synths. On the flip is a long version of 'You Are Disco' which is a similar vibe but with a slightly more lively groove and vocal. Two serene dancefloor gems by any standards. More

Repress!

Twelve on Hank Jacksons Anno label by Loidis aka Huerco S. aka Pendant aka The Royal Crown of Sweden. More

2023 Repress!

Here´s your favourite funky airline company and we´re about to board the plane for journey no. 7.

A1 sees the captain addressing the passengers in his most charismatic voice while the cabin crew is, well, pumping an irresistible in the air drumbreak over a partly sunny partly funky bassline.
Flip it over to B1 and watch stunt Flyer Ben Aksar turns his "Leftovers" into an intercontinental airshow while B2 elegantly shifts gears between a cloudy nightflight and the clear blue sky. More

2023 Repress!

Originally released in 1993, this record is representative of the first steps towards what is now regarded as progressive trance yet still remaining very much faithful to the percussive fundamentals of house music with early tribal influences. This EP comes with 4 versions of the same production ranging from euphoric trancey no beat moments to full on percussive driven beats. This reissue is made in honor of the late Roby J. who participated in producing this project. Remastered for maximum output. More

Putting a pigeon amongst the cats we are back with that good shit. An out of step, incidental artifact of peaceful sophistry: YS - Brutal Flower (2 x “12 LP). A no airs and graces piece of cool future-proof ambience. A modern ballad for brave young clubbers, local pubbers, slipstream warriors, and emotional doggers.

The distinctive aesthetic hallmarks of YS are all here: slabs of urban flavor from emotional interior; raw data straight from the interface. ‘Untethered’ and ‘Down’ are chopped-up cuts of searching R’n’B - jaded jams of lustful erasure. On the flipside, blunted desire lingers in ‘Fading Memory’. Both hopeful and mourning: this is the lay of the land in Brutal Flowers sharing that rare strain of underground synesthesia best located in dark undercurrents of early Mo Wax.

The orchestral ambience of ‘Autumn OST’ is a potent stupor of end credit cinematics. Coming up for air. It feels young in an ancient sort of way: pure as first snow. And from here in the album unfolds with the patience, tranquility and the expansive poise of a work that is for now and always. Pulsating gently to assured ending with ‘Be Together’ - a flickering skyline, swarming with warm memories. In between there’s flashes of heartbreak reminiscent of Beltran's Ten Days of Blue and Blunt’s Stone Island (‘Look Up’ feels like a sort of spiritual successor to ‘Wake up’), that being said, when push comes to shove it only it ever flirts with its own reality.

An aesthetic reflection of a creative process that is delicate and restless. Created in the edges, where long distances, fast cities and global melancholia are wrought large. Burning the midnight oil Berlin-Singapore style: from real to reel. A sentimental exercise of modern faith by old friends. With a nudge and a wink, Brutal Flowers is a (de)coded map of memories wavering with familiar intrigue. Patient listeners and the already initiated will be rewarded on re-visits - as playful & profound as you please, as deep as the heart.

The scathe that cuts is clean and deep. There are no sleight of hands to be found in this opus, only hearts are worn on the sleeve here.

A hill we’d gladly die on. Pace & luv, More

Close your eyes and merge into Benedikt Frey’s 'Fastlane'. Imagine sitting in the driver’s seat of a an automobile, one with exceptional horsepower and torque, as you stare out the windshield at the red light, warping in fata-morgana a mile down the road. It’s a straight-away, a black top with two lanes, and against your better judgment you decide to floor the gas. No hesitation in your muscle, your ankle or the ball of your foot, which you now realize is some kind of universal pivot, the first point of contact fusing your body with the will of machine. In this moment you’re in awe that you, a human, an animal, grew from pond scum into something so advanced as to engineer this thing, a mechanical beast capable of overwhelming power and exhilaration. But you also feel a seductive dread, an outside force diverting you from caution toward a dangling carrot of curiosity, asking yourself, ‘How far can I take this thing?’ The dread, now a constant, is numbed, equalized by an adverse intoxicating gratification. You feel both sensations in real time, however, rather than take responsibility for yourself, friends, family and innocent bystanders, you cement your foot to the floor and lean your head back. Noise around you fades to mute. Smell the benzene-scented air, feel the wind on your face, the menacing vibration of the vessel you control beneath you and every grain of asphalt under its tires. This mile has now lasted an eternity and you’ve left your body for some objective view, as if watching climax of a film. Past the point of no return, you embrace abandon and lean into fate. The film becomes slow motion, a crawling pace so mesmerizing you convince yourself of an option to eject yourself from this madness, but as you finally let go of your last morsel of fear, you run the red light head-on into the nucleus of a fantastic glistening sculpture of torn metal, glass, oil, broken dreams and heartache. 'Fastlane' may be just drum machines and synthesizers if you’re timid, but listen harder and know the catastrophic reality of existence, a wreckage so gruesome we dare not rubberneck, but afterall it is our nature to stare. More