Tracklist:
1.1Neredesin Sen
1.2Gönül Dagi
1.3Öldürme Beni
1.4Nigde Baglari
1.5Benim Yarim
1.6Sucum Nedir
1.7Gel Yanima Gel
1.8Zülüf Dökülmüs Yüze
1.9Gel Kacma Gel
1.10Bir Nazar Eyledim
Altin Gün, the Grammy-nominated Turkish psych-groove quintet from Amsterdam, return with their sixth studio album Garip — their most ambitious and diverse release to date, and a heartfelt tribute to the legendary Turkish folk bard Neset Ertas.
Neset Ertas (1938–2012) was a beloved icon of Anatolian music; a gifted singer, lyricist, and baglama virtuoso who carried the spirit of the ashik folk tradition into the modern era. Garip ("Strange" in English) features ten of his compositions, each reimagined and richly expanded through Altin Gün’s distinctive lens.
An electrifying live band with an ever-growing global following, Altin Gün push their sonic boundaries even further on Garip — weaving in lush Arabesque string arrangements, bursts of saxophone, glimmering synth balladry, and a fresh surge of tightly wound rock ’n’ roll.
-----------------------------------
Since bursting onto the scene in 2018 with their debut album, On, Amsterdam-based Altin Gün have been at the vanguard of the 21st century revival of Turkish-influenced psychedelic grooves.
Coming straight out of the gate with a wah-wah and organ heavy sound that effortlessly captured the spirit of Anatolian 70s psych-funk masters like Baris Manço and Erkin Koray, they deepened and expanded their palette with 2021’s Yol, which brought synths and drum machines into the mix for a more 80s-influenced dream-pop vibe.
But no matter how far out they’ve gone, they’ve always maintained a strong link to the same Anatolian folk traditions that inspired those early pioneers. Founder and bassist, Jasper Verhulst says: “We’re doing the same thing a lot of those artists were doing, which is playing Turkish traditionals and songs written by folk artists.”
Now, with their sixth album, Garip, they’ve brought that connection to the folk source front and centre, showcasing a collection of songs all originally written by Turkish folk legend Neset Ertas.
Ertas (1938-2012) was a revered and much-loved Turkish singer, lyricist and baglama player, and a modern-day embodiment of the ancient ashik tradition of the folk-bard-troubadour. Throughout his long career, he recorded more than 30 albums and wrote hundreds of songs – some of which were famously recorded by the likes of Baris Manço and Selda Bagcan.
For Altin Gün's vocalist, keyboardist and baglama player, Erdinç Eçevit, interpreting a suite of Ertas’s tunes is a chance to get back to his roots.
“Both of my parents are from Turkey, from the same area he is from,” he says. “It's the music that I grew up with. When I was five, six years old, my grandfather always had cassettes by Neset Ertas and I used to listen to it all day long. Then I was too young to really understand the lyrics and the meaning, but I really liked the melodies.
Now, years later, Eçevit has fully immersed himself in Ertas’s lyrics – messages from the heart that are, he says, “stories about what he’s facing in life. The Turkish traditional music is the blues of the Turkish people.”
Nowhere is this better exemplified than on ‘Gönul Dagi,’ one of Ertas’s most famous compositions, here brought to life by Eçevit’s yearning, sensitive vocals.
“‘Gönul Dagi’ is about the pain of love, the storms of the heart and the loneliness of longing,” says Eçevit. “He’s expressing what rural Anatolia has always felt – that love is both sacred and sorrowful, a force of nature.”
In Altin Gün's hands, the tune becomes a languid funk-rock crawl with watery guitar, a loping bassline and a palpable hint of mystery deepened by luxuriant string arrangements provided by the Stockholm Studio Orchestra.
The strings feature on several tracks, touching on influences including Egyptian popular music, Bollywood soundtracks and Turkish Arabesque. But, as Verhulst explains, there’s another touchstone underpinning the sound. “There’s definitely a French Italian influence in those arrangements,” he says.
It's a prime example of Altin Gün's urge to cast their net wide and incorporate a far-reaching set of magpie musical directions.
Album opener, ‘Neredesin Sen,’ is a throbbing, bass led vamp with a strong early-80s Indie flavour that showcases the fluid chemistry between drummer Daniel Smienk and percussionist Chris Bruining. The closing track, ‘Bir Nazar Eyeldim,’ is a breathtaking ballad with Eçevit’s pleading vocals playing out over lush synth arpeggios and a sparse electronic rhythm. Along the way, the band also touches on proggy vibes, with Eçevit getting down and dirty on the synth’s pitch-bend, and a laid-back west coast ambiance. Check out Thijs Elzinga’s gorgeous slide guitar on the smouldering ‘Gel Kaçma Gel’ to dig just how relaxed they can sound.
Fans of Altin Gün's past work will find much to love too.
The Anatolian element is still strong – and not just in Eçevit’s aching vocals. Eçevit’s tight baglama figures are woven throughout, making a direct link back to those earliest influences on tracks like the smoky ‘Nigde Baglari,’ with its off-kilter folk rhythm and cavernous sense of the Anatolian steppes stretching out for miles.
“It’s our most eclectic album,” says Verhulst. “There’s a little bit of everything. The songs are harder to label. We wanted to do something different than what we’ve done before. Less in your face, less poppy, less obviously psych-rock. More just vibing.”
Garip is the sound of a band that’s constantly evolving. A mature musical unit with nothing to prove. A band that’s having a whole lot of fun.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1.1Neredesin Sen
1.2Gönül Dagi
1.3Öldürme Beni
1.4Nigde Baglari
1.5Benim Yarim
1.6Sucum Nedir
1.7Gel Yanima Gel
1.8Zülüf Dökülmüs Yüze
1.9Gel Kacma Gel
1.10Bir Nazar Eyledim
Altin Gün, the Grammy-nominated Turkish psych-groove quintet from Amsterdam, return with their sixth studio album Garip — their most ambitious and diverse release to date, and a heartfelt tribute to the legendary Turkish folk bard Neset Ertas.
Neset Ertas (1938–2012) was a beloved icon of Anatolian music; a gifted singer, lyricist, and baglama virtuoso who carried the spirit of the ashik folk tradition into the modern era. Garip ("Strange" in English) features ten of his compositions, each reimagined and richly expanded through Altin Gün’s distinctive lens.
An electrifying live band with an ever-growing global following, Altin Gün push their sonic boundaries even further on Garip — weaving in lush Arabesque string arrangements, bursts of saxophone, glimmering synth balladry, and a fresh surge of tightly wound rock ’n’ roll.
-----------------------------------
Since bursting onto the scene in 2018 with their debut album, On, Amsterdam-based Altin Gün have been at the vanguard of the 21st century revival of Turkish-influenced psychedelic grooves.
Coming straight out of the gate with a wah-wah and organ heavy sound that effortlessly captured the spirit of Anatolian 70s psych-funk masters like Baris Manço and Erkin Koray, they deepened and expanded their palette with 2021’s Yol, which brought synths and drum machines into the mix for a more 80s-influenced dream-pop vibe.
But no matter how far out they’ve gone, they’ve always maintained a strong link to the same Anatolian folk traditions that inspired those early pioneers. Founder and bassist, Jasper Verhulst says: “We’re doing the same thing a lot of those artists were doing, which is playing Turkish traditionals and songs written by folk artists.”
Now, with their sixth album, Garip, they’ve brought that connection to the folk source front and centre, showcasing a collection of songs all originally written by Turkish folk legend Neset Ertas.
Ertas (1938-2012) was a revered and much-loved Turkish singer, lyricist and baglama player, and a modern-day embodiment of the ancient ashik tradition of the folk-bard-troubadour. Throughout his long career, he recorded more than 30 albums and wrote hundreds of songs – some of which were famously recorded by the likes of Baris Manço and Selda Bagcan.
For Altin Gün's vocalist, keyboardist and baglama player, Erdinç Eçevit, interpreting a suite of Ertas’s tunes is a chance to get back to his roots.
“Both of my parents are from Turkey, from the same area he is from,” he says. “It's the music that I grew up with. When I was five, six years old, my grandfather always had cassettes by Neset Ertas and I used to listen to it all day long. Then I was too young to really understand the lyrics and the meaning, but I really liked the melodies.
Now, years later, Eçevit has fully immersed himself in Ertas’s lyrics – messages from the heart that are, he says, “stories about what he’s facing in life. The Turkish traditional music is the blues of the Turkish people.”
Nowhere is this better exemplified than on ‘Gönul Dagi,’ one of Ertas’s most famous compositions, here brought to life by Eçevit’s yearning, sensitive vocals.
“‘Gönul Dagi’ is about the pain of love, the storms of the heart and the loneliness of longing,” says Eçevit. “He’s expressing what rural Anatolia has always felt – that love is both sacred and sorrowful, a force of nature.”
In Altin Gün's hands, the tune becomes a languid funk-rock crawl with watery guitar, a loping bassline and a palpable hint of mystery deepened by luxuriant string arrangements provided by the Stockholm Studio Orchestra.
The strings feature on several tracks, touching on influences including Egyptian popular music, Bollywood soundtracks and Turkish Arabesque. But, as Verhulst explains, there’s another touchstone underpinning the sound. “There’s definitely a French Italian influence in those arrangements,” he says.
It's a prime example of Altin Gün's urge to cast their net wide and incorporate a far-reaching set of magpie musical directions.
Album opener, ‘Neredesin Sen,’ is a throbbing, bass led vamp with a strong early-80s Indie flavour that showcases the fluid chemistry between drummer Daniel Smienk and percussionist Chris Bruining. The closing track, ‘Bir Nazar Eyeldim,’ is a breathtaking ballad with Eçevit’s pleading vocals playing out over lush synth arpeggios and a sparse electronic rhythm. Along the way, the band also touches on proggy vibes, with Eçevit getting down and dirty on the synth’s pitch-bend, and a laid-back west coast ambiance. Check out Thijs Elzinga’s gorgeous slide guitar on the smouldering ‘Gel Kaçma Gel’ to dig just how relaxed they can sound.
Fans of Altin Gün's past work will find much to love too.
The Anatolian element is still strong – and not just in Eçevit’s aching vocals. Eçevit’s tight baglama figures are woven throughout, making a direct link back to those earliest influences on tracks like the smoky ‘Nigde Baglari,’ with its off-kilter folk rhythm and cavernous sense of the Anatolian steppes stretching out for miles.
“It’s our most eclectic album,” says Verhulst. “There’s a little bit of everything. The songs are harder to label. We wanted to do something different than what we’ve done before. Less in your face, less poppy, less obviously psych-rock. More just vibing.”
Garip is the sound of a band that’s constantly evolving. A mature musical unit with nothing to prove. A band that’s having a whole lot of fun.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Altin Gün
The first thing that grabs you about Altin Gün"s new album is the energy. With Ask, the Amsterdam-based sextet turn away from the electronic, synth-drenched sound of their 2021 albums, Alem and Yol. While those two, created at home during the pandemic, paid homage to the electronic pop of the 80s and early 90s, Ask, marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altin Gün"s first two albums, On (2018) and Gece (2019). But there"s development here too. Ask is the closest the band have come so far to capturing the infectious energy of their live performances. "It"s definitely connecting more with a live sound - almost like a live album," says bassist Jasper Verhulst. "We, as a band, just going into a rehearsal space together and creating music together instead of demoing at home." "We didn"t record it like we did the last album," agrees vocalist Merve Dasdemir. "We basically produced that one at home because of the pandemic. Now we"ve gone back to recording live on tape." How many more worlds do Altin Gün visit in this joyful expedition? "Rakiya Su Katamam" is glowering space rock as though Gong had taken a stopover on the Bosphorus. "Canim Oy" is a psychedelic freakbeat stomper from a world where Istanbul"s Kadiköy district was the Carnaby Street of the east. "Güzelligin On Para Etmez" is a dreamy acid-folk anthem. And the finale, "Doktor Civanim," is an irresistible slice of sci-fi disco camp with lava-lamp synth squiggles that wouldn"t sound out of place next to Baris Manço"s "Ben Bilirim." Fresh yet timeless. Rooted in antiquity yet yearning for heavenly futures. Ask wants to take you places. All you have to do is strap yourself in
TRACKLIST
1.1 Badi Sabah Olmadan
1.2 Su Siziyor
1.3 Leylim Ley
1.4 Dere Geliyor
1.5 Çit Çit Çedene
1.6 Rakiya Su Katamam
1.7 Canim Oy
1.8 Kalk Gidelim
1.9 Güzelligin On Para Etmez
1.10 Doktor Civanim
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
TRACKLIST
1.1 Badi Sabah Olmadan
1.2 Su Siziyor
1.3 Leylim Ley
1.4 Dere Geliyor
1.5 Çit Çit Çedene
1.6 Rakiya Su Katamam
1.7 Canim Oy
1.8 Kalk Gidelim
1.9 Güzelligin On Para Etmez
1.10 Doktor Civanim
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Glitterbeat
Tracklist:
1.Adagh Oyantid
2.Inizdjam
3.Iman Derhan Nasn
4.Aiytma
5.Imanin
6.Eillal (ft. Ibrahim Ag Alhabib)
7.Tapsakin
8.Adounia
Blazing with a righteous intensity born of the struggle of a people whose nomadic life is under constant threat’ – Uncut
The iconic Saharan rock band’s sixth album, Assikel, is by turns intimate, raw and deeply atmospheric. Recorded on analogue tape, with the band playing live and direct, the album fully captures their instinctive interplay and hypnotic presence.
Songs of resistance, community and longing. Music for this moment.
Featuring: Ibrahim Ag Alhabib (Tinariwen)
--------------------------------------------------
For two decades, Tamikrest’s music has illuminated the sound, culture and conscience of the Kel Tamasheq (Touareg) people of the Sahara. Tamikrest means ‘connection’ or ‘union’ in Tamasheq, and the band have become one of the Kel Tamasheq's most vital voices, raising awareness of their plight while channelling experiences of exile, loss and resistance. Their sixth studio album, Assikel, which means ‘voyage’ or ‘journey’, shows just how far the band have come.
Formed in 2006 by Ousmane Ag Mossa and Cheikh Ag Tiglia, both originally from Tinzawaten near the Mali-Algerian border, Tamikrest emerged under the influence of Tinariwen, those legendary pioneers of Ishumar guitar music. A serendipitous encounter with Glitterbeat’s co-founder Chris Eckman and his group Dirtmusic at the 2008 Festival in the Desert in Mali marked the beginning of a long-standing partnership with the label – one that has since helped bring the band to international attention. They are now an established four-piece with guitarist Paul Salvagnac, who joined in 2012, and percussionist Cédric ‘Momo’ Maurel, who joined a year later.
Assikel marks a deliberate tonal shift. Drawing on years of touring and improvisation, the band chose to record live to analogue tape. The idea was inspired, in part, by their love of the sound created by Altin Gün’s engineer/mixer Jasper Geluk, someone Momo affectionately describes as ‘an old-school engineer, musician, sound poet and dreamer. He always has a screwdriver in his hand.’
Recording took place over ten days in October 2025 at Jasper’s Tone Boutique studio in Haarlem (NL), using a late-1960s 16-track tape machine. As Jasper says: ‘It has a wonderful character in sound, although it can be challenging at times and a bit like driving a vintage 4x4, demanding full attention. But it’s always a thrill.’
This live-to-tape process required total commitment from the band: ‘We knew we couldn’t redo it ten times over,’ says Paul. The result captures the rawness and spontaneity of the recording process, with this desire to go back to basics also extending to the album cover visuals, which were shot on film to give the artwork a grainy, timeless aesthetic.
Thematically, Assikel continues Tamikrest’s exploration of exile, displacement and assouf – that untranslatable Tamasheq word encompassing nostalgia, longing and homesickness. ‘The subject of the songs hasn’t changed much because the situation at home hasn’t improved – on the contrary, it’s got worse,’ says Ousmane. The current situation in Mali is indeed dire: a junta in place since 2021, political opposition banned and media suppressed, the departure of a UN peacekeeping mission in 2023, the presence of the Kremlin-controlled Africa Corps, and violence visited daily on an exhausted populace by jihadists, Malian forces and Russian paramilitaries alike.
It is no surprise, then, that Assikel’s eight tracks are packed with urgency and defiance, although there are plenty of the quieter, more reflective moments that have always characterised the band. The instrumentation weaves electric and acoustic guitars, floating lap steel, thick dubby bass, hand percussion, calabash and a full drum kit, while the songs themselves morph from Ishumar rock and roll, to hypnotic folk meditations, with Ousmane’s voice and storytelling always front and centre. This is, in short, music that only Tamikrest can make.
‘Adagh Oyanted’, the pulsing, slide guitar-inflected opener, refers to Mali’s mountainous northern region, with words that warn against the exploitation of ancestral lands, while ‘Aiytma’, co-written with poet Mahmoud Ag Ahmouden, is a deceptively gentle ballad that acts as a call to resistance (Cheikh likens it to a song you would sing in the trenches ‘to motivate your comrades’). ‘Imanin’ opens with an eerie synth line by guest Belgian musician Wouter Van Asselbergh, before an onslaught of distorted guitars and relentless percussion transform it into the most raw and electric-sounding track on the album.
A moment of calm arrives with ‘Eillal’ (Mirage), which features the softly spoken words of Tinariwen’s Ibrahim Ag Alhabib, his first recorded collaboration with the band, and album closer ‘Adounia’ is a tribute to the late Mohammed Ag Itlale (aka Japonais) of Tinariwen, one of Ousmane’s early mentors. A slow meditation on the ephemerality of life, it blends melancholic vocals with organ textures, and ends with a scratchy home recording of Japonais reciting his poem – an intimate and fitting conclusion.
Twenty years on, Tamikrest’s musical and cultural role feels more vital than ever. Assikel’s stripped-back, deeply atmospheric sound accentuates the conviction and spiritual strength of Ousmane's writing and the band’s wonderfully melodic arrangements, and reaffirms their position as one of the foremost voices of the Kel Tamasheq.
The last word goes to Ousmane, and perhaps acts as a counterpoint to those who might be tempted to see Tamikrest as spokespeople first and musicians second. There is, to be sure, no escaping politics and oppression, but as he points out with his usual gentleness and clarity: ‘What motivates us today is the same that motivated us at the beginning: the love of music.’ Tamikrest are back, after too long away, and they sound more resonant and vital than ever.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1.Adagh Oyantid
2.Inizdjam
3.Iman Derhan Nasn
4.Aiytma
5.Imanin
6.Eillal (ft. Ibrahim Ag Alhabib)
7.Tapsakin
8.Adounia
Blazing with a righteous intensity born of the struggle of a people whose nomadic life is under constant threat’ – Uncut
The iconic Saharan rock band’s sixth album, Assikel, is by turns intimate, raw and deeply atmospheric. Recorded on analogue tape, with the band playing live and direct, the album fully captures their instinctive interplay and hypnotic presence.
Songs of resistance, community and longing. Music for this moment.
Featuring: Ibrahim Ag Alhabib (Tinariwen)
--------------------------------------------------
For two decades, Tamikrest’s music has illuminated the sound, culture and conscience of the Kel Tamasheq (Touareg) people of the Sahara. Tamikrest means ‘connection’ or ‘union’ in Tamasheq, and the band have become one of the Kel Tamasheq's most vital voices, raising awareness of their plight while channelling experiences of exile, loss and resistance. Their sixth studio album, Assikel, which means ‘voyage’ or ‘journey’, shows just how far the band have come.
Formed in 2006 by Ousmane Ag Mossa and Cheikh Ag Tiglia, both originally from Tinzawaten near the Mali-Algerian border, Tamikrest emerged under the influence of Tinariwen, those legendary pioneers of Ishumar guitar music. A serendipitous encounter with Glitterbeat’s co-founder Chris Eckman and his group Dirtmusic at the 2008 Festival in the Desert in Mali marked the beginning of a long-standing partnership with the label – one that has since helped bring the band to international attention. They are now an established four-piece with guitarist Paul Salvagnac, who joined in 2012, and percussionist Cédric ‘Momo’ Maurel, who joined a year later.
Assikel marks a deliberate tonal shift. Drawing on years of touring and improvisation, the band chose to record live to analogue tape. The idea was inspired, in part, by their love of the sound created by Altin Gün’s engineer/mixer Jasper Geluk, someone Momo affectionately describes as ‘an old-school engineer, musician, sound poet and dreamer. He always has a screwdriver in his hand.’
Recording took place over ten days in October 2025 at Jasper’s Tone Boutique studio in Haarlem (NL), using a late-1960s 16-track tape machine. As Jasper says: ‘It has a wonderful character in sound, although it can be challenging at times and a bit like driving a vintage 4x4, demanding full attention. But it’s always a thrill.’
This live-to-tape process required total commitment from the band: ‘We knew we couldn’t redo it ten times over,’ says Paul. The result captures the rawness and spontaneity of the recording process, with this desire to go back to basics also extending to the album cover visuals, which were shot on film to give the artwork a grainy, timeless aesthetic.
Thematically, Assikel continues Tamikrest’s exploration of exile, displacement and assouf – that untranslatable Tamasheq word encompassing nostalgia, longing and homesickness. ‘The subject of the songs hasn’t changed much because the situation at home hasn’t improved – on the contrary, it’s got worse,’ says Ousmane. The current situation in Mali is indeed dire: a junta in place since 2021, political opposition banned and media suppressed, the departure of a UN peacekeeping mission in 2023, the presence of the Kremlin-controlled Africa Corps, and violence visited daily on an exhausted populace by jihadists, Malian forces and Russian paramilitaries alike.
It is no surprise, then, that Assikel’s eight tracks are packed with urgency and defiance, although there are plenty of the quieter, more reflective moments that have always characterised the band. The instrumentation weaves electric and acoustic guitars, floating lap steel, thick dubby bass, hand percussion, calabash and a full drum kit, while the songs themselves morph from Ishumar rock and roll, to hypnotic folk meditations, with Ousmane’s voice and storytelling always front and centre. This is, in short, music that only Tamikrest can make.
‘Adagh Oyanted’, the pulsing, slide guitar-inflected opener, refers to Mali’s mountainous northern region, with words that warn against the exploitation of ancestral lands, while ‘Aiytma’, co-written with poet Mahmoud Ag Ahmouden, is a deceptively gentle ballad that acts as a call to resistance (Cheikh likens it to a song you would sing in the trenches ‘to motivate your comrades’). ‘Imanin’ opens with an eerie synth line by guest Belgian musician Wouter Van Asselbergh, before an onslaught of distorted guitars and relentless percussion transform it into the most raw and electric-sounding track on the album.
A moment of calm arrives with ‘Eillal’ (Mirage), which features the softly spoken words of Tinariwen’s Ibrahim Ag Alhabib, his first recorded collaboration with the band, and album closer ‘Adounia’ is a tribute to the late Mohammed Ag Itlale (aka Japonais) of Tinariwen, one of Ousmane’s early mentors. A slow meditation on the ephemerality of life, it blends melancholic vocals with organ textures, and ends with a scratchy home recording of Japonais reciting his poem – an intimate and fitting conclusion.
Twenty years on, Tamikrest’s musical and cultural role feels more vital than ever. Assikel’s stripped-back, deeply atmospheric sound accentuates the conviction and spiritual strength of Ousmane's writing and the band’s wonderfully melodic arrangements, and reaffirms their position as one of the foremost voices of the Kel Tamasheq.
The last word goes to Ousmane, and perhaps acts as a counterpoint to those who might be tempted to see Tamikrest as spokespeople first and musicians second. There is, to be sure, no escaping politics and oppression, but as he points out with his usual gentleness and clarity: ‘What motivates us today is the same that motivated us at the beginning: the love of music.’ Tamikrest are back, after too long away, and they sound more resonant and vital than ever.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Mit Taiga Trans legt das schwedische Kollektiv Fauna ein Debütalbum vor, das unmittelbar in seinen Bann zieht: ein hypnotischer Mix aus krautrockender Motorik, psychedelischer Ritualenergie und der pulsierenden Wucht eines nächtlichen Raves. Die neun Musikerinnen und Musiker erschaffen einen Klangraum, der gleichzeitig archaisch und hypermodern wirkt - ein Ort, an dem traditionelle Instrumente und elektronische Texturen ineinandergreifen und ein multisensorisches Musikerlebnis formen. Elektronische Windgeräusche, feine perkussive Muster, das sirrende Schnalzen einer Maultrommel und die flirrenden Linien des türkischen Saz treffen auf verzerrte Gitarren, tiefen Bassdruck und vier-Viertel-Grooves. Fauna verbindet diese Elemente zu einer energiegeladenen Soundreise, die sich jenseits kultureller und zeitlicher Grenzen bewegt. Die Wurzeln des Projekts liegen in freien Jams des Gitarristen Tommie Ek und Bassisten Ibrahim Shabo, dessen syrischer Hintergrund ebenso in die Musik hineinwirkt wie die französischen, finnischen, polnischen, schwedischen und türkischen Einflüsse der anderen Mitglieder. Vocals in gebrochenem Arabisch, Schwedisch und Französisch verstärken die tranceartige Wirkung der Kompositionen, ohne sich in eindeutige Bedeutungen zu drängen. Taiga Trans destilliert die improvisatorische Live-Energie der Band in acht verdichtete Stücke, die gleichermaßen clubtauglich wie spirituell aufgeladen wirken. Ein Album zum Abtauchen, zum Loslassen - und zum Wiederhören.
Tracklist:
1.1Bland stenar
1.2En munfull sand
1.3Dunans torka
1.4Bland träden
1.5Boreala ändlösheten
1.6Du ska fa se
1.7Frusen mossa
1.8Blodröda rubiner
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist:
1.1Bland stenar
1.2En munfull sand
1.3Dunans torka
1.4Bland träden
1.5Boreala ändlösheten
1.6Du ska fa se
1.7Frusen mossa
1.8Blodröda rubiner
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Preview: https://www.youtube.com/watch?v=y9ycFyakiBk
Tracklist:
1.In Search of Yang
2.Spirit Adapter
3.Lecker Song
4.Yata Yata
5.Night in Taipei
6.Golden Lion
7.Elma
8.Kasumi's Quest
9.Slow Burner
10.Pattaya Wrangler
11.Mooncake Melody
On their fourth album Yatta!, the celebrated Dutch quartet YIN YIN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.
As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified — Yatta! lifting it to an ecstatic next level.
The result? An album that reveals a band whose groove just keeps getting deeper.
---------------------------------
The opening track on YIN YIN’s new album, Yatta!, begins with a sample of the philosopher Alan Watts expounding: “There is no Yang without Yin and no Yin without Yang.”
Appropriately enough, the track – a jubilantly upbeat slice of disco action – is called “In Search of Yang,” and begs a question about the meaning of the group’s name. The group’s drummer and co-founder, Kees Berkers, explains: “Yin Yang is about balance between two different forces and Yin Yin would essentially mean two negative forces that cannot reach a common ground. So, YIN YIN is about finding a balance in the unbalanced.”
Certainly, over the last six years, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing.
The group’s origins lie in an experimental jam session in a remote village ballet school in 2017, leading to the release of the single, “Dion Ysiusk,” the following year. The debut album, The Rabbit That Hunts Tigers was released in 2019, followed by The Age of Aquarius in 2022. After a few personnel changes, the quartet’s line-up had, by 2023, arrived at its current form of Kees Berkers (drums), Remy Scheren (bass), Jerôme Scheren (keyboards) and Erik Bandt (guitar). 2024 saw the release of Mount Matsu, now followed by the group’s most complete statement to date, Yatta!
From the beginning, YIN YIN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving – an impulse that reaches its peak on Yatta!
One major influence is the sound of Italo Disco – the spacey brand of disco music that arose in Italy in the late 1970s. “It has something of a mystique,’ says Berkers. “All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created.” You can hear that sense of mystery on tracks like “In Search of Yang,” with its endless groove and trippy backwards guitar effects.
Across the album, YIN YIN specialise in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination.
“That’s a big reason why the music’s instrumental,” Berkers confirms. “It leaves a lot of room for the listener to fill in the gaps. You can really make your own trip of it. It’s very movie-like.” And it’s not just the movies we get to visit. “Kasumi’s Quest” is built around a mysteriously ascending and descending synth figure, coming come across like the music to a lost computer game – “an imaginary quest of an imaginary character in an imaginary world,” says Berkers. “It could be like a difficult quest in a dungeon, and Kasumi could be the character that you’re playing.”
If there’s a general direction of travel in YIN YIN’s expeditions, it’s towards the east, with Asian influences coming through loud and clear. “Lecker Song” feels like a 1960s Japanese soul-funk spy movie theme with a sample of a koto buried in the mix. “Yata Yata” could be the throbbing disco soundtrack to a Thai spaghetti western. “Night in Taipei” is an atmospheric ballad summoning a fragrant evening in the Taiwanese capital, and “Pattaya Wrangler” suggests a sundown stroll on the Thai city’s golden beaches.
It's a fascination that has suffused YIN YIN’s sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic 60s and 70s guitar music from Southeast Asia. “Those albums had the most influence on that East Asian route we took,” Berkers recalls. “Via those compilations, we got to YouTube channels where we couldn't read anything because everything was in Thai letters or in Chinese symbols – and that felt like we found the treasure!’”
Adopting Eastern tunings has imparted an unusual feel to YIN YIN’s music and challenged them as songwriters.
Berkers explains: “If you're making music for a long time you get to some points where you think ‘I'm always doing the same thing.’ And then a simple YouTube channel or a compilation can give you that spark you need!”
There’s no shortage of sparks in Yatta!’s blend of dancefloor fillers and laidback soundscapes. Guitarist Erik Bandt explains: “We tried to make a mix of songs that are very energetic, danceable party starters, but also have songs that take you on trips and are more easy.”
Underpinning all of this is a welcoming, natural feel, with everything recorded directly to tape.
“It’s our most organic album to date,” says Bandt. “We recorded together as a team in the studio instead of recording separate tracks for drums, guitar, bass – it’s all live and that adds a certain feel.”
All of which explains the album’s title. Bandt says: “Yatta is a Japanese phrase meaning ‘We did it, we accomplished it!’ After we finished the album, we thought this simple phrase actually ties it all together.” Berkers continues: “It also speaks for a more general idea that we, as a band, succeeded to really become a band on a professional level. So, it's also, ‘We finally are true musicians now. We have arrived.’ Basically, we made the dream come true.”
Yatta! Is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it. Lucky for us, we’re invited too.
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Germany
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Tracklist:
1.In Search of Yang
2.Spirit Adapter
3.Lecker Song
4.Yata Yata
5.Night in Taipei
6.Golden Lion
7.Elma
8.Kasumi's Quest
9.Slow Burner
10.Pattaya Wrangler
11.Mooncake Melody
On their fourth album Yatta!, the celebrated Dutch quartet YIN YIN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.
As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified — Yatta! lifting it to an ecstatic next level.
The result? An album that reveals a band whose groove just keeps getting deeper.
---------------------------------
The opening track on YIN YIN’s new album, Yatta!, begins with a sample of the philosopher Alan Watts expounding: “There is no Yang without Yin and no Yin without Yang.”
Appropriately enough, the track – a jubilantly upbeat slice of disco action – is called “In Search of Yang,” and begs a question about the meaning of the group’s name. The group’s drummer and co-founder, Kees Berkers, explains: “Yin Yang is about balance between two different forces and Yin Yin would essentially mean two negative forces that cannot reach a common ground. So, YIN YIN is about finding a balance in the unbalanced.”
Certainly, over the last six years, the quartet from Maastricht in the south of the Netherlands has built a reputation for balancing an eclectic range of influences and using them to forge something that is affectionately retro and, at the same time, fresh and forward-facing.
The group’s origins lie in an experimental jam session in a remote village ballet school in 2017, leading to the release of the single, “Dion Ysiusk,” the following year. The debut album, The Rabbit That Hunts Tigers was released in 2019, followed by The Age of Aquarius in 2022. After a few personnel changes, the quartet’s line-up had, by 2023, arrived at its current form of Kees Berkers (drums), Remy Scheren (bass), Jerôme Scheren (keyboards) and Erik Bandt (guitar). 2024 saw the release of Mount Matsu, now followed by the group’s most complete statement to date, Yatta!
From the beginning, YIN YIN have been devoted to exploring global sounds with an emphasis on getting the dance floor moving – an impulse that reaches its peak on Yatta!
One major influence is the sound of Italo Disco – the spacey brand of disco music that arose in Italy in the late 1970s. “It has something of a mystique,’ says Berkers. “All the producers were using new recording techniques and effects, but there are not many pictures or videos of how they were creating things in the studio. You have to use your own fantasy and create your own story about how that music is created.” You can hear that sense of mystery on tracks like “In Search of Yang,” with its endless groove and trippy backwards guitar effects.
Across the album, YIN YIN specialise in creating the soundtracks to dream journeys, opportunities for the listener to visit places that exist in realms of the imagination.
“That’s a big reason why the music’s instrumental,” Berkers confirms. “It leaves a lot of room for the listener to fill in the gaps. You can really make your own trip of it. It’s very movie-like.” And it’s not just the movies we get to visit. “Kasumi’s Quest” is built around a mysteriously ascending and descending synth figure, coming come across like the music to a lost computer game – “an imaginary quest of an imaginary character in an imaginary world,” says Berkers. “It could be like a difficult quest in a dungeon, and Kasumi could be the character that you’re playing.”
If there’s a general direction of travel in YIN YIN’s expeditions, it’s towards the east, with Asian influences coming through loud and clear. “Lecker Song” feels like a 1960s Japanese soul-funk spy movie theme with a sample of a koto buried in the mix. “Yata Yata” could be the throbbing disco soundtrack to a Thai spaghetti western. “Night in Taipei” is an atmospheric ballad summoning a fragrant evening in the Taiwanese capital, and “Pattaya Wrangler” suggests a sundown stroll on the Thai city’s golden beaches.
It's a fascination that has suffused YIN YIN’s sound since, in the early days, they stumbled upon a couple of compilation albums of psychedelic 60s and 70s guitar music from Southeast Asia. “Those albums had the most influence on that East Asian route we took,” Berkers recalls. “Via those compilations, we got to YouTube channels where we couldn't read anything because everything was in Thai letters or in Chinese symbols – and that felt like we found the treasure!’”
Adopting Eastern tunings has imparted an unusual feel to YIN YIN’s music and challenged them as songwriters.
Berkers explains: “If you're making music for a long time you get to some points where you think ‘I'm always doing the same thing.’ And then a simple YouTube channel or a compilation can give you that spark you need!”
There’s no shortage of sparks in Yatta!’s blend of dancefloor fillers and laidback soundscapes. Guitarist Erik Bandt explains: “We tried to make a mix of songs that are very energetic, danceable party starters, but also have songs that take you on trips and are more easy.”
Underpinning all of this is a welcoming, natural feel, with everything recorded directly to tape.
“It’s our most organic album to date,” says Bandt. “We recorded together as a team in the studio instead of recording separate tracks for drums, guitar, bass – it’s all live and that adds a certain feel.”
All of which explains the album’s title. Bandt says: “Yatta is a Japanese phrase meaning ‘We did it, we accomplished it!’ After we finished the album, we thought this simple phrase actually ties it all together.” Berkers continues: “It also speaks for a more general idea that we, as a band, succeeded to really become a band on a professional level. So, it's also, ‘We finally are true musicians now. We have arrived.’ Basically, we made the dream come true.”
Yatta! Is the sound of four musicians finding their own globe-trotting groove, and having the time of their lives exploring it. Lucky for us, we’re invited too.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The first thing that grabs you about Altin Gün"s new album is the energy. With Ask, the Amsterdam-based sextet turn away from the electronic, synth-drenched sound of their 2021 albums, Alem and Yol. While those two, created at home during the pandemic, paid homage to the electronic pop of the 80s and early 90s, Ask, marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altin Gün"s first two albums, On (2018) and Gece (2019). But there"s development here too. Ask is the closest the band have come so far to capturing the infectious energy of their live performances. "It"s definitely connecting more with a live sound - almost like a live album," says bassist Jasper Verhulst. "We, as a band, just going into a rehearsal space together and creating music together instead of demoing at home." "We didn"t record it like we did the last album," agrees vocalist Merve Dasdemir. "We basically produced that one at home because of the pandemic. Now we"ve gone back to recording live on tape." How many more worlds do Altin Gün visit in this joyful expedition? "Rakiya Su Katamam" is glowering space rock as though Gong had taken a stopover on the Bosphorus. "Canim Oy" is a psychedelic freakbeat stomper from a world where Istanbul"s Kadiköy district was the Carnaby Street of the east. "Güzelligin On Para Etmez" is a dreamy acid-folk anthem. And the finale, "Doktor Civanim," is an irresistible slice of sci-fi disco camp with lava-lamp synth squiggles that wouldn"t sound out of place next to Baris Manço"s "Ben Bilirim." Fresh yet timeless. Rooted in antiquity yet yearning for heavenly futures. Ask wants to take you places. All you have to do is strap yourself in
TRACKLIST
1.1 Badi Sabah Olmadan
1.2 Su Siziyor
1.3 Leylim Ley
1.4 Dere Geliyor
1.5 Çit Çit Çedene
1.6 Rakiya Su Katamam
1.7 Canim Oy
1.8 Kalk Gidelim
1.9 Güzelligin On Para Etmez
1.10 Doktor Civanim
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TRACKLIST
1.1 Badi Sabah Olmadan
1.2 Su Siziyor
1.3 Leylim Ley
1.4 Dere Geliyor
1.5 Çit Çit Çedene
1.6 Rakiya Su Katamam
1.7 Canim Oy
1.8 Kalk Gidelim
1.9 Güzelligin On Para Etmez
1.10 Doktor Civanim
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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Strut proudly presents Nuclear War, a powerful collaboration between UK collective The Heliocentrics, Sun Ra Arkestra legends Marshall Allen and Knoel Scott, and vocalist Bilal - issued on limited-edition “hazardous” orange and yellow vinyl exclusively for Record Store Day 2026.
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Limited 300 pressing with sticker and double-sided postcard storytelling insert
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DE - 22113 Hamburg
Germany
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Limited 300 pressing with sticker and double-sided postcard storytelling insert
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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Label:Paper Route EMPIRE
Cat-No:ERE1231
Release-Date:18.04.2026
Genre:HipHop / Beats
Configuration:2LP Excl
Label:Paper Route EMPIRE
Cat-No:ERE1231
Release-Date:18.04.2026
Genre:HipHop / Beats
Configuration:2LP Excl
2xLP, Gatefold Jacket, Red Marbled Vinyl
RSD26
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About:
PAPER ROUTE iLLUMINATi is the compilation album from Paper Route EMPIRE, the label founded by late Memphis legend, Young Dolph, and home to the equally iconic Key Glock and an impressive roster of additional artists including Snupe Bandz & Big Moochie Grape. Including the hit songs, "Talking To My Scale," "I Do This," & "Mister Glock 2," as well as deep cuts like "Broccoli & Cheese," this album is a must have for Southern rap fans and encapsulates a time when PRE was at the height of their game, shortly before Young Dolph's untimely passing. 2xLP pressed on Red Snake Eyes Galaxy vinyl, and housed in a gatefold jacket. Long Live Young Dolph.
Key Marketing/Selling:
- First time pressed on vinyl
- Compilation album from Young Dolph & his label Paper Route EMPIRE, consisting of members Key Glock, Kenny Muney, Jay Fizzle, Big Moochie Grape, Chitana, Snupe Bandz, Joddy Badass,Paper Route Woo & Big Unccc
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- PAPER ROUTE iLLUMINATi is the last album released before Young Dolph's untimely passing
- Rated 6.8 by Pitchfork
- 2xLP, Gatefold Jacket, pressed on Red Marbled Vinyl, limited to 1500
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A1. Talking To My Scale by Paper Route EMPIRE & Young Dolph
A2. Blu Boyz by Young Dolph, Key Glock & Paper Route EMPIRE (feat. Snupe Bandz)
A3. Beat It by Paper Route EMPIRE, Bigg Unccc & Young Dolph
A4. I Do This by Paper Route EMPIRE, Key Glock & Gucci Mane
A5/ Back to Back by Paper Route EMPIRE & Bigg Unccc
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Incoming transmission: six shimmering new tracks on the downtempo spectrum from the Khotin Industries Northern HQ. Peace to all listeners.
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DE - 22113 Hamburg
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Incoming transmission: six shimmering new tracks on the downtempo spectrum from the Khotin Industries Northern HQ. Peace to all listeners.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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Autumn of 2022 marked 20 years since the initial release of Metro Area's first and only album, Metro Area. Environ had already remastered and re-released this essential LP for its 15th anniversary. So this time around, we're doing something a bit different.
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Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
TRACKLISTING
A. Metro Area - Miura
B1. Metro Area - Let's Get...
B2. Metro Area - Strut
INFO
Autumn of 2022 marked 20 years since the initial release of Metro Area's first and only album, Metro Area. Environ had already remastered and re-released this essential LP for its 15th anniversary. So this time around, we're doing something a bit different.
To celebrate two decades of Metro Area, Environ has partnered with renowned mastering engineer Matt Colton (Metropolis Studios) to remaster and recut the first four Metro Area 12"s: Metro Area, Metro Area 2, Metro Area 3 and Metro Area 4. Unlike the album reissue, these records include the original, extended 12" versions of all songs, including some which have never been re-released.
Metro Area 4 is the duo's fourth 12" EP, originally released in 2001.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.
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Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.
Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.
EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.
This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!
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1
octave one - Black Water
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octave one - Black Waters
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octave one - Untold
Stone cold year 2000 Detroit Techno classic from Burden Bros
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Greville In Blood - Blood
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Greville In Blood - Lightroom
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Greville In Blood - Persian Rug
Limited 12” of deep, dub-influenced music from Greville.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Roland Haynes & Phenix - Mind Games
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Roland Haynes & Phenix - The Essence of Jai
3
Roland Haynes & Phenix - Song For My Father
Been waiting time to drop this full heavy cut 12" Version of the 1983 single 'Mind Games', from Gilles Peterson album of the 2024 and this is the BIG cut from that LP on 12 inch for the first time. 'Mind Games' is a total club destruction jazzy Disco Jazz masterpiece. On the flip we have 'The Essence of Jai' another downtempo beast. To top it off, we have a rather wonderful previously unreleased version of 'Song for my father' by Horace Silver, this being more a cover of the Leon Thomas version.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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Cat-No:pir-1010ab
Release-Date:29.11.2018
Configuration:12"
Cat-No:pir-1010ab
Release-Date:29.11.2018
Configuration:12"
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the o'jays - I Love Music
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the o'jays - My Favourite Person
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the o'jays - Back Stabbers
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the o'jays - Message In Our Music
Ohio's O'Jays were a hugely popular part of Philadelphia's PIR stable throughout the 1970's and 80's. They cut numerous sides for the label aided by the incredible production and arrangements of the infamous Gamble and Huff hit machine. This special 4 track EP includes some of the absolute evergreen, stellar and downright soulful tracks they are most known for. It's all here. Influential, uplifting, inspiring and soulful music that will touch everyone. From the string laden and lush extended proto Disco joy of 1975's 'I Love Music', to the deep and soulful Philly stylings of 'Back Stabbers', 'Message In Our Music' & 'My Favourite Person', all of the music contained within this amazing collection is utterly essential if you dig Soul, Funk, Disco, Gospel and even House music. This is it. The real deal. These are some of the roots of contemporary dance music, the building blocks. On top of that, it's simply great music, a solid and essential addition to any record collection from one of the greatest vocal groups of the era, not to mention the world calls production, arrangement & execution from the legendary Gamble & Huff. A real no brainer this one.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Panoram - Onde
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Panoram - Matelica
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Panoram - Colombino
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Panoram - Lux
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Panoram - Indovinello
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Panoram - Scherzo N.5
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Panoram - Senza Mani
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Panoram - Altissimo
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Panoram - Oubliette
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Panoram - Il Corpo Immaginato
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Panoram - Moscacieca
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Panoram - Eterno Breve
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Panoram - Metallo Urlante
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Panoram - La Stanza Muta
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Panoram - Ascesa
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Panoram - Brucomela
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Panoram - Specchio Riflesso
Not all music can cope with physical reality. Instruments can be pushed until they lose grip. Eventually, they will slip so far that their untethered voice is all that remains. Panoram follows up on his Pianosequenza series engaging in seventeen excursions into playing the part of the piano that doesn't exist, coaxing out inarticulate feelings in lieu of familiar characteristics. Sounds and rhythms resulting from thoughts that can't be put into quite the right words.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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DE - 22113 Hamburg
Germany
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RE-RELEASE! No one can say they didn’t see these two brats coming! Justice, who’s name the world (well at least that part of the world that loves to dance) chants with emotion and whose first album is awaited with bated breath ever since the French duo revolutionised dancefloors with two radically different hits. It comes as no surprise that «†», the first album by Justice, is a fantastic treat for the ears and for the feet. A kind of musical opera marked with religious and baroque symbols, where the melodies are ripped to shreds by the beats, where electro teaches rock a lesson and where pop gets a botox injection.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More