Sonar Kollektiv: Recent Episodes
Sonar Kollektiv
Sonar Kollektiv was founded in 1997 by Jazzanova. Designed as a platform for own releases it soon attracted numerous new discoveries and like-minded musicians to lead their trumps right here. Still it was never the intention of Sonar Kollektiv to pursue one specific sound or provide an already existing scene. Each and every release on the label (250 and counting) was at all times meant to illustrate the musical taste of the collective, its flavourful development and recollection of past sounds. The various compilations and label showcases played a big part of it. From the renowed „Secret Love“ compilation (No. 6 will be released these days), the „Computer Incarnations For World Peace“ edition, the „...Boadcasting“ and „....Mixing“-series to the „Romanian Jazz“ label showcase Sonar Kollektiv continuously cares about broadening its own and the horizon of any type of music lovers. How broad this horizon can be expanded showed the release of Âme’s „Rej“ in 2005. Shorthandly minimal techno was redifined and at the same time the sublabel Innervisions (runned by Dixon) was leveraged to worldwide fame. Other milestones in the eventful history of Sonar Kolletiv were the discovery of the New Zealand reggae soul combo Fat Freddy’s Drop (2005), the debuts by Micatone (2003), Benny Sings (2005), Clara Hill (2003) and Eva Be (2004), the first releases by Dimlite (2003), Tricksi (2006), Christian Prommer’s Drumlesson (2007), as well as Georg Levin (2005) and his collaborative project with Dixon, Wahoo (2004). Also for some of today’s legends of more sophisticated electronic music, like Ulrich Schnauss, Ben Klock and Marcin Kozlowski (now a member of Whitest Boy Alive) Sonar Kollektiv offered a stepping stone to their international careers. And in 2003 a certain Eric Wahlforss released his first record here, just before founding Soundcloud.
When at the end of 2009 the rate of fire ceased some thought the label is running on empty or lost touch to contemporary sounds. But the releases of this year so far should prove doubters wrong. The remix album „Jazzanova Upside Down“ (released in January) gathers the who’s who of the currenty most happening and game-changing DJs and producers (Henrik Schwarz, Motor City Drum Ensemble, Filippo Moscatello, Manuel Tur, Mark E, and more) to catapult Jazzanova classics into the future. By signing Phil Gerus from Moscow, the new project Hot Coins out of the UK, EnaWadan from South Africa and the pan-Geman duo Paskal & Urban Absolutes four of the most promising new acts slantingly offside the dancefloor have been added to the already impressive roster. And once again all true pop aficionados with an addiction for soul and a genuine craft in songwriting are pierced to the heart with the brand new albums by FETSUM („The Colors Of Hope“) and Micatone („Wish I Was Here“).
But what is the formula of success of the Berlin based label? A dance music imprint that – with a few exceptions – actually doesn’t release club music? Is it even after all exactly this? Delievering music for prior to, succeeding and one day after a club night?
There’s no other German record label that can boast such an adventurous range of styles: reggae, folk, electronica, jazz, funk, calypso, house, techno and now also chillwave, dubstep, dream pop, and so on. At Sonar Kollektiv there’s somehow room for everything. Still, all of the 250 and counting releases have one common denominator: It’s music made out of passion - without any financial aim or attemps of ingratiation. From and for music lovers.
Alex Barck of Jazzanova brought soulful Christmas cheer to us at our End-Of-The-Year-Special from The Space In Between on Dec 20th, 2024. Have fun listening!
At our End-Of-The-Year-Special, Clara Hill & Mixed Moods brought live magic to our kitchen radio studio. Absolutely worth listening!
At our End-Of-The-Year-Special, Philippa absolutely slayed it with her flawless House DJ set, highlighting her fav tunes of the year. Have fun listening!
At our End-Of-The-Year-Special, Kava (1/3 of Disko International) shared his favorite tracks of the year 2024. Have fun listening!
At our End-Of-The-Year-Special, Marian Tone & Daniel W. Best kicked things off with some playful grooves. Have fun listening!
This mix of Lucas Benjamin is a live recording of his fabulous performance at our event at OXI Berlin, on August 30th. The event was a collaboration between the local Berlin crew SHUSH & Sonar Kollektiv. We had a blast celebrating a very soulful 14 hours party on two floors, spotlighting DJ sets from Atjazz, For Future's Sake, Philippa, D'Monk, Ken Okuda, Calamidades Lola and others.
Hey everyone!Last Friday we’ve been back for another episode from The Space In Between. We had the great pleasure to host the lovely Red Rack’em / @https://soundcloud.com/red-rackem for a two hours session, live from the Sonar Kollektiv HQ. That was good fun and great to be back for a moment. He’s played a bunch of killer tunes as well as his latest release, called "Italo Disco Banger". Make sure to follow and all the good stuff.
For our last regular TSIB-show we have invited a very special and inspiring guest from Amsterdam. A true musicologist, label head of Wicked Wax, part of the infamous Ghetto Funk Collective, co-founder of the music platform Steppin' Into Tomorrow and first of all an outstanding digger and DJ - Lucas Benjamin / @https://soundcloud.com/lucasbenjamin .
We had a great time, chilling and listening to Raedy’s selection on last Friday’s show. It was a smooth episode reaching a musical range between smooth Jazz, Hip Hop and extraordinary laid back fav tunes. Very enjoyable and healing sounds! Please make sure to follow him for smooth beats, analogue photography and sweet illustrations. It's absolutely worth it.
At our latest show on Aug 16th, we had the great pleasure to host again the incredible musicaly and vibefully Allynx aka Lilah Amar. After an amazing first show with Sean Steinfeger, she had her focus on afrobeats and afro house tracks. A very groovy, deep and joyful episode, which you should listen in full lenghts!
Last week we got a very proper house special, as Allan Strange came through to rock the office for two hours, playing only killers and no fillers with his very own and exciting mixing-technique. He’s played super tasty deep house, afro house and broken beat ish tunes for your listening pleasure.A must listen. Please make sure to follow him for more. We hope to see him playing in Berlin in a regular rhythm. Get in touch and book him for that kind of dopeness and also for his first love of techno djing. If you haven’t heard him playing you’ve missed out!
For our latest episode we’re happy to present the brandnew project “Dim Fumes” on Kommerz Records, Yuku.Dim Fumes deliver fresh yet seasoned ambient bass pop between uk club sounds and yearning mega city nostalgia.Presenting an all new concept with a hybrid set: Deejaying + performing some of their own tunes live. We’re curious about the performance and looking much forward to it.
Our TSIB-host with the most, Marian Tone, has spontaneously returned to The Space In Between for a two hours records-only DJ set. Blending soulful downtempo grooves, slow boogie to mid- and uptempo tunes out of his record box. A very timeless and good vibes bringing episode.
We had a lot of fun at our latest show with the powerful Paulita, who not only brought a lot of good vibes, but also a ton of good music. Her mix is well put together and starts smooth and soulful with some Erikah Badu vibes, followed by funky, rare groove, latin, disco and electronic sounds. A wide range, but it feels like travelling into the weekend.Again, it is very much enjoyable and absolutely worth listening to!For your listening pleasure you can listen and watch back to the full episode on YouTube, Mixcloud and Soundcloud. Link in bio!
For our latest show on Friday July 12th, we had the great pleasure to have Henry Weekes and Aver from Move 78 at the office. Expect a deep ride through different kinds of Jazz inspired music genres as well as a lovely chat between this two funny and inspiring guys.
Our last week’s show was a very enjoyable one with Duererstuben. The vibes were great. Duererstuben took us on a trip, starting with Ambient, Soul and Downtempo goodies to Disco and House tunes.
Our latest episode with Diskohengst was a good one. He’s played some of his personal black pearls, from his record digging trips of the last years. In this episode he’s showed us his various taste ranging from US Disco, Boogie, & Funk up to Brazlilian & Columbian flavors. Vinyl records only!
TSIB host Marian Tone doing his thing on this show. As usual deep and soulful sounds to the fullest. Enjoy!
For our latest TSIB show, Leo K brought in his usually mixed bag spanning from Soul, Modern Soul and Classic Disco to German Jazz-Funk rarities and forgotten House anthems with the aim to set the mood right for the weekend. With success! He had us all bouncing at the office. In the chat some of our regular listeners recognized this mix as one of the best so far.So make sure to listen and to watch back. It’s absolutely worth it.
Last week's episode is full of new and upcoming music. Very soulful, electronic and also jazzy. Enjoy!
Last week we got a quite special musical mix from Rafush. She’s been playing an exciting mix, filled with psychedelic electronica, hip hop-ish beats and latin music.
Part two of our "The Space In Between / Feels like Friday1" collaboration is now available on Mixcloud and YouTube.For this show, we had the great pleasure of hosting Rebecca Vasmant in our office. She traveled all the way from Glasgow to Berlin to delight us with a fantastic radio show and especially to perform a closing set at our party at Heideglühen. Both DJ sets were incredibly fun for all of us.We're very happy about the wonderful time we spent together and are eagerly looking forward to the next one.If you enjoy what you hear and see, be sure to like, share, follow, subscribe, and all that other good stuff! Support your local scene!We broadcast live every Friday from 11-13hr on YouTube, Twitch, and Mixcloud from The Space In Between at the Sonar Kollektiv HQ, with your TSIB hosts Marian Tone & Hollis P Monroe.A special shout-out to Connecting the Dots for coordinating behind the scenes!
Hey y'all!After an incredible party at Heideglühen, we’re back to recap the latest episodes as we’ve got the pleasure to collaborate with Feels Like Friday on two shows last week. Part One with DJ Philippa is now up on Mixcoud and YouTube. Part Two with Rebecca Vasmant will follow tomorrow.It is always good to have Philippa at the office as she is not only a very lovely person, but also an incredible musical mind. She has played a deep and energetic show and gave us many insides and previews to upcoming releases, some of her favorite tunes and current hot releases she’s digging. Make sure to listen back! It’s a fun episode.
At our latest show we’ve just played favourite tunes out of our Sonar Kollektiv catalog of 25 years label history. Vinyl records only! It was pure fun digging through old and new releases and we’ll be probably doing it again soon.Until then please enjoy this episode, recorded by Oliver Glage and Marian Tone.
For our second instalment last week we had the pleasure to host @Digitalluc , @made.in.m , @Verbzyygram and Captain Brexit for an @ear_sight label special. In the first hour they showcased some smooth lo-fi beats and house livesets as well as some live rap by Verbz. Captain Brexit rounded it up with some deep house and UKG.
Last Friday, Moe. took us on a trip and blessed us with a delicious and deep eclectic selection. He’s played tracks from all over the world. Some discoveries, some b-side-classics, some deep cuts and a lot of other good stuff. It’s absolutely worth listening to and now up for your listening pleasure on Soundcloud, Mixcloud and YouTube.
For this episode we got a quite special musical mix from Rafush. She’s been playing an exciting mix, filled with psychedelic electronica, hip hop-ish beats and latin music. Enjoy!
For this episode of The Space In Between, we had the funky pleasure to host one of Colognes finest beat maker and DJs, now based in Berlin - Hulk Hodn aka Hodini aka @hulkhodn. This is a smooth one!
For this episode Henry Weekes & Daniel W. Best from the XJAZZ festival team gave us some deeper insights on the line up and played music from attending artists as well as from their upcoming compilation Entangled Grounds.
For this stream Eva Be & Cle decided to present their record treasures in the area of Dub & Reggae. This is relatively obvious, as Eva Be released her first album on the label Sonarkollektiv, which displays exactly this genre and featured none other than Joe Dukie (Fat Freddys Drop), as well as the Dub legend from Vienna Sugar B. amongst others.
For this episode we had the great pleasure to host one of our dear friends, incredible musical mind and soul buddy, who’s Jon bbe. He’s played a deep jazzy set out from his music collection.
We’re back for another TSIB episode and have invited Ece Ekren, who’s a producer, singer and songwriter and flute player, originally from Istanbul and now residing in Berlin.Her rise has been meteoric over the past few years, and with good reason - her feel for melding esoteric melodies and instrumentation to house and techno grooves has seen her win many fans. We had a lot of fun listening to her set at our office. Absolutely worth listening to.
Snow is a musician and DJ with a penchant for funk, soul and disco. Her residency at the Golden Pudel Club in Hamburg under the name Saturnite has been running for many years with changing guests such as Eddy Ramich, Zapata, DJ Amir, Lawrence, Son of Lee...Together with Soundstream, she founded DiscoToGo during the pandemic, a party series that started on the meadow and has now been given a roof over its head in the Paloma.
We had a blast hosting this super dynamic duo called @Leonardodascabrio at our latest The Space In Between show.In their two hours appearance, Luis & Lenny combined House, UKGarage, Disco and Funk and in a simple and easy way, playing b2b over the whole set and pushing each other to the next level and transition. It was pure fun watching them doing their thing.Make sure to check out their releases and upcoming productions as well as to watch and listen back.
Thanks for tuning in to our latest TSIB show with Radio Hobo , who took us on a journey through the tropical spectrum with its rich tapestry of sounds, tracing the evolution of the musical global south from the ‘80s to the present day. That was incredible fun and we suggest you to listen back to this beautiful and vibeful episode.
For this episode we had the great pleasure to host the legendary Marc Hype for a special Disco & Boogie Funk 45s set. That was dope. Listen back and leave a like if you like what you hear!
Our last show was just incredible fun. Lilah Amar & Sean Steinfeger delivered pure vibes and blessed us with a warm shower of inspirational and jazz-infused tunes out of their record box.After Friday, we believe they should come back soon for another session…
With inspiration drawn from over a decade in New York's club scene, Anjawah is known for playing a variety of House music styles. For this special occasion, she's delivered a set of Classic and Deep House tunes, complemented by Soulful and Jazz influences.
We’re so happy to have had these two incredible local heroes for a TSIB show, on Friday, 1st of March.Delfonic & Ziggy Zeitgeist (ZFEX) have blessed us with a two hours DJ set, sharing their favourite old/new and selfmade music with us.
Aurelio Lost Grooves plays Soul, Funk, Disco and beyond from The Space In BetweenInveterate digger and record collector from more than 20 years, Aurelio Lost Grooves still goes on the field every week to look after the next obscure records unearthed in basements, flea-markets and record shops. Sharing those findings with the public is essential during his mixes that take place regularly in Paris, France and Europe.Expect a wise and eclectic selection of Funk, Jazz, Soul, Disco, European & Latin grooves, Afro and Brazilian beats.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Aficionado HP aka DUBBEN has found his musical home in Brazil. The combination of playful melodies and familiar rhythms is obviously what he has always been looking for in music. Whether kitschy or completely naive and pure, the feeling always hits the spot.“Playing radio on the internet gives me the opportunity to play tracks that I would never play otherwise. Let's see what falls into my hands!”Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Coming from a diverse and randomly mixed musical background, whether as bass player, producer or DJ – Magic Manfred always combines his multiple influences to complement one another and focuses on their common features instead on the differences.His bass playing influences his DJing and the other way around. A big mutual factor in all his roles is his undeniable love for the Jazzfunk, Disco & Boogie of the 70s and early 80s.Growing up in Berlin he made his first steps as a DJ spinning also Boom Bap, Detroit Techno & Chicago House which sometimes becomes noticeable in his sets.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
On Friday we’re back for another episode of our weekly TSIB radio. This time we’re incredible happy to have a real Bay Area legend at our show.Best known as one-half of soul duo Myron & E, Newark native Eric ‘E’ Cooke aka Eric Boss or E Da Boss is the definition of a multifaceted artist. It began with DJing and a love of hip-hop, which eventually turned into producing, and ultimately brought him to singing and songwriting both alongside Myron and on his own.He’ll be accompanied by Berlin based DJ Soulski, who runs the “Stranger Funk” party series.E da Boss & Soulski really got the vibes and celebrated two hours of musical friendship, mixing & selecting Soul, Boogie, Modern Funk, Polish Jazz and other genres in a lovely way.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Another Friday, another episode. This time we’ve invited “Meggy” to lead us into the weekend.Having spread her voice both literally and figuratively on dancefloors all across the world for the past 15 years, Meggy sticks to an understanding of House music that is as spellbinding in its simplicity as it is hearty in its soulfulness – a sound that never ceases to move audiences beyond times and trends.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Find My Balance is the latest offering from Alexander IV - pseudonym of the eclectic Dutch producer, multi-instrumentalist and illustrious tunesmith, Joris Feiertag, who uses the Macedonian monarch’s title to delve into the more soulful side of his sonic output - taking in hip-hop, boogie, jazz and funk influences along the way.With his latest, effortless outing Alexander IV transports us to the south of France courtesy of plaintive piano and handclaps making way for breezy beats and lonesome brass, complemented perfectly by the soulful vocals of young singer-songwriter Leonard Luka.Hailing from The Netherlands, with Indonesian roots, Luka is something of a rising star on the electronic end of the R&B scene. His understated, sophisticated delivery belies his tender years, and here provides the perfect foil to Joris’ carefree instrumentation.Alexander IV’s music fuses organic and electronic elements with ease, which isn’t surprising given the artist’s experience not only as a consummate dance music maker, but also as drummer of choice for Dutch superstars Kraak & Smaak. His music delivers something brand new yet retro; uncomplicated yet masterful.
We’re back with another TSIB episode and we are very happy to have Aria Santillana as our very special guest, who will bless us by playing two full hours of electronic delights for our pre-weekend listening pleasure. Expect a well selected mix of Jazzy, Soulful, Deep and Classic House.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
From Jazztronica to Soulful House, Broken Beat and in between with Marian Tone.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
For our last show of 2023 we had the great pleasure to host Jazzanova’s Juergen von Knoblauch & DJ Amir of 180 Proof Records.It was a relaxed edition as they played eclectic music from Jazz to Afro to Brazil and House as well as some of our favourite own releases of Sonar Kollektiv such as Shirley Turner’s - I Wish You A World Of Happiness (reissued this year, including a smooth alternative version from The KBCS & Nora Becker), Pete Josef, Feiertag and more.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Indeed, like a summer wind Frinda di Lanco & Hendrik Stein came through the office to bring a warm breeze of uplifting Abbracci Disco. Their selection is incredible deep and has a lovely personal taste as both are vibing together from track to track, mixing rare disco and funk related banger from the 70’s an 80’s up to house from all over the world.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
We had the pleasure to have Ken Okuda as our special guest at the Sonar Kollektiv office. He played a very enjoyable mix deep into Soulful House and Broken Beat from artists such as Theo Parrish, Zeitgeist Freedom Energy Exchange, Chez’N Trent, D’Monk, Yoofee, Jazzanova and others.We hope we can brighten up your day with this episode, because music is the healing force.Btw by listening back or watching back our shows, you can actively support us for doing what we do and also the local scene as we mainly focusing our shows on highlighting a lot of unknown and new music from legends AND local heroes.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Disco, Funk and Boogie from The Space In BetweenTSIB is our weekly lunch radio show broadcasting live every Friday, 11h - 13h, from the Sonar Kollektiv office here in Berlin, Germany.On Friday we’re back with another episode and a very special guest to prepare your good vibes for the weekend. For this edition we’ve got the Berlin based funk-monster Femdelic, who will bless us with one of her excellent record selections of Funk, Electro Boogie, Afro and other styles in between.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Listen back to Eddy Ramich & Markus Tone, playing tunes from artists like Abel, Philippa, Close Counters, Dam Swindle, Sofia Kourtesis, Athlete Wipped and many more…Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
DJs Tom Kutsche & Marian Tone are LOVEDANCIN’ from The Space In Between.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
One of the most exciting young talents in his home country’s revitalized dance music underground, Benny Salvador is a DJ, multi-instrumentalist, producer, radio show host and event promoter from Wellington, New Zealand. Over the last half-decade, Benny has won over nightclub audiences throughout New Zealand with eclectic, dancefloor-friendly selections that find the common threads between house, techno, electro, disco-funk, dub, boogie and beyond. In recognition of his taste and talents, Benny has shared the DJ booth with American and European trendsetters like Marcellus Pittman and Courtesy and played at crucial NZ music festivals such as Splore, Beacon and Catacombs. Benny has also recorded well-loved DJ mixes for Planet Trip Records, NTS, Balamii, Related Articles and Friendly Potential Radio. Born into a music and fashion-loving family, Benny uses software, hardware, keyboards, flutes and organ to craft mid-tempo to uptempo club records.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Robert’s accolades as a scratchmaster and turntablist include 2016 Winner of the #ShookOnesScratchChallenge, 2017 DMC GERMANY CHAMPION, 2017 Finalist Kame World Classics Europe and 2019 Winner of the #ComeDownSkratchChallenge by Skratch Bastid & Skratch School so we are sure to experience something special. Hip hop is the base for DJ Robert Smith’s work, while jazz, electro, soul, funk and world music also find their way on his turntables.https://www.youtube.com/watch?v=DSlKZh0Fwkkhttps://www.instagram.com/dj_robert_smith/Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Delfonic from Berlin, a busy guy that will hit you with his experienced, flawless flow and the skills of a Hip Hop veteran but an open-minded music taste including soulful grooves from new jazz vibes, underground Disco, American House, Breaks and Afro Grooves.Markus Lindner, a.k.a. Delfonic, is one of the most versatile and informed DJ as they come. After a long decade at OYE records store he left the business to become a 100% touring DJ and joining Kapote to do a series of Dance Jazz Edits (Illegal Jazz) which create a massive buzz with support from Gilles Peterson, Honey Dijon and many others.An open-minded talent, with an uncompromising approach to DJing, he employs a style schooled from an upbringing in hip-hop. Delfonic is the model DJ - he’ll warm the crowd up, get them dancing and then provide the scope and context that will keep the heads on board.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Our radio studio is back with a new episode of "The Space In Between" directly from the label office.The Space In Between is a celebration of the spaces that exist between musical genres, where artists are free to experiment, innovate, and push the boundaries of what's possible. From jazz to electronica, from funk to soul, house to disco, this series will showcase a diverse range of musical styles, united by a spirit of creativity and exploration.We invited Joel Holmes, a remarkable musician who has achieved widespread acclaim for his unique fusion of jazz and electronic music. Over the years, he has collaborated with some of the most relevant artists in jazz, earning four Grammy nominations for his contributions. We’re very happy to have him for this show and to get to know more about his brand new album on Kryptox, "Into the Abyss" and upcoming concerts.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
The Space In Between is a celebration of the spaces that exist between musical genres, where artists are free to experiment, innovate, and push the boundaries of what's possible. From jazz to electronica, from funk to soul, house to disco, this series will showcase a diverse range of musical styles, united by a spirit of creativity and exploration.Our guests for this new episode are two local heroes from the Berlin based SHUSH crew, who delivers soulful vibes on their regular events and radio shows. We also gonna chat a bit about our Jazz Cafe London show, celebrating 25 years of Sonar Kollektiv, by bringing D’Monk on stage for one of his energetic livesets, on the 28th of July. Exciting!Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Originally hailing from New Zealand, Philippa now calls Berlin as her home, and her love for House music dates back to the late 90s when she first started DJing. For a decade, she curated a renowned bi-monthly club night named "Chicago Disco" in Auckland, which headlined five to six national tours, leading to unforgettable moments of partying, globetrotting, promoting, and DJing.In 2013, She took the leap to move internationally, choosing Berlin as her base to delve into music production, captivated by the city's exquisite beauty, dark soul, and creative vibe. Presently, She has the privilege of teaching electronic music production and related subjects at dBs Berlin Catalyst - Institute for Creative Arts and Technology, while also dedicating time to composing music and enjoying invigorating jogging sessions - a fulfilling and recurring cycle in my exhilarating life.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
For this week’s episode we’ve invited: Trujillo, DJ, producer, and record aficionado as well as a one part of “True Class Records”(Trujillo & Claas Brieler of Jazzanova), who has woven a captivating tale from Venezuela to Berlin, akin to the rich tapestry of his music. His skillful fusion of soul, jazz, disco, and 90s tropical house rhythms is accompanied by an unwavering dedication to unearthing hidden dance floor treasures that even the most discerning enthusiasts can't resist. With acclaimed original tracks, collaborations, and exciting upcoming and recent releases, such as True Class’ latest reissue from Johnny Lamas - Danza Cosmica, Trujillo's zeal for crafting, sharing, and performing music is in full throttle.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
TTeo performs groovy feel good disco house music live from THE SPACE IN BETWEENMatteo Capreoli is a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Matteo released his first albums under his own name and on his own label, TeTe Arts, in 2010. Two more followed, with sounds that spanned pop, hip hop and reggae. He signed to Berlin based imprint Sonar Kollektiv in 2020 as TTeo, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his father of some of Lovexpress’ live shows from the late 1970s. The cassettes form the basis of, and the inspiration for Matteo’s latest LP - Lovexpress 77. It’s an album that brings things full circle for Matteo, who now lives between Berlin and his family’s home town of Salento.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
For this episode: Join us on a musical journey with Joris Feiertag, the multi-talented producer and drummer hailing from Utrecht, Netherlands.He’ll be behind the decks for a dynamic DJ set, fusing electronica, break beats, indie, and house music, all crafted from his unique musical vision, including exclusive previews of upcoming tracks.Be sure to follow us on Twitch, YouTube and Mixcloud and all that good stuff!Catch us broadcasting live on YouTube and Twitch every Friday from 11hr-13hr from THE SPACE IN BETWEEN at the Sonar Kollektiv Office.https://bio.to/sonarkollektiv
Sonar Kollektiv are very proud to present a sweet slice of obscure Philly soul with deep connections to our very own Berlin family. Shirley Turner’s 1965 recording of I Wish You A World Of Happiness has long been a crate digger’s delight and now receives a very special reissue, alongside a rather stunning cover version from Hamburg based quartet, The KBCS, featuring the vocal talents of Nora Becker. Philadelphia in the early 1960s, and Virtue Records (headed up by musician and music producer Frank Virtue) had become prolific in releasing soulful underground hits like The Horse by Cliff Nobles & Co. and Boogaloo Down Broadway by Fantastic Johnny C. as well as producing a number of somewhat less popular, more low-fi soul and garage records that were slept on at the time but have remained highly sought after records to this day. One of those records was I Wish You A World Of Happiness, which started life as a popular 60s instrumental cut Bird Walkin’ by Emanon’s Orchestra. The song was written by Weldon A. McDougal III and Johnny Stiles, with lyrics by Eddie Holman, of Hey There Lonely Girl fame. Virtue had been looking for someone to record a vocal version of the tune for some time, and having had a rough demo recorded by an uncredited singer, somehow said demo found itself in the hands of seventeen year old gospel vocalist Shirley Turner. The young, aspiring soul singer learned the lyrics from the dubplate by heart, and on the night she turned eighteen, went into Virtue Studios to record her version of the song. Several takes were laid down and three dub plates produced all on the same night, one of which was taken home by the eighteen year old hopeful, where it remained for years to come. The recording was largely forgotten about as Shirley grew up and had a family, that is until her son started playing with the dubplate as a child. Shirley's son is Sonar Kollektiv’s very own Hollis P. Monroe - now a producer, composer and DJ as well as being responsible for the late 90s hit, I’m Lonely. Hollis took an interest in the record from an early age with the dubplate being one of the first records he learned to scratch with! Some years later, and with the help of the internet, Hollis’ continued interest in his mother’s recording led him to a number of specialist soul blogs and in particular to UK based DJ Andy Rix who posted about a dubplate he had found which sounded very familiar! The 45 was widely credited as featuring vocalist Ann Robinson, but Hollis was soon able to set the record straight which enabled him to tell the true story behind this fascinating recording. Some fifteen years later, and taken directly from Shirley’s personal dubplate, Sonar Kollektiv were finally able to restore and remaster this rare take from that session. Not only that, we commissioned Hamburg four-piece The KBCS to deliver their own interpretation of this timeless piece of music. The result is a sophisticated, balladic reworking that respects the original but gives it a very different twist that should please lovers of modern and two-step soul alike.
Sonar Kollektiv are very proud to present a sweet slice of obscure Philly soul with deep connections to our very own Berlin family. Shirley Turner’s 1965 recording of I Wish You A World Of Happiness has long been a crate digger’s delight and now receives a very special reissue, alongside a rather stunning cover version from Hamburg based quartet, The KBCS, featuring the vocal talents of Nora Becker. Philadelphia in the early 1960s, and Virtue Records (headed up by musician and music producer Frank Virtue) had become prolific in releasing soulful underground hits like The Horse by Cliff Nobles & Co. and Boogaloo Down Broadway by Fantastic Johnny C. as well as producing a number of somewhat less popular, more low-fi soul and garage records that were slept on at the time but have remained highly sought after records to this day. One of those records was I Wish You A World Of Happiness, which started life as a popular 60s instrumental cut Bird Walkin’ by Emanon’s Orchestra. The song was written by Weldon A. McDougal III and Johnny Stiles, with lyrics by Eddie Holman, of Hey There Lonely Girl fame. Virtue had been looking for someone to record a vocal version of the tune for some time, and having had a rough demo recorded by an uncredited singer, somehow said demo found itself in the hands of seventeen year old gospel vocalist Shirley Turner. The young, aspiring soul singer learned the lyrics from the dubplate by heart, and on the night she turned eighteen, went into Virtue Studios to record her version of the song. Several takes were laid down and three dub plates produced all on the same night, one of which was taken home by the eighteen year old hopeful, where it remained for years to come. The recording was largely forgotten about as Shirley grew up and had a family, that is until her son started playing with the dubplate as a child. Shirley's son is Sonar Kollektiv’s very own Hollis P. Monroe - now a producer, composer and DJ as well as being responsible for the late 90s hit, I’m Lonely. Hollis took an interest in the record from an early age with the dubplate being one of the first records he learned to scratch with! Some years later, and with the help of the internet, Hollis’ continued interest in his mother’s recording led him to a number of specialist soul blogs and in particular to UK based DJ Andy Rix who posted about a dubplate he had found which sounded very familiar! The 45 was widely credited as featuring vocalist Ann Robinson, but Hollis was soon able to set the record straight which enabled him to tell the true story behind this fascinating recording. Some fifteen years later, and taken directly from Shirley’s personal dubplate, Sonar Kollektiv were finally able to restore and remaster this rare take from that session. Not only that, we commissioned Hamburg four-piece The KBCS to deliver their own interpretation of this timeless piece of music. The result is a sophisticated, balladic reworking that respects the original but gives it a very different twist that should please lovers of modern and two-step soul alike.
Sonar Kollektiv are very proud to present a sweet slice of obscure Philly soul with deep connections to our very own Berlin family. Shirley Turner’s 1965 recording of I Wish You A World Of Happiness has long been a crate digger’s delight and now receives a very special reissue, alongside a rather stunning cover version from Hamburg based quartet, The KBCS, featuring the vocal talents of Nora Becker. Philadelphia in the early 1960s, and Virtue Records (headed up by musician and music producer Frank Virtue) had become prolific in releasing soulful underground hits like The Horse by Cliff Nobles & Co. and Boogaloo Down Broadway by Fantastic Johnny C. as well as producing a number of somewhat less popular, more low-fi soul and garage records that were slept on at the time but have remained highly sought after records to this day. One of those records was I Wish You A World Of Happiness, which started life as a popular 60s instrumental cut Bird Walkin’ by Emanon’s Orchestra. The song was written by Weldon A. McDougal III and Johnny Stiles, with lyrics by Eddie Holman, of Hey There Lonely Girl fame. Virtue had been looking for someone to record a vocal version of the tune for some time, and having had a rough demo recorded by an uncredited singer, somehow said demo found itself in the hands of seventeen year old gospel vocalist Shirley Turner. The young, aspiring soul singer learned the lyrics from the dubplate by heart, and on the night she turned eighteen, went into Virtue Studios to record her version of the song. Several takes were laid down and three dub plates produced all on the same night, one of which was taken home by the eighteen year old hopeful, where it remained for years to come. The recording was largely forgotten about as Shirley grew up and had a family, that is until her son started playing with the dubplate as a child. Shirley's son is Sonar Kollektiv’s very own Hollis P. Monroe - now a producer, composer and DJ as well as being responsible for the late 90s hit, I’m Lonely. Hollis took an interest in the record from an early age with the dubplate being one of the first records he learned to scratch with! Some years later, and with the help of the internet, Hollis’ continued interest in his mother’s recording led him to a number of specialist soul blogs and in particular to UK based DJ Andy Rix who posted about a dubplate he had found which sounded very familiar! The 45 was widely credited as featuring vocalist Ann Robinson, but Hollis was soon able to set the record straight which enabled him to tell the true story behind this fascinating recording. Some fifteen years later, and taken directly from Shirley’s personal dubplate, Sonar Kollektiv were finally able to restore and remaster this rare take from that session. Not only that, we commissioned Hamburg four-piece The KBCS to deliver their own interpretation of this timeless piece of music. The result is a sophisticated, balladic reworking that respects the original but gives it a very different twist that should please lovers of modern and two-step soul alike.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress 77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.The LP is a unique combination of songs that sample, rework and are inspired by the Lovexpress band and TTeo’s southern Italian roots. Tracks like Follow Me, Samba and the eponymous Lovexpress itself draw heavily on samples from the band’s original live recordings, often with Matteo over-laying new sounds and multiple instrumentation to complement and enhance them.On Follow Me and Samba he adds his own voice into the mix and allows guests to get involved too, with vocalist Kristine Bogan adding to the former and producer Owen Ross contributing Fender Rhodes to the latter. Elsewhere, his father’s original conga playing is sampled on the sultry Arzu, with TTeo adding his own piano parts, recorded on his iPhone, and on Lovexpress - the first track he made from sampling the band’s work - it’s the drums that take centre stage, alongside added guitar from Swedish-Estonian musician, Raul Ojamaa. In fact, it’s the drums that are central to this very special album in that TTeo plays his father’s original kit that was used in the 1970’s recordings. This often means that Matteo finds himself jamming with his father, both playing the same drum kit, on many of the songs. This is particularly evident on Follow Me, and no doubt helps give it its very spiritual and uplifting feel.Other tracks on the album, such as the haunting yet foot friendly 42H, draw on the influences of TTeo’s roots and the Lovexpress band rather than sampling the band themselves. They are no less powerful though, with songs like Pantera, for example, which is inspired by how freely the band expressed themselves being a particular highlight.By sampling, re-working and re-imagining the band’s source material in this very unique way, TTeo is bringing his father’s original club sounds to a whole new audience.Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress 77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.The LP is a unique combination of songs that sample, rework and are inspired by the Lovexpress band and TTeo’s southern Italian roots. Tracks like Follow Me, Samba and the eponymous Lovexpress itself draw heavily on samples from the band’s original live recordings, often with Matteo over-laying new sounds and multiple instrumentation to complement and enhance them.On Follow Me and Samba he adds his own voice into the mix and allows guests to get involved too, with vocalist Kristine Bogan adding to the former and producer Owen Ross contributing Fender Rhodes to the latter. Elsewhere, his father’s original conga playing is sampled on the sultry Arzu, with TTeo adding his own piano parts, recorded on his iPhone, and on Lovexpress - the first track he made from sampling the band’s work - it’s the drums that take centre stage, alongside added guitar from Swedish-Estonian musician, Raul Ojamaa. In fact, it’s the drums that are central to this very special album in that TTeo plays his father’s original kit that was used in the 1970’s recordings. This often means that Matteo finds himself jamming with his father, both playing the same drum kit, on many of the songs. This is particularly evident on Follow Me, and no doubt helps give it its very spiritual and uplifting feel.Other tracks on the album, such as the haunting yet foot friendly 42H, draw on the influences of TTeo’s roots and the Lovexpress band rather than sampling the band themselves. They are no less powerful though, with songs like Pantera, for example, which is inspired by how freely the band expressed themselves being a particular highlight.By sampling, re-working and re-imagining the band’s source material in this very unique way, TTeo is bringing his father’s original club sounds to a whole new audience.Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress 77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.The LP is a unique combination of songs that sample, rework and are inspired by the Lovexpress band and TTeo’s southern Italian roots. Tracks like Follow Me, Samba and the eponymous Lovexpress itself draw heavily on samples from the band’s original live recordings, often with Matteo over-laying new sounds and multiple instrumentation to complement and enhance them.On Follow Me and Samba he adds his own voice into the mix and allows guests to get involved too, with vocalist Kristine Bogan adding to the former and producer Owen Ross contributing Fender Rhodes to the latter. Elsewhere, his father’s original conga playing is sampled on the sultry Arzu, with TTeo adding his own piano parts, recorded on his iPhone, and on Lovexpress - the first track he made from sampling the band’s work - it’s the drums that take centre stage, alongside added guitar from Swedish-Estonian musician, Raul Ojamaa. In fact, it’s the drums that are central to this very special album in that TTeo plays his father’s original kit that was used in the 1970’s recordings. This often means that Matteo finds himself jamming with his father, both playing the same drum kit, on many of the songs. This is particularly evident on Follow Me, and no doubt helps give it its very spiritual and uplifting feel.Other tracks on the album, such as the haunting yet foot friendly 42H, draw on the influences of TTeo’s roots and the Lovexpress band rather than sampling the band themselves. They are no less powerful though, with songs like Pantera, for example, which is inspired by how freely the band expressed themselves being a particular highlight.By sampling, re-working and re-imagining the band’s source material in this very unique way, TTeo is bringing his father’s original club sounds to a whole new audience.Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress 77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.The LP is a unique combination of songs that sample, rework and are inspired by the Lovexpress band and TTeo’s southern Italian roots. Tracks like Follow Me, Samba and the eponymous Lovexpress itself draw heavily on samples from the band’s original live recordings, often with Matteo over-laying new sounds and multiple instrumentation to complement and enhance them.On Follow Me and Samba he adds his own voice into the mix and allows guests to get involved too, with vocalist Kristine Bogan adding to the former and producer Owen Ross contributing Fender Rhodes to the latter. Elsewhere, his father’s original conga playing is sampled on the sultry Arzu, with TTeo adding his own piano parts, recorded on his iPhone, and on Lovexpress - the first track he made from sampling the band’s work - it’s the drums that take centre stage, alongside added guitar from Swedish-Estonian musician, Raul Ojamaa. In fact, it’s the drums that are central to this very special album in that TTeo plays his father’s original kit that was used in the 1970’s recordings. This often means that Matteo finds himself jamming with his father, both playing the same drum kit, on many of the songs. This is particularly evident on Follow Me, and no doubt helps give it its very spiritual and uplifting feel.Other tracks on the album, such as the haunting yet foot friendly 42H, draw on the influences of TTeo’s roots and the Lovexpress band rather than sampling the band themselves. They are no less powerful though, with songs like Pantera, for example, which is inspired by how freely the band expressed themselves being a particular highlight.By sampling, re-working and re-imagining the band’s source material in this very unique way, TTeo is bringing his father’s original club sounds to a whole new audience.Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress 77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.The LP is a unique combination of songs that sample, rework and are inspired by the Lovexpress band and TTeo’s southern Italian roots. Tracks like Follow Me, Samba and the eponymous Lovexpress itself draw heavily on samples from the band’s original live recordings, often with Matteo over-laying new sounds and multiple instrumentation to complement and enhance them.On Follow Me and Samba he adds his own voice into the mix and allows guests to get involved too, with vocalist Kristine Bogan adding to the former and producer Owen Ross contributing Fender Rhodes to the latter. Elsewhere, his father’s original conga playing is sampled on the sultry Arzu, with TTeo adding his own piano parts, recorded on his iPhone, and on Lovexpress - the first track he made from sampling the band’s work - it’s the drums that take centre stage, alongside added guitar from Swedish-Estonian musician, Raul Ojamaa. In fact, it’s the drums that are central to this very special album in that TTeo plays his father’s original kit that was used in the 1970’s recordings. This often means that Matteo finds himself jamming with his father, both playing the same drum kit, on many of the songs. This is particularly evident on Follow Me, and no doubt helps give it its very spiritual and uplifting feel.Other tracks on the album, such as the haunting yet foot friendly 42H, draw on the influences of TTeo’s roots and the Lovexpress band rather than sampling the band themselves. They are no less powerful though, with songs like Pantera, for example, which is inspired by how freely the band expressed themselves being a particular highlight.By sampling, re-working and re-imagining the band’s source material in this very unique way, TTeo is bringing his father’s original club sounds to a whole new audience.Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress 77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.The LP is a unique combination of songs that sample, rework and are inspired by the Lovexpress band and TTeo’s southern Italian roots. Tracks like Follow Me, Samba and the eponymous Lovexpress itself draw heavily on samples from the band’s original live recordings, often with Matteo over-laying new sounds and multiple instrumentation to complement and enhance them.On Follow Me and Samba he adds his own voice into the mix and allows guests to get involved too, with vocalist Kristine Bogan adding to the former and producer Owen Ross contributing Fender Rhodes to the latter. Elsewhere, his father’s original conga playing is sampled on the sultry Arzu, with TTeo adding his own piano parts, recorded on his iPhone, and on Lovexpress - the first track he made from sampling the band’s work - it’s the drums that take centre stage, alongside added guitar from Swedish-Estonian musician, Raul Ojamaa. In fact, it’s the drums that are central to this very special album in that TTeo plays his father’s original kit that was used in the 1970’s recordings. This often means that Matteo finds himself jamming with his father, both playing the same drum kit, on many of the songs. This is particularly evident on Follow Me, and no doubt helps give it its very spiritual and uplifting feel.Other tracks on the album, such as the haunting yet foot friendly 42H, draw on the influences of TTeo’s roots and the Lovexpress band rather than sampling the band themselves. They are no less powerful though, with songs like Pantera, for example, which is inspired by how freely the band expressed themselves being a particular highlight.By sampling, re-working and re-imagining the band’s source material in this very unique way, TTeo is bringing his father’s original club sounds to a whole new audience.Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.
Find My Balance is the latest offering from Alexander IV - pseudonym of the eclectic Dutch producer, multi-instrumentalist and illustrious tunesmith, Joris Feiertag, who uses the Macedonian monarch’s title to delve into the more soulful side of his sonic output - taking in hip-hop, boogie, jazz and funk influences along the way.Featuring powerhouse vocalist, recent collaborator with German producer Marcel Vogel and member of the LIKEMINDS ensemble LYMA, Find My Balance is a provocative and uncompromising alternative dance floor burner. Joris’ neck snapping drums and relentless percussion are the perfect match for LYMA’s determined delivery, conjuring up shades of Prince, Plantlife and Anderson.Paak along the way.Alexander IV’s music fuses organic and electronic elements with ease, which isn’t surprising given the artist’s experience not only as a consummate dance music maker, but also as drummer of choice for Dutch superstars Kraak & Smaak. His music delivers something brand new yet retro; uncomplicated yet masterful.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress 77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.The final single to be taken from Lovexpress 77 is the laid back yet club friendly Arzu. It’s another track that conjures up the atmosphere of TTeo’s sultry southern Italian home, combining sprightly pianos with warm electronics and rhythmic percussion - the latter coming directly from a conga solo from his father during a live Lovexpress show.The piano was recorded on TTeo’s iPhone, capturing that moment in a very natural and simple way, as he explains, “sometimes things just happen.. It’s easy.” And in this almost effortless fashion, brings samples from today and half a century ago together - introducing his father’s original club sounds to a whole new audience.Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.The latest single to be taken from Lovexpress 77 is the lo-fi yet life affirming Samba. The title partly comes from a term that Matteo uses for anything that is “nice” or “sweet”, which is quite fitting for this sugary Brazilian beauty. It’s also based on, of course, music from the Lovexpress band, and specifically their cover of the Santana song of the same name, reinterpreted in their own unique style.Matteo sampled the band’s three part harmonies on the chorus, joining them to make up the fourth, with the other main sample taken from their version being the electric lead guitar.New York based producer Owen Ross then worked on the song with Matteo and added Fender Rhodes into the mix, with Matteo adding live drums, as always played on the kit that his father used in the original recordings with the live band. The pair then added their own lyrics, sung by Matteo, for the two verses with the result being this very uplifting TTeo version of Lovexpress’ live take of Santana’s Samba!By sampling, re-working and re-imagining the source material in this very unique way, TTeo is bringing his father’s original club sounds to a whole new audience.Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.TTeo – Lovexpress77 out November 24th 2023.
Joris Feiertag is a Dutch producer and drummer from Utrecht in the Netherlands who makes music that is a finely balanced blend of organic and synthesized elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba. This autumn he will release Roots, his third album on revered German imprint Sonar Kollektiv. Having concentrated his attention on catchy hooks and a number of guest voices on his first, and deeper breakbeat workouts on his second, Joris felt it was time to deliver something that sat comfortably in a space somewhere between the two. The LP features a plethora of vocalists from across the globe including Rotterdam’s Robin Kester; Berlin based vocalist Noah Slee; Tru Thoughts recording artist Rhi; young spoken word artist from London, Nego True; Afro-futuristic U.S. hip hop outfit OSHUN and Guinea born Falle Nioke, who features on the new single, Ballon Sogni. As has often been the case, Joris discovered Nioke via Spotify’s Discover Weekly playlist. The West African artist, now based in Margate, Kent in the UK south-eastern coast, is known for his sophisticated blend of electronic and pan-African music on his own releases, and the pair achieve much the same here with a song that roughly translates to “Football Dream”. The result is a rough African bass driven workout, complete with traditional balafon sounds which give way to something more ethereal as celestial choirs and chants take the dream somewhere quite otherworldly. Once again, Joris creates new challenges for himself by working with artists outside of his immediate musical sphere. His seemingly endless search to shine a light on new and exciting talent, as well as his tireless work to discover the old and reinvent the new will surely see him break new ground and gain new followers for years to come.
Insistent vocal samples, Korg piano stabs and a weighty bassline give this shameless dance floor heavy hitter a Caribou meets Jamie XX feel, yet it’s also something one can listen to at home. A timeless and uplifting piece of electronic music - not just for the listener as for Joris, this track represents the happiness of discovering what the new direction of Feiertag will be! The joy of making dance music that satisfies “the search for simplicity”; that inhabits that space somewhere between major and minor; new and old; dark and light; pop and soul.From the upcoming album 'Roots'. Out 20.10.
Pete Josef is an artist who uses his soulful eloquence not just to entertain, but to open up conversations about his own social consciousness. He has an inherent need to create, build, share and protect as well as educate himself about issues regarding our habitat, society, politics, race and gender. All of these have permeated into his musical output in recent years, but on the new single, entitled Carbon, Pete writes very personally, and for the first time, about the death of his brother and how it has made him think about a wider, environmental subject matter.Carbon is a simple and poignant guitar and vocals song that, on the one hand, mourns the loss of his brother Mark, but on the other, celebrates the idea that we will all somehow end up being part of the carbon cycle “in a beautiful field of green”. Mark was buried on a hillside, overlooking a stunning valley in the South-West of England, and the idea of being part of the carbon cycle was something that he felt quite content about - the idea of returning back to the land after his death.“Now you are carbon, in a beautiful field of green. Wake up in the morning, rise over the valley, in a place you call your own.”Carbon is the third single to be taken from Pete Josef’s forthcoming third album, released in 2024 and recorded in his self-built and self-sustainable studio cabin in his garden. The exchange between studio and live has become a unifying force since the resurrection of his live quartet in 2022. This year will bring choice live shows, featuring the mercurial Eli Jitsuto from Bristol based outfit Snazzback on guitar and longtime collaborators Jihad Darwish on bass and Miguel Andrews on drums.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.The second single to be taken from Lovexpress 77 is thegospel flavoured Follow Me. TTeo dug deep into the original bands samples for this song, especially the vocal and drum parts. The Lovexpress band was led by Afro-American singer Joe Boston, who here sings with Leo, the bass player in the band. As an Italian playing and performing ostensibly what was American music, it’s often hard to decipher exactly what the lyrics are. This was very much the case here! The closest TTeo could get to it was the phrase “Follow Me”, doubling up with his own vocals on top and adding singer songwriter Kristine Boganinto the mix, who supplemented the chorus beautifully.On the drum parts, TTeo uses many of his father’s solos and plays over the top of them using the very same kit his father played on back in the 1970s! The result is an intense and quite magical combination that, when mixed with heavenly pianos, give the track a very spiritual and uplifting feel. By sampling, re-working and re-imagining the source material in this very unique way, TTeo is bringing his father’s original club sounds to a whole new audience.Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.TTeo – Lovexpress77 out November 24th 2023.
German nu jazz stalwarts Micatone continue their comeback journey with Ping Pong, the follow up to the ethereal and emotionally charged coming-of-age piece, Where Do You Belong?
The core duo of the band, Boris Meinhold on guitar and synths and Lisa Bassenge on vocals, have been making music for the label for over two decades, with five studio albums and numerous singles to date.
Like many women, Lisa suffers from severe Premenstrual Syndrome, or PMS, but hers is particularly pronounced as it’s coupled with a form of ADHD. The song’s lyrics, and title, reflect on methods of coping with the symptoms that arise due to her “neurotransmitters playing ping pong” in her brain.
The song itself has something of a moody 60’s latin-jazz feel with obscure samples and subtle electronics doing just enough to counteract the retro ambience. The driving force throughout (aside from Lisa’s heartfelt vocal) is a guitar recorded through an old telephone receiver and the beats programmed by Stefan Leisering. The Jazzanova producer’s drum track remains somewhat understated though, and leaves ample room for Lisa’s vocal to shine, whilst also giving off something of a 50 Ways To Leave Your Lover touch.
TTeo is the pseudonym of Matteo Capreoli - a half German, half Italian singer, songwriter, multi-instrumentalist and producer with a deep musical heritage. Fernando Antonio Capreoli, his father, left Salento in southern Italy for Germany in 1970, before forming disco-funk-rock outfit Lovexpress, made up of mainly Italian and Scandinavian musicians, playing drums in the band and touring Norway, Sweden and Denmark from 1974 to 1979.
TTeo himself signed to Sonar Kollektiv in 2020, releasing the Salento EP, named after the place of his father’s birth. More recently, though, he was serendipitously handed a batch of cassettes by his dad of some of Lovexpress’ live shows from the late 1970s. TTeo was deeply impressed by the quality of the music and got his father to digitise them immediately! These recordings form the basis of, and the inspiration for, his latest LP - Lovexpress77, and are the only known recordings of the band who never quite made it into the studio to lay down an album.
The first single to be taken from Lovexpress77 is the haunting yet foot friendly 42H. Fittingly, it’s a song that goes right back to the roots of TTeo’s father’s influence. It’s inspired by his home town of Salento where “life is easy” and also by a friend who lives there telling him the story of spending 42 hours in bed with a woman and professing that “it was really love”!
The sounds on the single are deliberately warm and humid to evoke the literal and emotional temperature of his father’s birth place. Sizzling synths and piano combine with TTeo’s woozy yet balmy vocals to conjure up life in this southern Italian haven. Added to that are the drums, which have a special story of their own. The kit that TTeo plays on 42H, and on the Lovexpress 77 album as a whole, is none other than the same one that his father played on in the original recordings! This takes the paternal significance to another level and is a unique way to bring the impact of his father’s original club sounds to a whole new audience.
Matteo is now back living in his family’s home town of Salento once again and sees this project as “closing a circle” both musically and personally. Although he may be opening a new one if rumours of getting the Lovexpress band back together and recording that missing studio album come to fruition! Only time will tell.
TTeo – Lovexpress77 out November 24th 2023.
Joris Feiertag is a Dutch producer and live-act from Utrecht in the Netherlands who makes music that is a finely balanced combination of organic and synthesized elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba.
This autumn he will release Roots, his third album on revered German imprint Sonar Kollektiv. Having concentrated his attention on catchy hooks and a number of guest voices on his first, and deeper breakbeat workouts on his second, Joris felt it was time to deliver something that sat comfortably in a space somewhere between the two. The LP features a plethora of vocalists from across the globe including Rotterdam’s Robin Kester; Guinea born Falle Nioke; Tru Thoughts recording artist Rhi; young spoken word artist from London, Nego True; Afro-futuristic U.S. hip hop outfit OSHUN and Berlin based vocalist Noah Slee, who features on the new single, Keep Your Head Up.
As a song about biding your time and waiting for your moment, it reflects perfectly the process Joris had to go through to be able to collaborate with Noah on the track. Having danced around the idea of working together for some time, the dream eventually came true when the pair met in the German capital. The result is a timeless piece of music that finely balances out Feiertag’s electronic sensibilities (here reminiscent of Maribou State) with Slee’s soulful aesthetic, whilst still retaining a pop feel. Minor key dark, brooding and emotional instrumentation combine with jazz tinged, sultry choir like vocals to great effect. It’s a space that Feiertag inhabits when he’s at his best. Lovers of Gabriels and Daft Punk alike will definitely be fans of this one!
Feiertag – Roots out October 2023.
Lento is the new single from Alexander IV - pseudonym of the eclectic Dutch producer, multi-instrumentalist and illustrious tunesmith, Joris Feiertag. As a music maker largely known for his club friendly offerings, Joris uses the Macedonian monarch’s title to delve into the more downtempo side of his sonic output - taking in hip-hop, jazz, funk and soul influences along the way.
With the haunting reverberations of the hang drum at its core, Lento is a stirring, string laden smoker’s delight complete with wordless vocals, delicate keys and a sultry bassline that complements the easy drums and make this a perfect summertime after hours groover.
Alexander IV’s music fuses organic and electronic elements with ease, which isn’t surprising given the artist’s experience not only as a consummate dance music maker, but also as drummer of choice for Dutch superstars Kraak & Smaak. His music delivers something brand new yet retro; uncomplicated yet masterful.
Joris Feiertag is a Dutch producer and live-act from Utrecht in the Netherlands who makes music that is a finely b alanced combination of organic and synthesized elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba.
This autumn he will release Roots, his third album on revered German imprint Sonar Kollektiv. Having concentrated his attention on catchy hooks and a number of guest voices on his first, and deeper breakbeat workouts on his second, Joris felt it was time to deliver something that sat comfortably in a space somewhere between the two. The LP features a plethora of vocalists from across the globe including Berlin based Noah Slee; Rotterdam’s Robin Kester; Guinea born Falle Nioke; Tru Thoughts recording artist Rhi; young spoken word artist from London, Nego True, and Afro-futuristic U.S. hip hop outfit OSHUN, who feature on the new single, Law Of Attraction.
Feiertag first discovered OSHUN, who hail from Washing D.C., when the duo guested on Nightmares On Wax’s sublime track from 2021, Breathe In. Inspired both by NOW’s laid back beats and OSHUN’s gorgeously drowsy vocal delivery, Joris set out to make something that sat in the Feiertag universe whilst drawing sounds from the more soulful corner of the hip hop realm, with it’s chopped up piano samples. Niambi Sala and Thandiwe, the two members of OSHUN, were in exactly the same headspace and the result is a somehow simultaneously laid back and urgent delivery that talks of the joys and challenges of becoming a parent and being “born to live long & love the life that I’ve created.”
Pete Josef is an artist who uses his soulful eloquence not just to entertain, but to open up conversations about his own social consciousness. He has an inherent need to create, build, share and protect as well as educate himself about issues regarding the environment, society, politics, race and gender. All of these have permeated into his musical output in recent years, but on the new single, entitled Sunny Side Up, it’s the often not talked about topic of depression that comes to the fore.
Despite the bleak subject matter, it’s actually a song about the importance of having people around you to support you when you’re not feeling at your best. Pete admits to suffering from anxiety for much of his life, and cherishes having his family present when he feels unable to step up as a partner or parent; when he experiences that ‘hazy funk’ in the day-to-day. In many ways it’s a love song, or at least one of appreciation for the people who carry you through those moments in your life.
“Took a little while and it might take longer, god only knows.. But darling I try. I’m invested all ways. I just hit bumps in the road that I cannot evade.”
Like much of Pete’s new material, the song has a retro and somewhat South American feel. For the first time in a long while, Pete chose to perform all the instrumental parts on this track himself.
A 1960s Harmony Sovereign (the ‘Stairway to Heaven’ guitar!) provides the core, whilst minimal drums (recorded with one single mic in Pete’s Orchard Cabin) and Hofner vintage bass provide a groove reminiscent of stripped back 1970s Al Green productions. The result is something delicate and spontaneous – perfectly reflecting the shaky ground felt in the moment of conception. The track ebbs and flows between some surprising harmonic twists, later on bringing the Hammond organ to the fore and swelling to a dramatic climax, permeated by backing vocal arrangements and glimmering electric guitar.
Sunny Side Up is taken from Pete Josef’s forthcoming third album, to be released in 2024, recorded in his self-built and self-sustainable studio cabin in his garden. The exchange between studio and live has become a unifying force since the resurrection of his live quartet in 2022. This year will bring choice live shows, featuring the mercurial Eli Jitsuto from Bristol based outfit Snazzback on guitar and longtime collaborators Jihad Darwish on bass and Miguel Andrews on drums.
Joris Feiertag is a Dutch producer and live-act from Utrecht in the Netherlands who makes music that is a finely balanced combination of organic and synthesized elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba.
This autumn he will release Roots, his third album on revered German imprint Sonar Kollektiv. Having concentrated his attention on catchy hooks and a number of guest voices on his first, and deeper breakbeat workouts on his second, Joris felt it was time to deliver something that sat comfortably in a space somewhere between the two. The LP features a plethora of vocalists from across the globe including Afro-futuristic U.S. hip hop outfit OSHUN; Berlin based Noah Slee; Rotterdam’s Robin Kester; Guinea born Falle Nioke; Tru Thoughts recording artist Rhi, and young spoken word artist from London, Nego True, who features on the new single, Feel Me.
More than just a rapper, he’s a true poet as exemplified on this single. Feel Me is one of the most personal tracks on the album as Nego opens up on a close relationship in his unmistakable tones. Encouraged by Joris with his personal situation taking the next step, here Nego writes and raps about moving in with his partner and his ambitions to raise a family.
Once again, Joris creates new challenges for himself by working with artists outside of his immediate musical sphere. His seemingly endless search to shine a light on new and exciting talent, as well as his tireless work to discover the old and reinvent the new will surely see him break new ground and gain new followers for years to come.
New album 'Roots' out October 2023.
Musica is something of a surprise summertime special release, following on from the recent Westbound EP by accomplished multi-instrumentalist and producer Alexander IV, otherwise known as Joris Feiertag. This latest sobriquet has allowed the Dutch beatmaker to move away from his more club focused offerings, to explore his hip hop, soul and jazz roots.
The track is a Brasilian flavoured bossa nova beauty that starts sweetly and easily with mellow guitars and drums joined by enchanting South American vocals reminiscent of Astrud Gilberto, Joyce or the much missed Gal Costa. Breezy keys join the soothing mix, giving Musica the feel of an Ipanema classic, before things are turned up a notch, with a heavier samba sensation in the piece’s dying moments.
Alexander IV’s music fuses organic and electronic elements with ease, which isn’t surprising given the artist’s experience not only as a consummate dance music maker, but also as drummer of choice for Dutch superstars Kraak & Smaak. Add to that an extended family of gifted musicians, and you’ve got something brand new yet retro; uncomplicated yet masterful.
Pete Josef is not just a singer, songwriter and multi- instrumentalist from the South-West of England. His social conscience and inherent need to create, build, share and protect as well as educate himself about issues regarding the environment, society, politics, race and gender have seen all of these permeate into his musical output in recent years. This has never been more overtly the case than with his brand new single, Utopia.The song is ultimately about “greenwashing” - the method by which businesses exaggerate their environmental credentials for financial gain, and how this trickles down to consumers. Pete for one is frustrated by how companies, for decades, have made a calculated refusal to engage with the facts about climate change. This is reflected in the song’s lyrical content - “They doping ya, so be wise, be alive. Don’t look up, ya house is on fire.” Lyrics inspired by the film Don’t Look Up and a famous speech by environmental activist Greta Thunberg. The ironic lyricism continues in that it’s “Gonna be the summer, the summer of our lives” reflecting on how people bask in high temperatures without under- standing why these changes are happening, and the danger it poses to our future.Pete is very aware that he himself could be accused of “greenwashing”, but at the very least hopes that he can be a small part of a growing movement to force change. Artists like Lil Simz, SAULT and Michael Kiwanuka are very much leading the way with that and Pete feels that he has little choice but to add his voice, but at the same time is conscious that his “consciousness” may never be enough.Musically, the track has a retro and somewhat South American feel. The introduction features Pete playing a vintage 1960s Harmony Bobkat guitar, before he’s joined on suitably haunting vocals by Marie Lister. The song builds around Miguel Andrews’ steady drums as percussion and horns bring more weight to the proceedings. Imagine a politically conscious Curtis Mayfield backed by Khruangbin and you get the idea.Utopia is taken from Pete Josef’s forthcoming third album, to be released in 2024, recorded in his self-built and self-sustainable studio cabin in his garden. The exchange between studio and live has become a unifying force since the resurrection of his live quartet in 2022. This year will bring choice live shows, featuring the mercurial Eli Jitsuto from Bristol based outfit Snazzback on guitar and longtime collaborators Jihad Darwish on bass and Miguel Andrews on drums.
Joris Feiertag is a Dutch producer and live-act from Utrecht in the Netherlands who makes music that is a finely balanced combination of organic and synthesised elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba.This autumn he will release Roots, his third album on revered German imprint Sonar Kollektiv. Having concentrated his attention on catchy hooks and a number of guest voices on his first, and deeper breakbeat workouts on his second, Joris felt it was time to deliver something that sat comfortably in a space somewhere between the two. The LP features not only a plethora of vocalists from across theglobe including Noah Slee, Falle Nioke, Nego True and OSHUN, but also sees the producer playing with some of his favourite vocal samples, as he does on Didn’t Know Why (You Lost Your Soul), the third single to be taken from the album.When searching for a simple vocal hook to play around with, Joris had to look no further than his, or at least his label’s, own backyard. Taken from the 2018 album The Pool by Sonar Kollektiv founders Jazzanova, Slow Rise features the soft, soulful vocals of Bolivian born and Berlin based indie folk artist, David Lemaitre. Sampling your own back catalogue surely chimed with German efficiency, and before long David’s voice was being harnessed to great effect on this very catchy dance floor chugger.Joris Feiertag is a Dutch producer and live-act from Utrecht in the Netherlands who makes music that is a finely balanced combination of organic and synthesised elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba.This autumn he will release Roots, his third album on revered German imprint Sonar Kollektiv. Having concentrated his attention on catchy hooks and a number of guest voices on his first, and deeper breakbeat workouts on his second, Joris felt it was time to deliver something that sat comfortably in a space somewhere between the two. The LP features not only a plethora of vocalists from across the globe including Noah Slee, Falle Nioke, Nego True and OSHUN, but also sees the producer playing with some of his favourite vocal samples, as he does on Didn’t Know Why (You Lost Your Soul), the third single to be taken from the album.When searching for a simple vocal hook to play around with, Joris had to look no further than his, or at least his label’s, own backyard. Taken from the 2015 album The Pool by Sonar Kollektiv founders Jazzanova, Slow Rise features the soft, soulful vocals of Bolivian born and Berlin based indie folk artist, David Lemaitre. Sampling your own back catalogue surely chimed with German efficiency, and before long David’s voice was being harnessed to great effect on this very catchy dance floor chugger.Whatever follows for this tireless music maker, his never ending mission to discover the old and reinvent the new will surely see Feiertag break new ground and gain new followers for years to come.Feiertag – Roots out October 2023.Feiertag – Roots out October 2023.
German nu jazz stalwarts Micatone return to Sonar Kollektiv after a six year hiatus with the ethereal and emotionally charged coming-of-age piece, Where Do You Belong?The core duo of the band, Boris Meinhold on guitar and synths and Lisa Bassenge on vocals, have been making music for the label for over two decades, with five studio albums and numerous singles to date.Where Do You Belong? was inspired by singer Lisa’s now nineteen year old daughter at a time when she was trying to find her place in the world. Lisa explains that the “song (is) about the in-between state humans find themselves in when they grow up. A phase where life seems full of possibilities, shiny and brand new but at the same time scary and somehow overwhelming.”The track was produced during COVID lockdown with Boris using field recordings, guitars, an old organ bass pedal and choir that give the track that celestial feel. Lisa wrote the melodies and lyrics over the top and asked vocalists Lilian Bennett-Schaar, Johanna Maisel and Josephine Pritz to sing the choral parts.Label head honcho, Oliver Glage, then had the idea of Stefan Leisering, of Jazzanova, providing the programmed drums, and the track was complete. An elegant, touching and yet somewhat intangible new offering, and the first of a little series of pieces out on the label in 2023.
German nu jazz stalwarts Micatone return to Sonar Kollektiv after a six year hiatus with the ethereal and emotionally charged coming-of-age piece, Where Do You Belong?The core duo of the band, Boris Meinhold on guitar and synths and Lisa Bassenge on vocals, have been making music for the label for over two decades, with five studio albums and numerous singles to date.Where Do You Belong? was inspired by singer Lisa’s now nineteen year old daughter at a time when she was trying to find her place in the world. Lisa explains that the “song (is) about the in-between state humans find themselves in when they grow up. A phase where life seems full of possibilities, shiny and brand new but at the same time scary and somehow overwhelming.”The track was produced during COVID lockdown with Boris using field recordings, guitars, an old organ bass pedal and choir that give the track that celestial feel. Lisa wrote the melodies and lyrics over the top and asked vocalists Lilian Bennett-Schaar, Johanna Maisel and Josephine Pritz to sing the choral parts.Label head honcho, Oliver Glage, then had the idea of Stefan Leisering, of Jazzanova, providing the programmed drums, and the track was complete. An elegant, touching and yet somewhat intangible new offering, and the first of a little series of pieces out on the label in 2023.
Joris Feiertag is a Dutch producer and live-act from Utrecht in the Netherlands who makes music that is a finely balanced combination of organic and synthesised elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba.In 2023 he will release Roots, his third album on Sonar Kollektiv. Having concentrated his attention on catchy hooks and a number of guest voices on his first, and deeper breakbeat workouts on his second, Joris felt it was time to deliver something that sat comfortably in a space somewhere between the two.The LP features a plethora of vocalists from across the globe including Berlin based Noah Slee; Rotterdam’s Robin Kester; Guinea born Falle Nioke; young spoken word artist from London, Nego True; Afro-futuristic U.S. hip hop outfit OSHUN, and Canadian singer, songwriter and producer Rhi, who appears here on Queen & King, the second single to be taken from the album.Joris came across Rhi, as he has done with many of his collaborators, via Spotify’s Discover Weekly playlists. Already a fan of soulful UK independent imprint Tru Thoughts, to whom Rhi is signed, her voice was soon a regular fixture on the Feiertag studio speakers - in particular the very sultry favorite Plain Jane. It wasn‘t long before the producer got in touch with the London based artist, and soon the duo found the perfect pairing within the murky yet mighty Queen & King.It’s a song that took quite a convoluted journey to get to what you hear today - starting off as a straight up hip-hop track, albeit with leftfield, quirky vocal samples. Over the course of a year though, and with Rhi’s vital input, it was transformed into a nebulous yet compelling tale of striving for independence and the understanding of self worth. With its shades of Tricky and Massive Attack, it’s one of the most powerful, and at the same time intimate, pieces of music on the album. It’s also a very personal one, as Rhi describes: „Queen & King is about being content on your own, putting yourself first and not settling for anyone unless they enrich your life.“Once again, Joris creates new challenges for himself by working with artists outside of his immediate musical sphere. His seemingly endless search to shine a light on new and exciting talent, as well as his tireless work to discover the old and reinvent the new will surely see him break new ground and gain new followers for years to come. Feiertag – Roots out October 2023.
Joris Feiertag is a Dutch producer and live-act from Utrecht in the Netherlands who makes music that is a finely balanced combination of organic and synthesised elements, often using ingenious syncopated rhythms combined with instruments such as the harp andkalimba.Later this year he will release Roots, his third album on Sonar Kollektiv. Having concentrated his attention on catchy hooks and a number of guest voices on his first, and deeper breakbeat workouts on his second, Joris felt it was time to deliver something that sat comfortably in a space somewhere between the two. The LP features not only a plethora of vocalists from across the globe including Noah Slee, Falle Nioke, Rhi, Nego True and OSHUN, but also sees the producer playing with obscure samples and sounds, as he does on re:solution, the debut single to be taken from the album.As a song about dealing with the prospect of personal loss, it’s probably one of the most poignant and emotive tracks on the record. Its pitched down guitars and hollow drums, along with hypnotic synth patterns, create a fierce energy that perhaps couldn’t be conveyed outside of Joris’ musical output. When combined with inspiritave African choir samples, as well as vocals from Dutch recording artist Leonard Luka, it delivers something quite intangible - perhaps even spiritual.Nevertheless, what remains is an uplifting, electric slice of modern dance floor facing music, very much in the vein of fellow luminaries Bicep, Four Tet or Floating Points. Whatever follows for this tireless music maker, his never ending mission to discover the old and reinvent the new will surely see Feiertag break new ground and gain new followers for years to come.New album 'Roots' out October 2023.
The Westbound EP is the debut beat tape by Alexander IV - the latest pseudonym of eclectic Dutch producer, multi-instrumentalist and illustrious tunesmith, Joris Feiertag. As a music maker largely known for his club friendly offerings, Joris uses the Macedonian monarch’s title to delve into the more rootsical side of his sonic output - taking in hip-hop, jazz, funk and soul influences along the way.The scene is set with the melancholic 1988 - a track which combines boom-bap drums, ethereal vocal samples, loose guitars, strident percussion and haunting synths with dubbed out horns and atmospheric spoken word to take you back to what was surely a simpler time.This is followed by Rue, which continues where 1988 leaves off with more sleepy guitars, sunny keys, hip hop beats and somewhat incoherent yet celestial voices. The piece then takes a sharp left turn to deliver more of a dub flavour, complete with heavily treated percussive stabs and a plethora of echoes and effects.What Moves Me is a much sunnier and life affirming cut, as hefty beats trade blows with buoyant chants and expectant piano; whereas The One takes a far more lugubrious and wistful turn, filled with regret emphasized by sombre keys and moody vocals.Finally, having run a gamut of emotions, the EP comes to a close with That Blew My Mind, which sees the producer return to his love of all things reggae. The track kicks off in sprightly mode with a skanking beat making way for a weighty bassline and assured vocal samples. Add to that heavyweight horn lines and you’ve got a rocksteady offering that’ll prepare you perfectly for brighter days to come.Alexander IV’s music fuses organic and electronic elements with ease, which isn’t surprising given the artist’s experience not only as a consummate dance music maker, but also as drummer of choice for Dutch superstars Kraak & Smaak. Add to that an extended family of gifted musicians, and you’ve got something brand new yet retro; uncomplicated yet masterful.
WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.The new dynamic worked though, the result being their debut album Echo Echo. With influences as disparate as Floating Points, Belgian band Stuff, BadBadNotGood and Eddie Harris, the album is far more complex than just being a dance music influenced jazz record. Co-producer Oscar de Jong, of Kraak & Smaak fame, encouraged the pair to play freely as part of a jazz group and then add the electronic elements. As a result, the album owes as much to Duke Ellington and Lalo Schiffrin as it does NERD and The Eurythmics!https://bio.to/WAAN
WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.The new dynamic worked though, the result being their debut album Echo Echo. With influences as disparate as Floating Points, Belgian band Stuff, BadBadNotGood and Eddie Harris, the album is far more complex than just being a dance music influenced jazz record. Co-producer Oscar de Jong, of Kraak & Smaak fame, encouraged the pair to play freely as part of a jazz group and then add the electronic elements. As a result, the album owes as much to Duke Ellington and Lalo Schiffrin as it does NERD and The Eurythmics!https://bio.to/WAAN
WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.The new dynamic worked though, the result being their debut album Echo Echo. With influences as disparate as Floating Points, Belgian band Stuff, BadBadNotGood and Eddie Harris, the album is far more complex than just being a dance music influenced jazz record. Co-producer Oscar de Jong, of Kraak & Smaak fame, encouraged the pair to play freely as part of a jazz group and then add the electronic elements. As a result, the album owes as much to Duke Ellington and Lalo Schiffrin as it does NERD and The Eurythmics!https://bio.to/WAAN
WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.The new dynamic worked though, the result being their debut album Echo Echo. With influences as disparate as Floating Points, Belgian band Stuff, BadBadNotGood and Eddie Harris, the album is far more complex than just being a dance music influenced jazz record. Co-producer Oscar de Jong, of Kraak & Smaak fame, encouraged the pair to play freely as part of a jazz group and then add the electronic elements. As a result, the album owes as much to Duke Ellington and Lalo Schiffrin as it does NERD and The Eurythmics!https://bio.to/WAAN
WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.The new dynamic worked though, the result being their debut album Echo Echo. With influences as disparate as Floating Points, Belgian band Stuff, BadBadNotGood and Eddie Harris, the album is far more complex than just being a dance music influenced jazz record. Co-producer Oscar de Jong, of Kraak & Smaak fame, encouraged the pair to play freely as part of a jazz group and then add the electronic elements. As a result, the album owes as much to Duke Ellington and Lalo Schiffrin as it does NERD and The Eurythmics!https://bio.to/WAAN
WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.Lost, the third and final single to be taken from the duo’s debut album Echo Echo, is a fitting description of how they felt when writing it! Emiel in particular was struggling with a myriad of issues at the time - from their identity and how they worked as a live band to personal relationships and technical studio problems. All of these factors influenced the sound of this piece, with its low slung groove, mournful bass and piano parts which were played with mostly black keys, giving it an intense classical sound that forms the basis of the bridge. The pair worked for a long time on this track and it had many incarnations, but it was only when Bart added the harmoniser (a saxophone that you can create your own chords with) that the vision for the track became clear. Bart and Emiel found their wayout of the darkness and Lost became one of the most positive songs on the album with its uplifting sax parts and frenetic and joyous drums. An important document of how a partnership can see you through even the most disorientating of times.With influences as disparate as Floating Points, BadBadNotGood and Eddie Harris, Echo Echo is far more complex than just being a dance music influenced jazz record. Co-producer Oscar de Jong, of Kraak & Smaak fame, encouraged the pair to play freely as part of a jazz group and then add the electronic elements. Asa result the album owes as much to Duke Ellington and Lalo Schiffrin as it does NERD and The Eurythmics!
That Blew My Mind is the final single to be taken from the forthcoming Westbound EP by accomplished multi-instrumentalist and producer Alexander IV, otherwise known as Joris Feiertag. This latest sobriquet has allowed the Dutch beat-maker to move away from his more club focused offerings, to explore his hip hop, soul and jazz roots.On this concluding single, we can add reggae to this list of influences too as That Blew My Mind kicks off in sprightly mode with a skanking beat making way for a weighty bassline and assuring vocal samples. Add to that dubbed out horn lines and you’ve got a rocksteady offering that’ll see you into springtime quite nicely and get you pondering warmer and brighter days to come.Alexander IV’s music fuses organic and electronic elements with ease, which isn’t surprising given the artist’s experience not only as a consummate dance music maker, but also as drummer of choice for Dutch superstars Kraak & Smaak. Add to that an extended family of gifted musicians, and you’ve got something brand new yet retro; uncomplicated yet masterful.
WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.Omi, the second single to be taken from their debut album Echo Echo, has something of an Ethiopique feel, largely thanks to the low slung groove laid down by guest drummer Jimmi Hueting and the dark, crunchy bass line of Kasper Kalf. The track sprung to life via a piano melody that was eventually, and organically, transformed into alto sax and bass clarinet. The use of those instruments gave Omi a kind of Arabic or Middle Eastern flavour to add to the already steamy musical stew. The duo then sprinkled on icy synths to cool things down somewhat and give the piece a more electronic and club friendly feel which complements the hot Afro horns that ride the rhythm throughout. And finally, to add the finishing touches to this heady concoction, Emiel and Bart visited renowned beat maker Frank Wienk, better known as BinkBeats, who not only added his trademark percussion but also blended a little vibraphonette (a special kind of Italian vibraphone) into this mystic brew to create a unique and cosmic outernational sound!With influences as disparate as Floating Points, BadBadNotGood and Eddie Harris, Echo Echo is far more complex than just being a dance music influenced jazz record. Co-producer Oscar de Jong, of Kraak & Smaak fame, encouraged the pair to play freely as part of a jazz group and then add the electronic elements. As a result the album owes as much to Duke Ellington and Lalo Schiffrin as it does NERD and The Eurythmics!
1988 is the third single to be taken from the forthcoming Westbound EP by accomplished multi-instrumentalist and producer Alexander IV, otherwise known as Joris Feiertag. This latest sobriquet has allowed the Dutch beatmaker to move away from his more club focused offerings, to explore his hip hop, soul and jazz roots. All of these influences are present and correct in 1988 with its boom-bap drums, ethereal vocal samples, loose guitars, strident percussion and haunting synths. Add some dubbed out horns plus atmospheric spoken word and you’ve traveled back some thirty five years to what might now be considered a simpler time. The track fuses organic and electronic elements with ease, which isn’t surprising given the artist’s experience not only as a consummate dance music maker, but also as drummer of choice for Dutch superstars Kraak & Smaak. Add to that an extended family of gifted musicians, and you’ve got something brand new yet retro; uncomplicated yet masterful.
WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. As a pair of self-confessed tech nerds hailing from The Netherlands, their bromance was a slow burning one, but nevertheless their eventual collaboration fulfilled a dream that they’d both held close since first working together back in 2010.
KinK is the first single to be taken from the duo’s forthcoming debut album Echo Echo. The piece sprung to life during one of Bart and Emiel’s final recording sessions for the album, whilst working with session musicians Kasper Kalf (double bass), Jimmi Hueting (drums) as well as Oscar de Jong and Lucas Meijers who contributed to percussion. The recording started with a simple line on a Maestro Effect, using a tape echo, and what you hear is a very natural and easy Dr John voodoo style groove that came from the first two takes. The pair then took what they had of this very instinctive performance to Emiel’s studio and added harmonics, synth sounds, samples and a very percussive distorted clavinet to the groove. The key to this evocative and wondrous piece of music was to create percussive sounds from harmonic instruments and conjure up something otherworldly.
With influences as disparate as Floating Points, BadBadNotGood and Eddie Harris, Echo Echo is far more complex than just being a dance music influenced jazz record. Co-producer Oscar de Jong, of Kraak & Smaak fame, encouraged the pair to play freely as part of a jazz group and then add the electronic elements. As a result the album owes as much to Duke Ellington and Lalo Schiffrin as it does NERD and The Eurythmics!
Rue is the second single from Alexander IV - the latest pseudonym of eclectic Dutch producer and multi-instrumentalist, Feiertag. This newly adopted moniker sees the music maker, largely known for his club friendly offerings, delve into the more rootsical side of his sonic output - taking in hip-hop, jazz, funk and soul along the way.
With his latest opus, our illustrious tunesmith delivers a tale in two very distinctive parts. The first offers up loosely looped guitars and sunny keys, wrapped around boom-bap beats and seemingly deliberately incoherent, ethereal vocals. Then halfway through, he switches to something altogether more dub influenced, complete with heavily treated percussive stabs and a plethora of echoes and effects. Subtle but life affirming pianos also join the fray before a reverberating vocal refrain completes the story of what is another euphoric yet refined downtempo jam from this master of his craft.
Joris Feiertag is a Dutch producer and live-act from the historic and culturally rich city of Utrecht. Having signed to Sonar Kollektiv in 2018, he has released two albums on the label so far - his debut, vocal led and uplifting long-playing record Time To Recover, as well as its subsequent remixes, and last year the more sonorous and personal Dive. Before embarking on album three, and discovering whichever side of Feiertag’s multi-faceted personality and talents that will explore, Joris has taken a moment to deliver a couple of one-off pieces just to cleanse our musical palettes.
Earlier in the autumn he unleashed Kojin - a long time, visceral secret weapon in his sets that just oozes unabated energy. Now he brings us When She Leaves - still very much a dance floor record, but one with a greater sense of balance between the mind and the feet. Swirling synths and tender keys make way for nostalgic breakbeats and vocal snippets, but it soon becomes clear that there‘s some serious songwriting involved in the making of this track. Vocal hooks come to the fore and the audience is left with the feeling that they’re listening to something that might be described as ‘emotionally intelligent dance music’. It’s certainly a piece that Joris himself is looking forward to playing in his live shows.
Whether it’s life affirming vocals, more profound intimate pieces, club bangers or a little bit of everything, it’s clear that with a label as open-minded as the Berlin imprint, this restless musical soul has found the freedom he needs and also the perfect home.
Finally, and continuing the South American feel, come Dutch singer-songwriters Roos Jonker and Dean Tippet. Their underground hit This One is a timeless and intimate duet that might best be described as digi-bossanova! It’s the perfect way to round off this celebration of forward thinking yet nostalgic, electro-acoustic, bitter-sweet jazz music.
And stars don’t come much brighter than the stellar production outfit, and founders of Sonar Kollektiv, Jazzanova. If selecting a track of your own is a tough task, then imagine trying to do so with a back cata- logue as deep and diverse as theirs. The production collective’s work ranges from early dance floor facing club anthems to their more recent focus on performing as a live band, and it’s from their more current material that Joy Road was selected. The track is lifted from their fresh collaboration with DJ Amir, 180 Proof Records and UK label BBE to celebrate the output of Detroit based label Strata Records. Despite its title, Joy Road is a melancholic piece played by the Jazzanova live band and very much conjures up the feel of what it must have been like to be in late ‘60s Detroit at a time of huge decline and subsequent civil unrest. It’s a contemplative cut that sits perfectly at the heart of this compilation.
The jazz oeuvre has always thrived on musicians exploring their own take on a “standard”. With a nod to that tradition then, this compilation wouldn’t be complete without a cover version of its own. Here, South American woodwind master Vinicius Mendes offers up his vision of Brazilian songstress Joyce’s classic Aldeia de Ogum. Miss Moreno’s vocal line is seamlessly replaced by Vinius’ flute with great effect. The 2021 recording is part of a perhaps overlooked album that featured Lucas de Moro on Rhodes and Wurlitzer pianos, Paulo Cardoso on acoustic and electric bass and Cyrano Almeida on drums. It’s an uplifting and life affirming take on a Rio anthem that’s not easy to make your own.
Once again very much representing the “new school” come Key Elements - the brainchild of Berlin producer and co-founder of Beatkollektiv, Marian Tone. Tone’s hip hop roots are always evident in his productions, as is the case here with previously unreleased and exclusive track Space. Despite the junglist tempo of drummer Waldi’s playing and the very jazz feel of Marian’s keys, a hip hop aesthetic underpins the music, as it does with all of Key Elements productions. This is very much music for the “heads” and a track that you‘ll find something new within on every listen.
Having traded the great Californian imprint Ubiquity for a return home to Germany with Sonar Kollektiv, Munich based Niko Schabel and his Radio Citizen project haven’t looked back. Their delicate balance between electro and acoustic sounds, between live instrumentation and programming or sam- ples, have always made them an obvious fit for the label. The other thing you’re always guaranteed with Radio Citizen though, is a sense of drama and Kantine, which is exclusive to this compilation, delivers just that. Marching drums, inquisitive horns and pressing percussion combine to conjure up a typically climactic concoction that could only come from this illustrious outfit.
Originally released in 2020, La Parisienne by prolific Dutch producer and live-act Joris Feiertag lifts the mood some what and is something of a modern jazz funk track, reminiscent of the glorious days of ‘70s library music while forging links to the aesthetics of Early Sounds Recordings in Napoli or Mildlife in Melbourne. It’s the epitome of an underrated release from the label, so here’s another chance to immerse yourself in this inspiriting slice of beat driven musical goodness.
Another outfit who were “made in Berlin” are Sonar Kollektiv stalwarts Micatone. This enduring six piece have been making music together for almost a quarter of a century. Their sound has developed over those years from more electronic roots (thanks largely to the programming work of Stefan Rogall) to the far less convoluted melodies you can hear right here on the exclusive track, Going South. Lisa Bassenge’s vocals remain a constant in Micatone’s output and here she delivers a sweet and honest performance that bodes well for what’s to come next from this prolific band.
Tutu Amuse represents the musical and artistic union of guitarist, vocalist and actor Rosa Landers and drummer, composer, vocalist and producer Janek van Laak. Their recent album, recorded in the Marzahn tower blocks of Berlin, and entitled Two To Amuse, trod a delicate path between contemplative, sparse and pensive moments, and more frank, provocative and frankly racy ones with the album striking a delibera- tely uncomfortable balance between intensity and reflection. Ohm probably falls on the side of the latter with its acoustic, ‘60s free love feel complete with naive sounding vocals and a wistful tone. “New Jazz”, of course, doesn’t always have to sound like the future!
The album kicks off with the babies of the bunch, newcomers WAAN, and the appropriately entitled Open, taken from their forthcoming album. Pulsing keys make way for gorgeously languorous drums, which are then joined by perfectly pitched woodwinds. The three elegantly intertwine and separate, before dispersing and leaving the listener wanting more. Fans of the UK jazz sounds of artists like Gogo Penguin, Mammal Hands, Matthew Halsall, or Portico Quartet won’t be disappointed.
Joris Feiertag is a Dutch producer and live-act from the historic and culturally rich city of Utrecht. Having signed to Sonar Kollektiv in 2018, he has released two albums on the label so far - his debut, vocal led and uplifting long-playing record Time To Recover, as well as its subsequent remixes, and last year the more sonorous and personal Dive. Before embarking on album three, and discovering whichever side of Feiertag’s multi-faceted personality and talents that will explore, Joris has taken a moment to unleash a couple of one-off pieces just to cleanse our musical palettes.
The first of these is Kojin - a long time secret weapon in his sets that just oozes an unabated ferocious power, as Joris explains:
“It‘s about that feeling that you have too much energy, but just can‘t get it out. That feeling of tension in your body, ready to spread positive vibes.”
And Kojin surely has that in spades. It’s a piece of music that never lets up from the first note; an intense and almost industrial juggernaut of a tune that combines ominous vocal samples with unsettling basslines, bustling breakbeats, frisky percussion and haunting synths. A late night (or early morning) dancefloor behemoth that’s sure to cause some serious damage wherever it’s let loose.
Whether it’s club bangers, more profound intimate pieces, life affirming vocals or a little bit of everything, it’s clear that with a label as open-minded as the Berlin imprint, this restless musical soul has found the freedom he needs and also the perfect home.
Joris Feiertag is a Dutch producer and live-act from the historic and culturally rich city of Utrecht. Having signed to Sonar Kollektiv in 2018, he has released two albums on the label so far - his debut, vocal led and uplifting long-playing record Time To Recover, as well as its subsequent remixes, and last year the more sonorous and personal Dive. Before embarking on album three, and discovering whichever side of Feiertag’s multi-faceted personality and talents that will explore, Joris has taken a moment to unleash a couple of one-off pieces just to cleanse our musical palettes.
The first of these is Kojin - a long time secret weapon in his sets that just oozes an unabated ferocious power, as Joris explains:
“It‘s about that feeling that you have too much energy, but just can‘t get it out. That feeling of tension in your body, ready to spread positive vibes.”
And Kojin surely has that in spades. It’s a piece of music that never lets up from the first note; an intense and almost industrial juggernaut of a tune that combines ominous vocal samples with unsettling basslines, bustling breakbeats, frisky percussion and haunting synths. A late night (or early morning) dancefloor behemoth that’s sure to cause some serious damage wherever it’s let loose.
Whether it’s club bangers, more profound intimate pieces, life affirming vocals or a little bit of everything, it’s clear that with a label as open-minded as the Berlin imprint, this restless musical soul has found the freedom he needs and also the perfect home.
Sumo, the self professed “sound nerd” from southern Germany with an eclectic musical taste ranging from traditional Japanese influences to his main love, UK garage, returns to Sonar Kollektiv after a three year hiatus. Having unleashed his debut Hokori EP on the label back in 2019 - a raw, bass worrying, dance floor facing affair - the Stuttgart based producer is back with a more mature, melancholic take on his signature sound with the sonorous offerings of the Trakul EP, due to be released this autumn.
The second single from the EP is the warm and comforting Xari. Once again featuring the reassuring vocals of local rising star Soffie, harmonising beautifully alongside the pitched down voice of Sumo himself, it’s an unashamedly heart-warming and assuaging piece that delivers a much needed message of positivity, compassion and empathy. The song’s echoing refrain poses one of the main questions we should all ask if we want to be a more loving, understanding and peaceful society...
“When I feel for you. How it feels for you. Is there something I can’t understand?”
Xari opens with tender piano, making way for stripped down, retro sounding drum machines and only the hint of a bassline. It’s quite the contrast from Sumo’s more restless earlier work, but once again illustrates his versatility and consciousness. This musical maverick and sonic chameleon has always been able to adapt to the world around him, whether as a straight up musician, club DJ, radio and podcast host, decorated student, sound designer or more serious composer.
Today he works for one of the world’s most renowned sound branding studios where he composes music for various projects, including the Björk exhibition at MoMa in New York, the Smart trade fair presentations in Paris, Geneva and Frankfurt, and the Bread&Butter exhibition for Mercedes-Benz in Berlin. Sophistication and austerity are nothing new for this diverse beat-maker and sensitive musical soul.
Xari feat. soffie is out August 26th.
From the Trakul EP – out October 7th.
Sumo, the self professed “sound nerd” from southern Germany with an eclectic musical taste ranging from traditional Japanese influences to his main love, UK garage, returns to Sonar Kollektiv after a three year hiatus. Having unleashed his debut Hokori EP on the label back in 2019 - a raw, bass worrying, dance floor facing affair - the Stuttgart based producer is back with a more mature, melancholic take on his signature sound with the sonorous offerings of the Trakul EP, due to be released this autumn.
The first single from the EP is the lugubrious yet reassuring RaK. Featuring the sultry vocals of local rising star Soffie, singing alongside Sumo himself, it’s a piece of music that provokes opposing emotions on the listener, at once wistful and uplifting. The pair’s soothing and consoling lyrics act as a panacea for the song’s main concern - that of mental wellness. Post pandemic, it’s an issue that many of us have to deal with and one that we shouldn’t be ashamed to discuss, as the song professes.
“Talk to me, I’ll make sure you feel safe with me, and keep you from insanity.”
The more restrained production, featuring muted pads, delicate synths and layered, warm harmonies is quite the contrast from Sumo’s more restless earlier work, but isn’t surprising either. This musical maverick and sonic chameleon has always been able to adapt to the world around him, whether as a straight up musician, club DJ, radio and podcast host, decorated student, sound designer or more serious composer.
Today he works for one of the world’s most renowned sound branding studios where he composes music for various projects, including the Björk exhibition at MoMa in New York, the Smart trade fair presentations in Paris, Geneva and Frankfurt, and the Bread&Butter exhibition for Mercedes-Benz in Berlin. Sophistication and austerity are nothing new for this diverse beat-maker and sensitive musical soul.
RaK feat. soffie is out August 26th. From the Trakul EP – out October 7th.
Eddy Ramich is a familiar name to anyone with more than a passing interest in modern, soulful European electronic music. The Croatian DJ and producer has become a mainstay of the forward thinking and eclectic scene for the past three decades. From his pioneering Kontrapunkt events in Zagreb, to his much loved collaborations with Dus and Yannah, Eddy has always been at the forefront of the movement.
And it’s once again a collaboration that brings Ramich, now based in Berlin, to his hometown label Sonar Kollektiv this summer - this time hooking up with Viennese producer Roman Rauch. This highly respected beat maker and DJ, despite hailing from Austria’s green valleys, channels the raw, deep soul of Detroit and Chicago in his sublime musical productions, and here it’s no different.
The pair’s unique partnership for Sonar Kollektiv is completed with the enlisting of our very own Pete Josef on vocal duties. The blue-eyed soul singer from Bristol has been an integral part of the label since releasing his debut long-player, Colours, in 2015 as well as subsequent remixes and the follow up album, I Rise With The Birds, five years later.
On Dayglow, Pete’s smooth and sultry tones add rich textures to Eddy and Roman’s steadfast four-to-the-floor beats, and a vocal hook that’ll stay with you for some time to come. Bright synths follow its lead and crisp percussion adds a lightness of touch to counterbalance the foot friendly bottom end and make this a future club and beach banger!
On remix duties is none other than Japanese DJ, producer and folk hero - and another regular collaborator of Eddy’s - Shuya Okino. The man behind Kyoto Jazz Massive, and legendary music venue The Room, adds a generous dose of jazz-funk to the proceedings with some serious live bass, tender keys and more restrained drums that’ll make his version a favourite for fans of acts like STR4TA, Incognito and Freeeze.
Eddy Ramich is a familiar name to anyone with more than a passing interest in modern, soulful European electronic music. The Croatian DJ and producer has become a mainstay of the forward thinking and eclectic scene for the past three decades. From his pioneering Kontrapunkt events in Zagreb, to his much loved collaborations with Dus and Yannah, Eddy has always been at the forefront of the movement.
And it’s once again a collaboration that brings Ramich, now based in Berlin, to his hometown label Sonar Kollektiv this summer - this time hooking up with Viennese producer Roman Rauch. This highly respected beat maker and DJ, despite hailing from Austria’s green valleys, channels the raw, deep soul of Detroit and Chicago in his sublime musical productions, and here it’s no different.
The pair’s unique partnership for Sonar Kollektiv is completed with the enlisting of our very own Pete Josef on vocal duties. The blue-eyed soul singer from Bristol has been an integral part of the label since releasing his debut long-player, Colours, in 2015 as well as subsequent remixes and the follow up album, I Rise With The Birds, five years later.
On Dayglow, Pete’s smooth and sultry tones add rich textures to Eddy and Roman’s steadfast four-to-the-floor beats, and a vocal hook that’ll stay with you for some time to come. Bright synths follow its lead and crisp percussion adds a lightness of touch to counterbalance the foot friendly bottom end and make this a future club and beach banger!
On remix duties is none other than Japanese DJ, producer and folk hero - and another regular collaborator of Eddy’s - Shuya Okino. The man behind Kyoto Jazz Massive, and legendary music venue The Room, adds a generous dose of jazz-funk to the proceedings with some serious live bass, tender keys and more restrained drums that’ll make his version a favourite for fans of acts like STR4TA, Incognito and Freeeze.
Alexander IV is the latest moniker of Dutch man for all seasons, Joris Feiertag. Largely known for his dance floor facing work, this multi-talented artist from the culturally rich city of Utrecht can also be found behind the drum kit for forward thinking funk & soul outfit Kraak & Smaak, and has worked in several pockets of the electronic music scene, under numerous pseudonyms, for over a decade.
In his latest incarnation, Joris uses the Macedonian monarch’s title to dig deep into the noble influences and roots of his musical output - namely hip-hop, jazz, funk and soul.
Working with an extended family of renowned musicians (Tessa Rose Jackson on vocals), What Moves Me, the debut single from this new project, combines boom-bap beats, wordless vocals, enchanting piano loops, filters and synth stabs to create a perfectly jubilant yet understated soulful summertime jam.
Tutu Amuse represents the musical and artistic union of guitarist, vocalist and actor Rosa Landers and drummer, composer, vocalist and producer Janek van Laak. Both hail from Berlin’s infamous Marzahn concrete tower blocks where they spent several lockdowns creating their debut album, “Two To Amuse”.
“Gaia”, the third single to be taken from the LP, is one of the more meditative moments on the album. Plaintive guitars gently give way to subdued percussion, wordless chants and glistening keys, before Rosa’s voice joins them to complete this reflective and pensive piece. As something of a contrast to the more intense, provocative moments on the album, “Gaia” provides some contemplative respite, as Janek explains:
„Recording 7 minutes of instrumental music while seeing the incense smoke over Marzahns skyline was a bit magical. Later, Rosa brought the lyrics and melody into the studio and when I heard them for the very first time there might have been a few teardrops.„
Despite such introspection, the forthcoming album speaks to the listener in bold colours, and with a distinctly theatrical feel. It’s no surprise then that the couple hold the visual aspect of their music to be vital.
Both in terms of their live performances, and in their forthcoming videos, we can expect some stunning and stirring sights that will simultaneously be avant garde and full of playfulness. With ample touring and more new music to come from this delicious doublet, this looks like being a momentous year for Tutu Amuse, but for now, enjoy this moment of calm before the storm.
“Sex in the studio“
“creepy energy was hunting this Marzahn junkie jungle, but as soon as we locked the studio door on the floor 9 - things unfolded surprisingly colorful.”
”blood, sweat and tears.“
Two To Amuse is out 9th of September 2022 on Sonar Kollektiv.
Tutu Amuse represents the musical and artistic union of guitarist, vocalist and actor Rosa Landers and drummer, composer, vocalist and producer Janek van Laak. Both hail from Berlin’s infamous Marzahn concrete tower blocks where they spent several lockdowns creating their debut album, “Two To Amuse”.
“Cherry Riding”, the second single to be taken from the LP, conjures up images of film noir and Cold War spies with its John Barry style sinister guitars and Rosa’s sublime and mischievous lead vocals. Comparisons to Beth Gibbons and Portishead aren’t far from the mark, although the song wasn’t always intended to be this way, as Rosa and Janek explain:
„Cherry Riding arose out of the Bond-like guitar line and this codeine groove. We first thought it didn‘t need vocals, still we ended up singing about red riding hood beating up the wolf on a sweet intimate night ride.„
The forthcoming album speaks to the listener in bold colours, and with a distinctly theatrical feel. It’s no surprise then that the couple hold the visual aspect of their music to be vital. Both in terms of their live performances, and in their forthcoming videos, we can expect some stunning and stirring sights that will simultaneously be avant garde and full of playfulness.
With ample touring and more new music to come from this delicious doublet, this looks like being a momentous year for Tutu Amuse, but for now, enjoy this second taste of what’s to come.
“Sex in the studio“
“creepy energy was hunting this Marzahn junkie jungle, but as soon as we locked the studio door on the floor 9 - things unfolded surprisingly colorful.”
”blood, sweat and tears.“
Two To Amuse is out 9th of September 2022 on Sonar Kollektiv.
Release: 10.06.2022
This remix of the just released album Dive by Feiertag, is something very special indeed - a hazy, unpretentious future club classic taking its influences from both sides of the Atlantic.
This new project sees the producer return to something like his musical origins, diving deeper into the use of synths and embracing more offbeat melodies. How U Do It has its roots firmly planted in Detroit of course, but as well as its motor city connections there’s also a flavor of the UK scene in its DNA - something that Feiertag returns to time and again. British labels like Bradley Zero’s Rhythm Section and rising stars such as WheelUP are important touchstones for Joris’ sound, and here their broken beat (or “bruk”) legacy is felt alongside the US house feel and the moody, challenging vocals that run throughout.
Feiertag’s love for Oliver Dollar’s modern classic Doin Ya Thing is well documented, and in addition, the man himself has stepped up with a stunning remix. Ready for the next Soul Skate party...
Marking the 15th anniversary of Dixon’s & Georg Levin’s album „Take It Personal“ under their moniker Wahoo, we proudly re-release their classic „Don´t Take It Personal (Georg Levin Edit)“ featuring Paul Randolph.
Originally a B-Side of the single „I’m Your Lover“, this alternative version of the album’s opener quickly became a fan favorite & was featured, among others, on Gilles Peterson’s „In the House“ on Defected.
It was not until last year when Moodymann put this version on a playlist he curated for GTA that we found out that it was not available on streaming platforms. At the end the track didn’t made it into the game but at least we got reminded that this one exists.
Still sounding fresh & genuinely soulful, the song’s lyrics could not have been more timely as a mantra for this day and age: „Whatever comes around, don’t let it get you down, you’re on solid ground - don’t take it personal.“
Tutu Amuse represents the musical and artistic union of guitarist, vocalist and actor Rosa Landers and drummer, composer, vocalist and producer Janek van Laak. Both hail from Berlin’s infamous Marzahn concrete tower blocks where they spent several lockdowns creating their debut album, “Two To Amuse”. “Crucifix”, the first single to be taken from the album, was also the first the pair recorded together. Coming off like an x-rated duet between Gainsbourg and Birkin, complete with expletives and sinister guitars, it’s the perfect introduction to this unlikely duo. Inhabiting a space somewhere between Stereolab, The XX and Jonwayne, the pair’s lustful interactions somewhat reflect the famously kinky nightlife of the German capital, and never more so than on this track. It’s a song that, at times rather frankly, paints a picture of the intensity and tempestuousness of their relationship as the lyrics are sourced solely from text messages between the two of them. As Rosa and Janek explain: „We both had the same idea - to only use our text messages like mosaic parts to create our lyrics. Remember how we were stuck with the pile of our text messages printed out in front of us? We almost ended the project before finishing this first song fighting about SÜSSHOLZRASPELN! In the end we did (Süßholzraspel) ... „
The forthcoming album speaks to the listener in bold colours, and with a distinctly theatrical feel. It’s no surprise then that the couple hold the visual aspect of their music to be vital. Both in terms of their live performances, and in their forthcoming videos, we can expect some stunning and stirring sights that will simultaneously be avant-garde and full of playfulness. With ample touring and more new music to come from this delicious doublet, this looks like being a momentous year for Tutu Amuse, but for now, enjoy their first offering.
“Sex in the studio“
“creepy energy was hunting this Marzahn junkie jungle, but as soon as we locked the studio door on the floor 9 - things unfolded surprisingly colorful.”
”blood, sweat and tears.“
Two To Amuse is out 9th of September 2022 on Sonar Kollektiv: https://SonarKollektiv.lnk.to/TwotoAmuse
The final single to be taken from the forthcoming Dive mini LP, by Joris Feiertag, is something very special indeed - a hazy, unpretentious future club classic taking its influences from both sides of the Atlantic. This new project sees the producer return to something like his musical origins, diving deeper into the use of synths and embracing more offbeat melodies. How U Do It has its roots firmly planted in Detroit of course, but as well as its motor city connections there’s also a flavour of the UK scene in its DNA - something that Feiertag returns to time and again. British labels like Bradley Zero’s Rhythm Section and rising stars such as WheelUP are important touchstones for Joris’ sound, and here their broken beat (or “bruk”) legacy is felt alongside the US house feel and the moody, challenging vocals that run throughout. Feiertag’s love for Oliver Dollar’s modern classic Doin Ya Thing is well documented, and in addition, the man himself has stepped up with a stunning remix to complete this package and prepare you for the full album, due out this spring. Having recently signed to Sonar Kollektiv, Feiertag released his debut long-playing record, Time To Recover, earlier last year. The album received high praise from international magazines, like DJ Mag and Fazemag, as well as from tastemakers and DJs worldwide. Feiertag is that restless soul and musical magpie who’s always looking for new ways to express the melodies in his mind. Lucky, with a label as open-minded as Sonar Kollektiv, he has the freedom to do just that.
I Need U is the second single to be taken from the forthcoming Dive album, by Joris Feiertag - a Dutch producer and drummer hailing from the historic and culturally rich city of Utrecht. His sound is a sophisticated combination of organic and synthesized elements, resulting in warm, melodic and heartfelt electronic music.
Having recently signed to Sonar Kollektiv, Feiertag released his debut long-playing record, Time To Recover, early last year. The album mixed Joris’ now trademark sound with a hand-picked selection of guest vocalists and received high praise from international magazines, like DJ Mag and Fazemag, as well as from tastemakers and DJs worldwide. Following on from his debut, and subsequent remixes, he is due to release the Dive album this spring. This new project sees the producer return to something like his musical roots, diving deeper into the use of synths and embracing more offbeat melodies. I Need U has a UK garage feel about it - an influence that has stayed with Feiertag since his early years experimenting in making electronic music. Pitched vocal samples combine with those typically hypnotic keys and dirty drums to make a foot friendly, funky and euphoric club cut that is reminiscent of the works of British legends like Zed Bias and Wookie at their best. Joris’ breakbeat roots and raw energy shine through as he displays his uncanny knack to knock up a tune that will unite the dance floor. Feiertag is that restless soul and musical magpie who’s always looking for new ways to express the melodies in his mind. Lucky, with a label as open-minded as Sonar Kollektiv, he has the freedom to do just that.
The Center is the fourth single on Sonar Kollektiv from Hamburg based quartet, The KBCS. Following on from the radio friendly Pockets feat. Olivier St. Louis, which received support from a plethora of stations across the globe, comes another smooth and soulful outing, this time featuring the stunning vocals of J. Lamotta.
Like their previous single, The Center’s polished, pop feel belies its roots as a freestyle song-writing session between four somewhat less polished, but highly talented, musicians. Once the guts of the groove had been jammed out, label boss Oliver Glage had the vision to get Berlin based songwriter, beat maker and poet J. Lamotta in, to add her unique tones into the mix. The Tel Aviv born and Berlin based vocalist gives the song a somewhat delicate and fragile dimension that plays perfectly alongside graceful guitars and contrasts with a sturdy backbeat of bass and drum.
„The meaning of the word center in this song comes from my search for the core. The gut, the intuition, the inner voice, and the creative energy that lead me to make any decision in my life. Sometimes I lose track, but as I walk down the path and look around me, I get inspired. It re- minds me to keep my feet on the ground and keep close with that sense of honesty.“. - J.Lamotta
The KBCS represent the coming together of four very uniquely gifted, but very complementary, musicians from Hamburg. Drummer Lucas Kochbeck spends much of his time obsessing about vintage recording equipment, tape machines and the like, whilst adding his talents to the recordings of retro-loving contemporaries such the Bacao Rhythm And Steel Band and the Colemine Records family.
Keyboard wiz Nicolas Börger is very much an in-demand, sound-centric master of the blacks and whites, in the same way that guitarist Lars Coelln lends his skills to a myriad of works across the sonic spectrum. Completing the quartet, bottom end provider Daniel Stritzke adds a little freeform jazz and hip hop attitude to the mix, but even then you can find his bass holding things down on crossover hits galore.
The Center is taken from the band’s forthcoming sophomore album, Color Box, due out in November on Sonar Kollektiv.
Pockets is the final single to be taken from the critically acclaimed sophomore LP, Colour Box, by Hamburg based quartet, The KBCS. And boy, did they leave the best until last.
As usual, this foursome of erstwhile session musicians jammed out what became Pockets with their customary degree of abandon. Consequently, this led to a number of welcome ‘mistakes’ that contribute towards the magic this talented tetrad so often creates. This time, though, the errors were perhaps a little too plentiful, and when singer Olivier St. Louis got involved in the writing process, the whole song was re-arranged and re-recorded by the Berlin based musician. So much so, that the band didn’t even recognize the intro to the song when it was first played to them!
Once again, the addition of a guest vocalist was masterminded by label boss Oli Glage who immediately suggested the Washington born and Haitian rooted artist. Olivier’s credits include working with the likes of Oddisee, Bibio, Onra and Hudson Mohawke, as well as more recently recording an album for UK Worldwide winning label, First Word Records. St. Louis’ vocals, on this track in particular, are perhaps more than a little reminiscent of Californian rapper Anderson.Paak, which is no bad thing as Pockets is probably one of the most immediate and soulful cuts on the album. A guaranteed ear worm for months to come.
„Despite the massive impact this last year has had on the life that so many have been accustom to, in a positive way, the pause, I feel has given opportunity to reassessing choices, and beliefs. The time we may have waisted, what we should pay more attention, how much of our intentions we should share, and most importantly how we adapt to change. Pockets is a song about how to use unexpected disruption to rebuild, reassure, and comeback stronger.“ - Olivier St. Louis
The KBCS represent the coming together of four very uniquely gifted, but very complementary, musicians from Hamburg. Drummer Lucas Kochbeck spends much of his time obsessing about vintage recording equipment, tape machines and the like, whilst adding his talents to the recordings of retro-loving contemporaries such the Bacao Rhythm And Steel Band and the Colemine Records family.
Keyboard wiz Nicolas Börger is very much an in-demand, sound-centric master of the blacks and whites, in the same way that guitarist Lars Coelln lends his skills to a myriad of works across the sonic spectrum. Completing the quartet, bottom end provider Daniel Stritzke adds a little freeform jazz and hip hop attitude to the mix, but even then you can find his bass holding things down on crossover hits galore.
Look out for news of The KBCS bringing their sublime live show to a town near you soon as things hopefully start to open up around the world.
Release: 17.09.2021
Wasting All Your Lovin’ is the second single on Sonar Kollektiv from Hamburg based quartet, The KBCS. Hot on the heels of the warmly received Popsicles, which got featured on Clash Magazine, comes this slice of sophisticated soul music featuring the velvet tones of Bowie.
On first listen, Wasting All Your Lovin’ might seem, in contrast to the KBCS’ previous single, a more organized piece of music, complete with resplendent vocal hooks and a very radio friendly sound. Like Popsicles, though, this too started out life as a freeform jam session amongst the four instrumentalists. The only important difference on this one being that this was the only song on the forthcoming album where all four musicians recorded together in one room! Perhaps this is the reason for it’s more crafted feel, or perhaps it’s because of Bowie’s lyrical genius?
„Wasting All Your Loving“ is about a separation, after which one of the two ex-partners does not manage to come to terms with the new reality and accordingly does not live it. Although one is still in the same world, it suddenly seems as if one is in different dimensions. The one who moves on and accepts the reality, manages after some time to see the positive things of the ex-relationship. The other, however, is stuck in the past. - Bowie
Whatever the reason, Wasting All Your Lovin’ should be the song that you hear every morning when you turn on your radio this summer.
The KBCS represent the coming together of four very uniquely gifted, but very complementary, musicians from Hamburg. Drummer Lucas Kochbeck spends much of his time obsessing about vintage recording equipment, tape machines and the like, whilst adding his talents to the recordings of retro-loving contemporaries such the Bacao Rhythm And Steel Band and the Colemine Records family.
Keyboard wiz Nicolas Börger is very much an in-demand, sound-centric master of the blacks and whites, in the same way that guitarist Lars Coelln lends his skills to a myriad of works across the sonic spectrum. Completing the quartet, bottom end provider Daniel Stritzke adds a little freeform jazz and hip hop attitude to the mix, but even then you can find his bass holding things down on crossover hits galore. Wasting All Your Lovin’ is taken from the band’s forthcoming sophomore album, Color Box, due out in November on Sonar Kollektiv.
Keep an eye out too for their collaboration with Thomas D of Die Fantastischen Vier (The Fantastic Four) - also due out in 2021, which is sure to be a strong year for this terrific tetrad.
«April Dreams», the debut album by Quintin Copper & Nas Mellow, was released in spring on Sonar Kollektiv. An album that is well received by friends of soul, jazz and hip hop.
Now the sound from the university town of Tübingen can begin its triumphal procession around the entire globe. Therefore Sonar Kollektiv won no other than the International Pony member and furious solo entertainer Erobique to contribute a remix of «Paradise».
Erobique managed to turn the album track into a world-class hit. «Paradise» is now a summer hit, warm-up classic and radio ear-worm at the same time.
He put so much soul into his version that some might think this version comes straight from a lost modern soul 45.
What more could you ask for?
«April Dreams», the debut album by Quintin Copper & Nas Mellow, was released in spring on Sonar Kollektiv. An album that is well received by friends of soul, jazz and hip hop.
Now the sound from the university town of Tübingen can begin its triumphal procession around the entire globe. Therefore Sonar Kollektiv won no other than the International Pony member and furious solo entertainer Erobique to contribute a remix of «Paradise».
Erobique managed to turn the album track into a world-class hit. «Paradise» is now a summer hit, warm-up classic and radio ear-worm at the same time.
He put so much soul into his version that some might think this version comes straight from a lost modern soul 45.
What more could you ask for?
The end of the year will see the release of «Types Of Water», the debut EP from G‘emma (Emilie Nguimba) - the next true star in the German soul sky.
The Berlin native singer, piano player and producer started at the age of 15 to write her own songs between soul, pop & jazz. Last year she recorded a handful of self-penned songs with producers Dowakee and Quintin Copper (who recently released his debut album on Sonar Kollektiv) in Freiburg, all of which have full hit potential.
The pre-release single «Water» sounds astonishingly like 90‘s hip-hop / R&B in the vein of Pete Rock or Monica. But Dowakee and G‘emma didn‘t just put out a retro joint, but something more like the secret underground hit for this Indian Summer.
Airplay seems guaranteed!
Release: 06.08.2021
Popsicles, the debut single on Sonar Kollektiv from Hamburg based quartet, The KBCS, is best described by the band themselves as “a late summer teenage adventure”. Hazy guitars and warm keys playfully amuse each other over a solid, funky beat on what is an evocative and vivid introduction to this talented foursome.
Typical of their musical output, Popsicles started its life as a jam played by four session musicians stepping out of the shadows of their musical day jobs, and allowing themselves to enjoy the freedom of expression that their very own personal project would give them. This sunny, psychedelic groove exemplifies this band’s laidback attitude - allowing some refreshing naivety and innocence to shine through. If Wolfgang Petersen would have made his own version of Stand By Me, set in Northern Germany, this may well have been the perfect soundtrack. The KBCS represent the coming together of four very uniquely gifted, but very complementary, musicians from Hamburg. Drummer Lucas Kochbeck spends much of his time obsessing about vintage recording equipment, tape machines and the like, whilst adding his talents to the recordings of retro-loving contemporaries such the Bacao Rhythm And Steel Band and the Colemine Records family.
Keyboard wiz Nicolas Börger is very much an in-demand, sound-centric master of the blacks and whites, in the same way that guitarist Lars Coelln lends his skills to a myriad of works across the sonic spectrum. Completing the quartet, bottom end provider Daniel Stritzke adds a little freeform jazz and hip hop attitude to the mix, but even then you can find his bass holding things down on crossover hits galore. Popsicles is the first taster from the band’s forthcoming sophomore album, Color Box, due out in November on Sonar Kollektiv.
Keep an eye out too for their collaboration with Thomas D of Die Fantastischen Vier (The Fantastic Four) - also due out in 2021, which is sure to be a strong year for this terrific tetrad.
Release: 02.07.2021
In October last year Pete Josef's second album «I Rise With The Birds» came out. Now Sonar Kollektiv has decided to release four remixes of three different songs off the fantastic album. First of all there is the Jazzanova remix of «Giants», which almost completely gets rid of the vocals, but all the more absorbs the zeitgeist - a remix probably working perfectly for a group of battling breakdancers. The program continues with a remix by Pete Josef himself. The Englishman strips down «This Sun» to its basic structure, then simply building a modern Salsa track out of it. Which brings us to the remix by Friend Within. The Liverpool producer and Pete Josef have been friends for many years, dating back to a 2013 collaboration («The Work») that made it onto Disclosure's Mixmag mix CD. «Mainframe» sounds super fresh after Friend Within's rework and seems like the party banger we've been looking forward to for months! But what Feiertag finally takes the liberty of doing with his remix of «Giants» is beyond imagination. Far away from the original Feiertag's interpretation moves in dark downtempo realms - dubby and spheric at the same time. In short: Each of the four remixes is a small masterpiece on its own.
Release: 02.07.2021
In October last year Pete Josef's second album «I Rise With The Birds» came out. Now Sonar Kollektiv has decided to release four remixes of three different songs off the fantastic album. First of all there is the Jazzanova remix of «Giants», which almost completely gets rid of the vocals, but all the more absorbs the zeitgeist - a remix probably working perfectly for a group of battling breakdancers. The program continues with a remix by Pete Josef himself. The Englishman strips down «This Sun» to its basic structure, then simply building a modern Salsa track out of it. Which brings us to the remix by Friend Within. The Liverpool producer and Pete Josef have been friends for many years, dating back to a 2013 collaboration («The Work») that made it onto Disclosure's Mixmag mix CD. «Mainframe» sounds super fresh after Friend Within's rework and seems like the party banger we've been looking forward to for months! But what Feiertag finally takes the liberty of doing with his remix of «Giants» is beyond imagination. Far away from the original Feiertag's interpretation moves in dark downtempo realms - dubby and spheric at the same time. In short: Each of the four remixes is a small masterpiece on its own.
Release: 02.07.2021
In October last year Pete Josef's second album «I Rise With The Birds» came out. Now Sonar Kollektiv has decided to release four remixes of three different songs off the fantastic album. First of all there is the Jazzanova remix of «Giants», which almost completely gets rid of the vocals, but all the more absorbs the zeitgeist - a remix probably working perfectly for a group of battling breakdancers. The program continues with a remix by Pete Josef himself. The Englishman strips down «This Sun» to its basic structure, then simply building a modern Salsa track out of it. Which brings us to the remix by Friend Within. The Liverpool producer and Pete Josef have been friends for many years, dating back to a 2013 collaboration («The Work») that made it onto Disclosure's Mixmag mix CD. «Mainframe» sounds super fresh after Friend Within's rework and seems like the party banger we've been looking forward to for months! But what Feiertag finally takes the liberty of doing with his remix of «Giants» is beyond imagination. Far away from the original Feiertag's interpretation moves in dark downtempo realms - dubby and spheric at the same time. In short: Each of the four remixes is a small masterpiece on its own.
Release: 02.07.2021
In October last year Pete Josef's second album «I Rise With The Birds» came out. Now Sonar Kollektiv has decided to release four remixes of three different songs off the fantastic album. First of all there is the Jazzanova remix of «Giants», which almost completely gets rid of the vocals, but all the more absorbs the zeitgeist - a remix probably working perfectly for a group of battling breakdancers. The program continues with a remix by Pete Josef himself. The Englishman strips down «This Sun» to its basic structure, then simply building a modern Salsa track out of it. Which brings us to the remix by Friend Within. The Liverpool producer and Pete Josef have been friends for many years, dating back to a 2013 collaboration («The Work») that made it onto Disclosure's Mixmag mix CD. «Mainframe» sounds super fresh after Friend Within's rework and seems like the party banger we've been looking forward to for months! But what Feiertag finally takes the liberty of doing with his remix of «Giants» is beyond imagination. Far away from the original Feiertag's interpretation moves in dark downtempo realms - dubby and spheric at the same time. In short: Each of the four remixes is a small masterpiece on its own.
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 14.05.2021
On May 28th the debut album «Time To Recover» by Dutch producer Feiertag will see the light of day. To shift anticipation beyond measure, now Sonar Kollektiv releases the off-shot single «Stronger».
For this song (there are sixteen in total on the album) Feiertag was able to engage his fellow Dutchman GOSTO for a collaboration.
Roel Gosto Vermeer is without dispute one of the most gifted producers, multi-instrumentalists and singers of the Netherlands. How it sounds though when such two genuine talents collide is a revelation. «Stronger» is one of these songs that only get better with each further listen gaining impact and momentum.
And with every rewind you turn the volume up a bit...
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 19.03.2021
That’s what we have been waiting for a very long time eagerly: The debut album «Time To Recover» by Feiertag will be released finally on May the 28th.
After the catchy pop tune «Yearn» already gave us a mesmerizing foretaste of what to expect, now we get another appetizing teaser. The instrumental single «Saccharine 374» tastes like sweet summer, like rampant friskiness and joyful parties outdoors.
The dutch producer extraordinaire Joris Feiertag used the time during lockdown in 2020 to produce enchanting, captivating music, which now finally finds an audience. Imagine a huge meadow full of partying, dancing and hugging people. «Saccharine 374» is the soundtrack to it!
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 23.04.2021
For those who didn’t notice yet: At the end of May «Time To Recover», the debut album by Feiertag will be released.
For five of the sixteen songs strong singles the busy producer asked some friendly singer-songwriters to join him in his studio. On «Follow», we can enjoy the enchanting and multifaceted voice of Tessa Rose Jackson.
A voice suiting Feiertag’s sound so magnificently you wish for an album by Feiertag featuring solely the singer, producer, film composer and artist from Amsterdam.
But for now we are looking forward to «Time To Recover» by Feiertag himself with lots of thrilling collaborations and even much more damn good music.
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
Release: 28.05.2021
Now it's finally here: The debut album «Time To Recover» by Feiertag.
The Multi-faceted artist & producer has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst and Kitsune, to his work as a professional drummer alongside Kraak & Smaak at live events including ADE, Down The Rabbit Hole and Pitch Festival.
After two successful EPs and even more singles, Feiertag took his time for this debut album. This can be heard on each of the sixteen tracks: Extraordinary attention to detail, sophisticated arrangements and a sound aesthetic that couldn't sound more modern are probably the first impressions you take away from «Time To Recover». On second or third listen through, however, you realize that almost every one of these songs has hit potential somehow.
After the dubby head-nodding opener «Stranger To One» follows «Yearn» with Oli Hannaford from London and Tessa Rose Jackson from Amsterdam, revealing a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings. A song destined for eternity!
Tessa is also featured on «Follow» and «Riptide». Then there's the collaboration with GOSTO, «Stronger,» a song that gains in punch and impact with each successive listen. And with every rewind, you turn up the volume a little more. As loud as enough that you can also enjoy «It's Alright» with James Alexander Bright in its full glory and exuberant optimism. Similarly good-humored is the instrumental «Saccharine» tasting full of sweet summer, unbridled exuberance and outdoor parties. With «Panorama» Feiertag shows his calmer, more ambient side towards the end of the album to finally set an absolutely dignified closing point together with Pete Josef on «Where Are We Now».
«Time To Recover» is an almost furious ride through current musical styles and genres - all from the artful and almost grandiose orchestrated point of view of Feiertag.
With the release of the debut album by Quintin Copper & Nas Mellow Sonar Kollektiv will make sure that 2021 will become a year musically as carefree as memorable. The first single «Breathe Easy» provided already a little fore- taste of what funkyness and sophistication is to come on the album.
The second single, «Paradise», is almost timeless, super soulful music you definitely can’t get enough of. That’s why no one less than DJ Spinna has been able to be en- gaged to chip in a remix of the track. Already the original version makes you want to move your feet, but the remix by the New York born and bred DJ Spinna lifts you to other heights.
Hands up in the air and a warm welcome applause for the two new funkateers aboard on the Holy Mothership of Funk: Quintin Copper & Nas Mellow.
With the release of the debut album by Quintin Copper & Nas Mellow Sonar Kollektiv will make sure that 2021 will become a year musically as carefree as memorable. The first single «Breathe Easy» provided already a little fore- taste of what funkyness and sophistication is to come on the album.
The second single, «Paradise», is almost timeless, super soulful music you definitely can’t get enough of. That’s why no one less than DJ Spinna has been able to be en- gaged to chip in a remix of the track. Already the original version makes you want to move your feet, but the remix by the New York born and bred DJ Spinna lifts you to other heights.
Hands up in the air and a warm welcome applause for the two new funkateers aboard on the Holy Mothership of Funk: Quintin Copper & Nas Mellow.
With the release of the debut album by Quintin Copper & Nas Mellow Sonar Kollektiv will make sure that 2021 will become a year musically as carefree as memorable. The first single «Breathe Easy» provided already a little fore- taste of what funkyness and sophistication is to come on the album.
The second single, «Paradise», is almost timeless, super soulful music you definitely can’t get enough of. That’s why no one less than DJ Spinna has been able to be en- gaged to chip in a remix of the track. Already the original version makes you want to move your feet, but the remix by the New York born and bred DJ Spinna lifts you to other heights.
Hands up in the air and a warm welcome applause for the two new funkateers aboard on the Holy Mothership of Funk: Quintin Copper & Nas Mellow.
Feiertag steps in for Alex Barck and presents two hours of music which inspires the busy producer from Utrecht.
New album 'Time To Recover' drops 28.05.2021. First single 'Yearn' out now: https://sonarkollektiv.lnk.to/Yearn
Tracklist: https://worldwidefm.net/show/ww-berlin-feiertag/
Video out now! https://youtu.be/FfUWzF_tOw0
@iamfeiertag prepares to release his latest single ‘Yearn’ this coming February, giving another tantalizing glimpse of his forthcoming album on Sonar Kollektiv.
Multi-faceted artist Feiertag has established himself as a leading name within the electronic music sphere since making his debut in 2015. He defies convention in ways many cannot, from his immersive productions on Last Night On Earth, Boogie Angst, Majestic Casual and Kitsune.
Following the release of his ‘La Parisienne’ single on the label, he now returns to deliver his latest release, ‘Yearn’ alongside 22-year-old singer & songwriter Oli Hannaford and Amsterdam’s Tessa Rose Jackson.
The superb ‘Yearn’ reveals a melancholic and shimmering musical soundscape. Majestic vocals combine with lush percussive elements and smooth drums, whilst rich chords work atop of resonant strings to reveal yet another stunning production from the Dutch artist.
Feiertag’s ‘Yearn’ featuring Oli Hannaford & Tessa Rose Jackson out now!
The lovers of funky vibes and smooth grooves can really look forward to this: The debut album by Quintin Copper & Nas Mellow will see the light of the day this spring via Sonar Kollektiv and will bring back the funk to Germany. As a pre-taste the two Swabians are serving the single «Breathe Easy». An incredibly joyous song tiding one over the darker days in the year. The voice of Nasir Marc Imam aka Nas Mellow sounds almost eerily familiar and is not only supported by Copper’s well-balanced production but also by one of the coolest background choirs you will hear this year. The remix by Hydrogenii, one half of PH-Wert, DJ and beat producer from Pforzheim treats «Breathe Easy» for the dancefloor or wherever in the next few weeks people will dance to music. Sitting calmly while listening to it is almost impossible!
The lovers of funky vibes and smooth grooves can really look forward to this: The debut album by Quintin Copper & Nas Mellow will see the light of the day this spring via Sonar Kollektiv and will bring back the funk to Germany. As a pre-taste the two Swabians are serving the single «Breathe Easy». An incredibly joyous song tiding one over the darker days in the year. The voice of Nasir Marc Imam aka Nas Mellow sounds almost eerily familiar and is not only supported by Copper’s well-balanced production but also by one of the coolest background choirs you will hear this year. The remix by Hydrogenii, one half of PH-Wert, DJ and beat producer from Pforzheim treats «Breathe Easy» for the dancefloor or wherever in the next few weeks people will dance to music. Sitting calmly while listening to it is almost impossible!
Releases 04.09.2020
Joris Feiertag is on a roll right now. After releasing the much-praised EP «Severance» at the beginning of the year, the producer from Utrecht is about to up the ante. «Heal» is the name of his second work on mid-length this year. This time he dedicates himself again to merge different genres and to break up gridlocked categories over the span of four tracks. It’s of course the rhythm that determines the beat as well as the mood of all of his compositions. «Bliss» floats vaguely rushed but leisurely joyful at the same time through unknown sceneries and surprises with exotic sounds and lots of inspiring ideas without turning too much left field at any time at all.
On the opening track «Without You» it’s a dashing beat again that defines this sparkling pop song contrary to the current mainstream. It’s the outstanding voice of Colin Lee Vermeulen that works almost like another instrument.
Whereas on «Hold Your Own» the rhythm alternates between breakbeat and dub reggae displaying impressing again how skilled the arranger and producer Joris Feiertag is. Here we have the majestic tonsils of UK based singer Oli Hannaford (with whom Feiertag has worked on several projects before) that lifts the song to higher grounds.
In mid-October the successor of Pete Josef’s debut album «Colour» will see the light of day via Sonar Kollektiv. The thrill of anticipation is almost unbearable – not only amongst the steadily increasing fan base of Josef’s music. That’s why we get another pre-taste of the upcoming album named «I Will Rise With The Birds» after we already enjoyed the first singe «Giants».
«Lavender» is a song that sounds as pleasant sweet as the fragrance of the plant of the same name. As a listener you best lay down in a vast flower meadow, take a deep breath and let yourself ensnare by Pete Josef’s unique and embalming voice. The horns (John Pratt and Gary Alesbrook) and the strings (Bernie Mallinger and Clemens Sainitzer) will surely feel like butterflies dancing around your nose. «Lavender» is a song for all those who are already in love and those who still want to fall into love.
The blue-eyed soul singer from Bristol has come to be a well-respected multi-instrumentalist and producer over the years merging jazz, soul, pop, and electro and collaborating with Manu Delago, Rag’n’Bone Man and Roni Size among others.
Taking all of the production reins himself, alongside long-time collaborators John Pratt and Ben Plocki (on sax), Rory Francis and Justin Fellows (on percussion) and Marie Lister and Blythe Peppino (on vocals), Pete has layered up fantastic compositions, lush string arrangements and subtle electronica textures as well as a broad sense of scale to these songs without losing any of the intimacy or devotion we’ve come to expect from him.
The placid and the jaunty moments balance each other perfectly throughout the album. «I Rise With The Birds» starts off with «Night Eyes», a proper wake-up song for after a long night out, if there ever was one. Pete’s qualities as a singer-songwriter come into full bloom with songs like «Friend On The Line», «Lavender» or the bittersweet «Snatching Time». You almost tend to believe that these are only cover versions and not original songs by Pete Josef himself. The danceable tracks like «Mainframe» (co-written by Alex Barck from Jazzanova and Sebastian Damerius) or «Giants» also have huge hit potential and will work as well on the dancefloor as on the radio. This is altogether an honorable sophomore album. And whoever wants to be in the same street as Pete Josef right now has to get up early, as early as the birds rise.
Feiertag steps in for Alex Barck and presents two hours of music which inspires the busy drummer and producer from Utrecht.
https://worldwidefm.net/show/ww-berlin-alex-barck-11/
Once again Sonar Kollektiv hits the big time: The Berlin based label releases the first recordings by TTeo – Matteo Capreoli’s electronic side project. Over the last ten years the Italian producer has become somehow the picture-perfect German-speaking singer songwriter with three highly acclaimed studio albums under his belt and a production portfolio encompassing artists.
Only his move to Berlin and his commissioned work for a short documentary shook the foundations of the thoroughbred musician and let him reinvent himself completely. Suddenly everything was reduced and boiled down to its core: his life, his surroundings, his music.
Sonar Kollektiv – probably Berlin’s top place to go when it comes to blend pop music with the club experience – is utterly proud to present you now what Matteo Capreoli aka TTeo has been working on for months locked down in his studio. The outcome is the terrific EP «Salento» (named after the region where Capreoli’s family is from), a release musically so ingenious as pure and simple you can’t really put a finger on it. Of course it’s all about the vibe and the aesthetic of the sound but also about the personal reflections of a musician’s life with lots of ups and downs. «Violett» for instance emphasizes Capreoli’s passion for cinematographic music, where even his own voice becomes an instrument amongst others and the dramatic composition of the arrangement brings the best film score to mind. Capreoli’s Italian soul shines through with every fulminant melody but is tamed by the impelling force of the rhythm. A rhythm which is always given priority – also on tracks like the laid-back «Galipolli». Capreoli has not only written, recorded and arranged all the five tracks on «Salento», but is also responsible for the mixdown of the EP. Only this way he could be sure that TTeo’s first release would sound exactly like he has had in mind. To be honest, it definitely sounds rattling good. Another milestone for Sonar Kollektiv and for Matteo Capreoli anyway.
Releases 31.07.2020
As a graduated musician and producer Joris Feiertag can always draw on his profound musical stock of knowledge and his expertise in pop music and link it with his very own creativity and love of experimentation.
As a precursor to Feiertag’s upcoming EP «Heal» on Sonar Kollektiv in September (after he already released an EP named «Severance» in January) now «Hush» drops in suddenly.
This track is something like Feiertag’s vision of modern, warm sounding as well as arousing house music somewhere along the way between the club and at home. So, we can look forward to much more great music by this exceptional talent from Utrecht. Until the EP will drop in September there will be another single coming our way.
Disco Rigido (Portuguese for „hard disc“) is the name of a musical project by Twit One and Lorenzo Merluzzo. Their real names are actually Tim Purnell and Lars Dorsch and both share a connection via the famous Cologne record store Groove Attack. While Lars was running the shop during the best part of the 90s into the early 2000’s, Tim meanwhile co-manages the store for the past five years or so but also gained reputation as one of Germany’s most respected hip hop beat makers, releasing his productions on various labels and several monikers (Tito Wun, Echoman, Flat Pocket, etc.). Lars has been producing music since the early 90s, most notably under the name Karma (see the Loft classic „Highpriestess“, for example), however both share a common interest for open-minded / non-genre specific music. With Disco Rigido the two Cologne citizens fathom absolutely new paths, combining both of their musical universes, from drugged out dub to hip hop, afro-beat to house, broken beat to techno - dance music for between the sheets with a psychedelic twist.
In October Pete Josef’s long awaited, second album «I Rise With The Birds» will finally be released on Sonar Kollektiv.
For now the single «Giants» pre-announces how the music on the album will sound. As on five tracks of Pete Josef’s first album from 2015 «Colour» the singer Marie Lister variously features. Together and in two voices Lister and Josef turn «Giants» into a song of praise to all the trailblazers, all the innovators, all the great minds and all the giants that built this world of civilisation now seemingly at the brink of a new era.
The track is as grand as the idea, and not short of big gestures: The sophisticated words, the stampede of horns, the communal cry of the tribal drums and voices, and the drama of the orchestra shall make the listeners feel the power and protest in their minds and bodies.
„The song tells a story, a story of anger at the lack of sense and direction in our time. Where are the giants of our age? And when will they wield the power that makes the difference? By that time, will it be too late?“ – Pete Josef
In October Pete Josef’s long awaited, second album «I Rise With The Birds» will finally be released on Sonar Kollektiv.
For now the single «Giants» pre-announces how the music on the album will sound. As on five tracks of Pete Josef’s first album from 2015 «Colour» the singer Marie Lister variously features. Together and in two voices Lister and Josef turn «Giants» into a song of praise to all the trailblazers, all the innovators, all the great minds and all the giants that built this world of civilisation now seemingly at the brink of a new era. The track is as grand as the idea, and not short of big gestures: The sophisticated words, the stampede of horns, the communal cry of the tribal drums and voices, and the drama of the orchestra shall make the listeners feel the power and protest in their minds and bodies.
„The song tells a story, a story of anger at the lack of sense and direction in our time. Where are the giants of our age? And when will they wield the power that makes the difference? By that time, will it be too late?“ – Pete Josef
James Alexander Bright about the new collaboration with Feiertag:
„I had met Joris on Facebook randomly and we instantly started sending each other music for the other to play on! Joris played drums on a couple of tracks on my recent album on !K7 Records ( Headroom ) and he asked if I fancied doing something on this beat he had - so I laid down Bass / Guitar / Vocals and ‘It’s Alright’ was born.
During the lockdown its felt even more important to try and send a positive message when possible! This is our sunshine drenched ITS GONNA BE ALRIGHT track. A dash of Disco / a sprinkle of Soul / a splash of Sunshine / and a few volts of Electronica
Interesting point - This is my first Trumpet performance on a track - having played the instrument for only 5 days since lockdown! :-)
We were also joined on the track by British Saxophonist Charlie Carroll & BVS from duet Peter & Kerry.“
Releasedate: 15.05.2020
Sonar Kollektiv has been waiting for it anxiously: Key Elements‘ debut album leads Jazz music into the new decade down-the-line. The music Key Elements create is fresh, merciless and ruthless and has always the finger on the pulse of the time. The album‘s eight tracks are all far away from Broken Beat nostalgia or Beatmaking nedism, they breathe inspiration from the young, thriving British jazz scene. Key Element‘s initiator, DJ and producer Marian Tone, built up a reputation in the Berlin hiphop, soul and jazz scene over the years (also as a co-founder of Beatkollektiv). With all of his compositions you always feel this heritage and his love and passion for hiphop. But the other two allys within «Key Elements», drummer Waldi and the keyboard or bass player Jim Dunloop made their contribution with compositions and ideas as well. An album which was initially designed to be a mere solo project became an effort of a trio over the years being inherently consistent.
Already the opening track «Mike Needs Sugar» shows the direction this album will take us: To the land of the good groove. It‘s here where the three thoroughbred musicians feel on top of the world obviously and deliver one luscious track after the other. From the cheerful «Morning Boom» to the kinda furtively laid back «Impossible» and the final «Funky Dave», which could be on an Italian soundtrack from the 70‘s every single tone and note from «Key Elements» is great fun. Especially because even when you listen to it a second, third or fourth time you will discover new nuances and niceties again and again. As is right and proper for really good jazz album. Dig it!
Releases 08.05.2020
2020 could be – no: must be the year of breakthrough for Joris Feiertag. The graduated musician and producer from Utrecht releases music regularly under the moniker of «Feiertag» since 2015. This year though his output will be increased massively. He released the EP «Severance» in January on Sonar Kollektiv and set the bar high for pop music that works in clubs just as well as at home. Already in September a second EP by the name of «Heal» will come out. But Joris Feiertag doesn’t want to keep us waiting until then just like that.
At the end of March he released «Seasons» (featuring the vocals of Oli Hannaford). And with «Solve» we have now another song that will sweeten our spring. The quite cool and laid-back track is actually as invigorating as only the month of May can be. «Solve» has to be located somewhere between instrumental hiphop, chillwave and downtempo house. In plain English: uncategorizably damn good. Or put into other words: a track to whistle along to.
Releases 01.05.2020
About a month ago «This One», the first pretaste for the forthcoming duet album by Roos Jonker and Dean Tippet was released. With this song the two singer-songwriters from Amsterdam have fueled the expectations massively for an album which probably will rule airwaves, playlists and review sections way beyond summer.
Now Sonar Kollektiv follows up with a further song off the album, «Love Like That», raising the anticipation even more. Jonker’s and Tippet’s voices interweave on this happily lullaby perfectly causing an extremely soothing and pleasant effect. The lines «What do you do with a love like that, where do you go with a heart like that?» will echo in your head for the rest of the day. Finally an earworm you won’t want to get rid of.
Format: LP (180g clear vinyl) / MC / digital Release: 24.04.2020
Pugs Atomz and Inkswel? This sounds like a match made in heaven. Though it wasn’t in the clouds above where the Australian producer and the Chicago rap veteran met each other. As a matter of fact it was on Instagram where the two linked up for the project you’re now listening to. Initially the idea was just to work on one or two songs together, but over the span of a year the creative collaboration flourished into a full length album, now titled «The Moon».
Both artists have released separately on labels such as BBE and Tokyo Dawn and share many musical allies. Either way it seemed to be the perfect fit for Pugs Atomz, the seasoned Chicago rapper, radio host, designer and muralist to interlink musical landscapes with hip hop futurist producer extraordinaire Inkswel.
Pugs Atomz is a force to be reckoned with in the international hip hop community, at home in Chicago but with a broad international vision. He has collaborated with the likes of DJ Vadim, Moodymann, Greg Blackman, Simbad, Tensei, Dibiase, Blackspade and countless others. He is one of the pillars of the Chicago hip hop scene still hosting regular community radio shows and pushing the arts further than just music with his clothing store Iridium and his own fashion label Usuwe93.
Inkswel has laid a strong foundation as a producer and DJ over the last ten years, collaborating with and remixing the likes of Georgia Anne Muldrow, Frank Nitty, Lmno, John Robinson, Ahu, Steve Spacek, Amp Fiddler, Illa J, Tableek and Crazy P. His output over the last few years has been infamously enormous delivering high quality productions on a steady rate. He has toured the world as an in demand DJ playing shows from Moscow to Paris, New York to Japan and New Zealand to Spain. With «The Moon» you can expect a hip-hop album deeply rooted in the rich heritage of the art form but also exploring its boundaries. Inkswel’s beats, arrangements and productions create whole new dimensions by paying homage to the cut and paste style of Madvillain or the forward thinking approach of contemporary soul classics from the likes of Steve Spacek or Frank Ocean. No wonder Pugs Atomz feels super comfortable and delivers some of his finest rhymes. They are as inspiring as catchy, and always on point, of course. In the end this could be the finest work assembled by these two audio mechanics. But that’s up to the audience to decide.
Format: LP (180g clear vinyl) / MC / digital Release: 24.04.2020
Pugs Atomz and Inkswel? This sounds like a match made in heaven. Though it wasn’t in the clouds above where the Australian producer and the Chicago rap veteran met each other. As a matter of fact it was on Instagram where the two linked up for the project you’re now listening to. Initially the idea was just to work on one or two songs together, but over the span of a year the creative collaboration flourished into a full length album, now titled «The Moon».
Both artists have released separately on labels such as BBE and Tokyo Dawn and share many musical allies. Either way it seemed to be the perfect fit for Pugs Atomz, the seasoned Chicago rapper, radio host, designer and muralist to interlink musical landscapes with hip hop futurist producer extraordinaire Inkswel.
Pugs Atomz is a force to be reckoned with in the international hip hop community, at home in Chicago but with a broad international vision. He has collaborated with the likes of DJ Vadim, Moodymann, Greg Blackman, Simbad, Tensei, Dibiase, Blackspade and countless others. He is one of the pillars of the Chicago hip hop scene still hosting regular community radio shows and pushing the arts further than just music with his clothing store Iridium and his own fashion label Usuwe93.
Inkswel has laid a strong foundation as a producer and DJ over the last ten years, collaborating with and remixing the likes of Georgia Anne Muldrow, Frank Nitty, Lmno, John Robinson, Ahu, Steve Spacek, Amp Fiddler, Illa J, Tableek and Crazy P. His output over the last few years has been infamously enormous delivering high quality productions on a steady rate. He has toured the world as an in demand DJ playing shows from Moscow to Paris, New York to Japan and New Zealand to Spain. With «The Moon» you can expect a hip-hop album deeply rooted in the rich heritage of the art form but also exploring its boundaries. Inkswel’s beats, arrangements and productions create whole new dimensions by paying homage to the cut and paste style of Madvillain or the forward thinking approach of contemporary soul classics from the likes of Steve Spacek or Frank Ocean. No wonder Pugs Atomz feels super comfortable and delivers some of his finest rhymes. They are as inspiring as catchy, and always on point, of course. In the end this could be the finest work assembled by these two audio mechanics. But that’s up to the audience to decide.
Format: LP (180g clear vinyl) / MC / digital Release: 24.04.2020
Pugs Atomz and Inkswel? This sounds like a match made in heaven. Though it wasn’t in the clouds above where the Australian producer and the Chicago rap veteran met each other. As a matter of fact it was on Instagram where the two linked up for the project you’re now listening to. Initially the idea was just to work on one or two songs together, but over the span of a year the creative collaboration flourished into a full length album, now titled «The Moon».
Both artists have released separately on labels such as BBE and Tokyo Dawn and share many musical allies. Either way it seemed to be the perfect fit for Pugs Atomz, the seasoned Chicago rapper, radio host, designer and muralist to interlink musical landscapes with hip hop futurist producer extraordinaire Inkswel.
Pugs Atomz is a force to be reckoned with in the international hip hop community, at home in Chicago but with a broad international vision. He has collaborated with the likes of DJ Vadim, Moodymann, Greg Blackman, Simbad, Tensei, Dibiase, Blackspade and countless others. He is one of the pillars of the Chicago hip hop scene still hosting regular community radio shows and pushing the arts further than just music with his clothing store Iridium and his own fashion label Usuwe93.
Inkswel has laid a strong foundation as a producer and DJ over the last ten years, collaborating with and remixing the likes of Georgia Anne Muldrow, Frank Nitty, Lmno, John Robinson, Ahu, Steve Spacek, Amp Fiddler, Illa J, Tableek and Crazy P. His output over the last few years has been infamously enormous delivering high quality productions on a steady rate. He has toured the world as an in demand DJ playing shows from Moscow to Paris, New York to Japan and New Zealand to Spain. With «The Moon» you can expect a hip-hop album deeply rooted in the rich heritage of the art form but also exploring its boundaries. Inkswel’s beats, arrangements and productions create whole new dimensions by paying homage to the cut and paste style of Madvillain or the forward thinking approach of contemporary soul classics from the likes of Steve Spacek or Frank Ocean. No wonder Pugs Atomz feels super comfortable and delivers some of his finest rhymes. They are as inspiring as catchy, and always on point, of course. In the end this could be the finest work assembled by these two audio mechanics. But that’s up to the audience to decide.
Format: LP (180g clear vinyl) / MC / digital Release: 24.04.2020
Pugs Atomz and Inkswel? This sounds like a match made in heaven. Though it wasn’t in the clouds above where the Australian producer and the Chicago rap veteran met each other. As a matter of fact it was on Instagram where the two linked up for the project you’re now listening to. Initially the idea was just to work on one or two songs together, but over the span of a year the creative collaboration flourished into a full length album, now titled «The Moon».
Both artists have released separately on labels such as BBE and Tokyo Dawn and share many musical allies. Either way it seemed to be the perfect fit for Pugs Atomz, the seasoned Chicago rapper, radio host, designer and muralist to interlink musical landscapes with hip hop futurist producer extraordinaire Inkswel.
Pugs Atomz is a force to be reckoned with in the international hip hop community, at home in Chicago but with a broad international vision. He has collaborated with the likes of DJ Vadim, Moodymann, Greg Blackman, Simbad, Tensei, Dibiase, Blackspade and countless others. He is one of the pillars of the Chicago hip hop scene still hosting regular community radio shows and pushing the arts further than just music with his clothing store Iridium and his own fashion label Usuwe93.
Inkswel has laid a strong foundation as a producer and DJ over the last ten years, collaborating with and remixing the likes of Georgia Anne Muldrow, Frank Nitty, Lmno, John Robinson, Ahu, Steve Spacek, Amp Fiddler, Illa J, Tableek and Crazy P. His output over the last few years has been infamously enormous delivering high quality productions on a steady rate. He has toured the world as an in demand DJ playing shows from Moscow to Paris, New York to Japan and New Zealand to Spain. With «The Moon» you can expect a hip-hop album deeply rooted in the rich heritage of the art form but also exploring its boundaries. Inkswel’s beats, arrangements and productions create whole new dimensions by paying homage to the cut and paste style of Madvillain or the forward thinking approach of contemporary soul classics from the likes of Steve Spacek or Frank Ocean. No wonder Pugs Atomz feels super comfortable and delivers some of his finest rhymes. They are as inspiring as catchy, and always on point, of course. In the end this could be the finest work assembled by these two audio mechanics. But that’s up to the audience to decide.
Format: LP (180g clear vinyl) / MC / digital Release: 24.04.2020
Pugs Atomz and Inkswel? This sounds like a match made in heaven. Though it wasn’t in the clouds above where the Australian producer and the Chicago rap veteran met each other. As a matter of fact it was on Instagram where the two linked up for the project you’re now listening to. Initially the idea was just to work on one or two songs together, but over the span of a year the creative collaboration flourished into a full length album, now titled «The Moon».
Both artists have released separately on labels such as BBE and Tokyo Dawn and share many musical allies. Either way it seemed to be the perfect fit for Pugs Atomz, the seasoned Chicago rapper, radio host, designer and muralist to interlink musical landscapes with hip hop futurist producer extraordinaire Inkswel.
Pugs Atomz is a force to be reckoned with in the international hip hop community, at home in Chicago but with a broad international vision. He has collaborated with the likes of DJ Vadim, Moodymann, Greg Blackman, Simbad, Tensei, Dibiase, Blackspade and countless others. He is one of the pillars of the Chicago hip hop scene still hosting regular community radio shows and pushing the arts further than just music with his clothing store Iridium and his own fashion label Usuwe93.
Inkswel has laid a strong foundation as a producer and DJ over the last ten years, collaborating with and remixing the likes of Georgia Anne Muldrow, Frank Nitty, Lmno, John Robinson, Ahu, Steve Spacek, Amp Fiddler, Illa J, Tableek and Crazy P. His output over the last few years has been infamously enormous delivering high quality productions on a steady rate. He has toured the world as an in demand DJ playing shows from Moscow to Paris, New York to Japan and New Zealand to Spain. With «The Moon» you can expect a hip-hop album deeply rooted in the rich heritage of the art form but also exploring its boundaries. Inkswel’s beats, arrangements and productions create whole new dimensions by paying homage to the cut and paste style of Madvillain or the forward thinking approach of contemporary soul classics from the likes of Steve Spacek or Frank Ocean. No wonder Pugs Atomz feels super comfortable and delivers some of his finest rhymes. They are as inspiring as catchy, and always on point, of course. In the end this could be the finest work assembled by these two audio mechanics. But that’s up to the audience to decide.
Format: LP (180g clear vinyl) / MC / digital Release: 24.04.2020
Pugs Atomz and Inkswel? This sounds like a match made in heaven. Though it wasn’t in the clouds above where the Australian producer and the Chicago rap veteran met each other. As a matter of fact it was on Instagram where the two linked up for the project you’re now listening to. Initially the idea was just to work on one or two songs together, but over the span of a year the creative collaboration flourished into a full length album, now titled «The Moon».
Both artists have released separately on labels such as BBE and Tokyo Dawn and share many musical allies. Either way it seemed to be the perfect fit for Pugs Atomz, the seasoned Chicago rapper, radio host, designer and muralist to interlink musical landscapes with hip hop futurist producer extraordinaire Inkswel.
Pugs Atomz is a force to be reckoned with in the international hip hop community, at home in Chicago but with a broad international vision. He has collaborated with the likes of DJ Vadim, Moodymann, Greg Blackman, Simbad, Tensei, Dibiase, Blackspade and countless others. He is one of the pillars of the Chicago hip hop scene still hosting regular community radio shows and pushing the arts further than just music with his clothing store Iridium and his own fashion label Usuwe93.
Inkswel has laid a strong foundation as a producer and DJ over the last ten years, collaborating with and remixing the likes of Georgia Anne Muldrow, Frank Nitty, Lmno, John Robinson, Ahu, Steve Spacek, Amp Fiddler, Illa J, Tableek and Crazy P. His output over the last few years has been infamously enormous delivering high quality productions on a steady rate. He has toured the world as an in demand DJ playing shows from Moscow to Paris, New York to Japan and New Zealand to Spain. With «The Moon» you can expect a hip-hop album deeply rooted in the rich heritage of the art form but also exploring its boundaries. Inkswel’s beats, arrangements and productions create whole new dimensions by paying homage to the cut and paste style of Madvillain or the forward thinking approach of contemporary soul classics from the likes of Steve Spacek or Frank Ocean. No wonder Pugs Atomz feels super comfortable and delivers some of his finest rhymes. They are as inspiring as catchy, and always on point, of course. In the end this could be the finest work assembled by these two audio mechanics. But that’s up to the audience to decide.
Format: LP (180g clear vinyl) / MC / digital Release: 24.04.2020
Pugs Atomz and Inkswel? This sounds like a match made in heaven. Though it wasn’t in the clouds above where the Australian producer and the Chicago rap veteran met each other. As a matter of fact it was on Instagram where the two linked up for the project you’re now listening to. Initially the idea was just to work on one or two songs together, but over the span of a year the creative collaboration flourished into a full length album, now titled «The Moon».
Both artists have released separately on labels such as BBE and Tokyo Dawn and share many musical allies. Either way it seemed to be the perfect fit for Pugs Atomz, the seasoned Chicago rapper, radio host, designer and muralist to interlink musical landscapes with hip hop futurist producer extraordinaire Inkswel.
Pugs Atomz is a force to be reckoned with in the international hip hop community, at home in Chicago but with a broad international vision. He has collaborated with the likes of DJ Vadim, Moodymann, Greg Blackman, Simbad, Tensei, Dibiase, Blackspade and countless others. He is one of the pillars of the Chicago hip hop scene still hosting regular community radio shows and pushing the arts further than just music with his clothing store Iridium and his own fashion label Usuwe93.
Inkswel has laid a strong foundation as a producer and DJ over the last ten years, collaborating with and remixing the likes of Georgia Anne Muldrow, Frank Nitty, Lmno, John Robinson, Ahu, Steve Spacek, Amp Fiddler, Illa J, Tableek and Crazy P. His output over the last few years has been infamously enormous delivering high quality productions on a steady rate. He has toured the world as an in demand DJ playing shows from Moscow to Paris, New York to Japan and New Zealand to Spain. With «The Moon» you can expect a hip-hop album deeply rooted in the rich heritage of the art form but also exploring its boundaries. Inkswel’s beats, arrangements and productions create whole new dimensions by paying homage to the cut and paste style of Madvillain or the forward thinking approach of contemporary soul classics from the likes of Steve Spacek or Frank Ocean. No wonder Pugs Atomz feels super comfortable and delivers some of his finest rhymes. They are as inspiring as catchy, and always on point, of course. In the end this could be the finest work assembled by these two audio mechanics. But that’s up to the audience to decide.
Format: LP (180g clear vinyl) / MC / digital Release: 24.04.2020
Pugs Atomz and Inkswel? This sounds like a match made in heaven. Though it wasn’t in the clouds above where the Australian producer and the Chicago rap veteran met each other. As a matter of fact it was on Instagram where the two linked up for the project you’re now listening to. Initially the idea was just to work on one or two songs together, but over the span of a year the creative collaboration flourished into a full length album, now titled «The Moon».
Both artists have released separately on labels such as BBE and Tokyo Dawn and share many musical allies. Either way it seemed to be the perfect fit for Pugs Atomz, the seasoned Chicago rapper, radio host, designer and muralist to interlink musical landscapes with hip hop futurist producer extraordinaire Inkswel.
Pugs Atomz is a force to be reckoned with in the international hip hop community, at home in Chicago but with a broad international vision. He has collaborated with the likes of DJ Vadim, Moodymann, Greg Blackman, Simbad, Tensei, Dibiase, Blackspade and countless others. He is one of the pillars of the Chicago hip hop scene still hosting regular community radio shows and pushing the arts further than just music with his clothing store Iridium and his own fashion label Usuwe93.
Inkswel has laid a strong foundation as a producer and DJ over the last ten years, collaborating with and remixing the likes of Georgia Anne Muldrow, Frank Nitty, Lmno, John Robinson, Ahu, Steve Spacek, Amp Fiddler, Illa J, Tableek and Crazy P. His output over the last few years has been infamously enormous delivering high quality productions on a steady rate. He has toured the world as an in demand DJ playing shows from Moscow to Paris, New York to Japan and New Zealand to Spain. With «The Moon» you can expect a hip-hop album deeply rooted in the rich heritage of the art form but also exploring its boundaries. Inkswel’s beats, arrangements and productions create whole new dimensions by paying homage to the cut and paste style of Madvillain or the forward thinking approach of contemporary soul classics from the likes of Steve Spacek or Frank Ocean. No wonder Pugs Atomz feels super comfortable and delivers some of his finest rhymes. They are as inspiring as catchy, and always on point, of course. In the end this could be the finest work assembled by these two audio mechanics. But that’s up to the audience to decide.
Format: LP (180g clear vinyl) / MC / digital Release: 24.04.2020
Pugs Atomz and Inkswel? This sounds like a match made in heaven. Though it wasn’t in the clouds above where the Australian producer and the Chicago rap veteran met each other. As a matter of fact it was on Instagram where the two linked up for the project you’re now listening to. Initially the idea was just to work on one or two songs together, but over the span of a year the creative collaboration flourished into a full length album, now titled «The Moon».
Both artists have released separately on labels such as BBE and Tokyo Dawn and share many musical allies. Either way it seemed to be the perfect fit for Pugs Atomz, the seasoned Chicago rapper, radio host, designer and muralist to interlink musical landscapes with hip hop futurist producer extraordinaire Inkswel.
Pugs Atomz is a force to be reckoned with in the international hip hop community, at home in Chicago but with a broad international vision. He has collaborated with the likes of DJ Vadim, Moodymann, Greg Blackman, Simbad, Tensei, Dibiase, Blackspade and countless others. He is one of the pillars of the Chicago hip hop scene still hosting regular community radio shows and pushing the arts further than just music with his clothing store Iridium and his own fashion label Usuwe93.
Inkswel has laid a strong foundation as a producer and DJ over the last ten years, collaborating with and remixing the likes of Georgia Anne Muldrow, Frank Nitty, Lmno, John Robinson, Ahu, Steve Spacek, Amp Fiddler, Illa J, Tableek and Crazy P. His output over the last few years has been infamously enormous delivering high quality productions on a steady rate. He has toured the world as an in demand DJ playing shows from Moscow to Paris, New York to Japan and New Zealand to Spain. With «The Moon» you can expect a hip-hop album deeply rooted in the rich heritage of the art form but also exploring its boundaries. Inkswel’s beats, arrangements and productions create whole new dimensions by paying homage to the cut and paste style of Madvillain or the forward thinking approach of contemporary soul classics from the likes of Steve Spacek or Frank Ocean. No wonder Pugs Atomz feels super comfortable and delivers some of his finest rhymes. They are as inspiring as catchy, and always on point, of course. In the end this could be the finest work assembled by these two audio mechanics. But that’s up to the audience to decide.
Before the long-awaited first (and hopefully not last) collaborative album by Chicago rap veteran Pugs Atomz and Australian producer Inkswel, «The Moon» will drop, this single will attract all of your attention.
Inkswel’s productions skills are on its absolute height, sampling the hell out of some obscure records and constructing a beat not many rappers could shine on. But Pugs Atomz seems to feel so much at home on this killer track that he blesses us with one of his most impressive deliveries ever mentioning DJ Vadim, Diadora, Maceo Parker and even Esther Mahlangu along the lines.
Released 27.03.2020
It seems like Joris Feiertag planned to shoot for the moon in 2020. The drummer extraordinaire – who is releasing music as «Feiertag» since 2015 and collaborates among others with Kraak & Smaak or Pitto – put out already an EP called «Severance» in January via Sonar Kollektiv. While we’re all still digesting it, the next drum-roll follows already: Together with the UK based singer Oli Hannaford (who can be heard on the track «Ocean» off «Severance») Feiertag has created his very own anthem for the current year. «Seasons» is a piece of pop music you (unfortunately) only hear very rarely. The drums are funky, heavy and because of the dominant snare could almost be used as a hiphop beat. The sporadic brass sections and brief guitar roarings get interrupted by chord changes and breaks again and again turning the basic three-minute pop song into a masterstroke of arrangement and composition. Hannaford’s lyrics («for you I wait until the end...») complete the song to become an ode to spring, to friendship, to love and of course to life. By the way: Feiertag’s 2020 is not coming to end yet. In late summer the second EP this year will follow («Heal»). You should prepare yourself for a sparkling summer.
Releases 13.03.2020
Good things take time. Especially when it comes to timeless, downright intimate music. A maxim which holds true for the two singer-songwriters Roos Jonker and Dean Tippet from Amsterdam.Both have been making music together since 2009 – initially as members of «We’ll Make It Right», the six-piece supergroup around Benny Sings, but as solo artists as well. Roos Jonker attracted already in 2010 quite some attention with her self produced debut album «Mmmmm». Her charming mix of modern jazz, folk and carefree poppy vocals went down well with the public as much as with critics around the globe. After a Japan tour in 2011 with «We’ll Make It Right» Jonker and Tippet decided to record together a duet album and started to cut some early tracks already in 2012, but soon were distracted by circumstances of life, kids, matters of love and books. Only six years later, when producer Eelco Topper (aka Felbm aka Falco Benz) joined in, the album «Roos Jonker & Dean Tippet» slowly but surely took shape and will now be released by Sonar Kollektiv at the end of June. To find out which way the wind, or rather the sweet and mellow spring breeze, is blowing you have to listen to the upfront single «This One»: Two tantalising voices meet absolutely genuinely fusing instantly into a melodic oneness of unparalleled inti- macy and simultaneous intensity. Experiencing this sovereign leisureliness coupled with enormous ease one could be fooled into thinking Elis Regina and Antonio Carlos Jobim have resur- rected. The love song has only little elements of Bossa Nova in it though, much more must it be labelled «bed room lullaby pop» with lots of hum along potential. Almost a wistful pretaste for the forthcoming album full of timeless pop music classics.
DJ set by Feiertag for the WorldwideFM Berlin show from Aug 6th 2019.
Feiertag is the alter ego of the Dutch live-act Joris Feiertag. Recording and performing since 2015, his sound can be described as electronic yet warm, and with a preference for innovative syncopated rhythms combined with fragments of instruments such as the harp and kalimba. Integrated with a varied range of international vocalists, creating a beautiful mix of chill, vibrant music easy to listen to which in return translates beautifully to live electronic music.
His background as a professional drummer resonates in his live-act, for which he travels with a full drum-kit and electronic equipment ensemble. Feiertag's ability to challenge both his electronic music and drumming skills create an intense and dynamic live performance which he has demonstrated on stages such as Down The Rabbit Hole, Pitch Festival and the Amsterdam Dance Event (ADE).
Feiertag has released with Majestic Casual, Chillhop, Last Night On Earth, Boogie Angst and Kitsune. His latest project is his EP 'Virtues’ (via Majestic Casual). It renders Feiertag's deeply rooted hip-hop beats, as well as his soulful taste with a touch of electronic vibes set for a chill, ardent undertone.
Right after Lucifour M‘s debut single ‚Dog‘ on Sonar Kollektiv the four musicians from Italy are getting ready for the next blow with ‚Valentine‘. After a refreshing dip in soft synth pads, singer Michele Ducci showcases the smooth side of his versatile voice which carries us nicely through this sparkling pop song. At the same time Marco Frattini demonstrates what a real funky drummer is – just as if he‘d arrived straight from the sixties. As before on ‚Dog‘ Lucifour M once again make us swoon over their sophisticated breaks on ‚Valentine‘ once more – knowing that little interruptions only increase the anticipation of the next hook on the way to pop heaven. Moreover, ‚Valentine‘ acts as an appetizer to the first of two 6-Tracks-EPs on Sonar Kollektiv with which the four musicians will make the electronic music world shine.
Skilful drumming and powerful guitars set the agenda here. And with ‚Dog‘ they keep the reins tight and combine uptempo hooks full of distinctive vocals and guitars with striking downtempo breaks. With each following track like the charming pop song ‚Lazy‘ it becomes more and more clear what Lucifour M stand for: elaborate songwriting and sophisticated and complex instrumentation cohere in a stunningly natural and harmonic way. Thus, multifarious songs turn into sparkling gems which cleverly defy typical genre classifications.
However, it is very plain to hear the great musical training and many years of musical practice the four guys can fall back upon. It is this rich musical foundation that can be heard in each beat of this sumptuous and lush album. Words like well-hung and ripe are culinary terms which spring to one‘s mind when listening to L4M – perfectly illustrating why this album goes so nicely with Sonar Kollektiv.
Watch the video here: https://www.youtube.com/watch?v=0ak5HhLETnk
Sonar Kollektiv from Berlin are excited to announce the signing of the band Lucifour M and celebrate this event with the release of the single ‚Dog‘. The newly founded band is the latest project of the four musicians Michele Ducci, Marco Frattini, Mattia Dallara und Michele Manzo who have all been active for many years as skilled mu- sicians in a lot of different projects (Santii, Georgia Anne Muldrow, Omar to name a few). With ‚Dog‘ the four musi- cians with the initial letter ‚M‘ demonstrate their vision of a powerful and onward forcing pop song. Distinctive vocals and guitars and a swift uptempo beat – interrupted by striking downtempo breaks – set the tone here. ‚Dog‘ acts as an appetizer for the multifarious EPs which Lucifour M will release on Sonar Kollektiv later this year., with whose the songwriting and producing skills of the four musicians as well as their profound performance practice with their instruments will come into full bloom.
Welcome to a new family member here at Sonar Kollektiv! Sumo from Stuttgart. Catch him & our other new signing Lucifour M on June 15th at Arkaoda, Berlin: https://www.facebook.com/events/831878993839055/
Sumo’s debut single will come on July 19th, available for pre-order here: https://SonarKollektiv.lnk.to/Hokori
The sound nerd, as Sumo calls himself, was born with a music talent. Since his childhood, music has accompanied him in every step. He started very early as a piano and guitar player, bought his first turntables at the age of fifteen and finished later on his master's degree as a composer and sound designer.
Today he works for one of the most renowned sound branding studios where he composes the music of various projects, such as for the Björk exhibition at MoMa in New York, the Smart trade fair presentations in Paris, Geneva and Frankfurt, the Bread&&Butter exhibition for Mercedes-Benz in Berlin and much more.
Sumo is spinning records for over ten years now, performing DJ shows in multiple clubs and festivals in Germany like 0711 Club, Freund & Kupferstecher, the MTV HipHop Open and New Fall festival and also for corporate events of brands like Hugo Boss, Karl Lagerfeld, Vogue, Grazia, Mustang and many more.
Besides the studio sessions and DJ gigs, Sumo hosts the “0711 radio show” for egoFM and produces the podcast “Rillencheck” in corporation with the Mercedes-Benz Museum and other DJ artists like Konstantin Sibold, Leif Müller, Dexter, Fatoni or Torch.
Warm welcome to Canadian DJ / producer Fred Everything, you is not only know for his deep house productions and DJ sets but also for running his own record label Lazy Days.
Montreal transplant, San Francisco based Fred Everything has been a driving force in the House music world for over twenty years with a discography of over 200 releases on some of the best reputed labels including 2020 Vision, Om, Freerange, Tsuba, Get Physical, Local Talk, Drumpoet Community, Buzzin Fly, and of course his own Lazy Days Recordings, which he has been running for ten years.
http://lzdrecordings.com/ https://soundcloud.com/fredeverything https://www.facebook.com/fredeverything
For this next episode of Sonar Kollektiv Radio we're having Palo Santo Discos & Coco Maria bringing some latin gems to Berlin. Hailing from 's-Hertogenbosch in the south of Holland with a recordbag filled with music from all continents. This Dutch selector has found himself specializing in almost everything obscure, exciting and close to the equator. With shelfs ranging from Brazilian crooners, Turkish Anatolian Psych, late 60's Jamaican Dub and African moog virtuosos.
Coco Maria is a colorful lady from the north of Mexico shaking down the Berlin scene with her classy and funky record collection mainly from Colombia, Brazil and Peru. Her upbeat selection will at the very least put a smile on your face.
For more info and record covers you can have a peek on their instagram account.
https://www.instagram.com/cocomarias/ https://www.instagram.com/palosantodiscos/
Fazer is the project of bassist and producer Martin Brugger (aka Occupanther), trumpeter Matthias Lindermayr, guitarist Paul Brändle as well as Simon Popp and Sebastian Wolfgruber (both drums) who all met while studying at the Academy for Music and Performing Arts in Munich. Their unique sound is cut from a miscellaneous range of influences from west-african polyrhythm and classical indian music to dub-techno and post-rock.Hailing from Munich, a city rich with influential jazz labels like ECM, ACT or enja, the young musicians want to take their own path by defying genre boundaries while maintaining the tension and the immediacy of improvised music.
Acclaimed music collective Jazzanova release their brand new single ‘Rain Makes The River’ from their up- coming album The Pool. Featuring the haunting vocals of Scottish singer Rachel Sermanni, the propulsive track o ers an intriguing snapshot of the band’s musical deve- lopments since the release of their last original album 10 years ago. This most emotive of singles – co-written with Sermanni and recorded, sampled, played, and programmed in Jazzanova’s Berlin studio – begins with moody drums and coarse hits that set a sombre mood. Heavy piano chords join the fray and add to a sense of forlornness. Then Sermanni’s crystal clear vocals cut through it all; soft and delicate they create an honest intimacy – singing about staying with your loved one through tough times. And suddenly the absorbing downbeat stops sounding so heavy and becomes the solid foundation for a united strength, accentuated with bright musical touches that leave a lasting impression. Over the past decade the German group, consisting of Alexander Barck, Claas Brieler, Jürgen von Knoblauch, Stefan Leisering and Axel Reinemer, have worked on a multitude of projects. They’ve toured live with the band, hosted radio shows, DJed, remixed tracks by Hugh Ma- sekela, Joe Bataan, Aron Ottignon, Malika Ayane (and many more), curated their labels Sonar Kollektiv and Notes On A Journey and recorded a live studio sessions album of some of their most beloved work. It’s been 23 years since they first got together, and this new album draws from all those years of experience while exploring new territories. The whole makes a brilliant teaser of what we can expect from the forthcoming album.
Tracklist below. Marian Tone is a Berlin based DJ, producer and promoter who started to spin and dig in the crates in the age of 14, in 1999. Since then, he is digging strictly good and soulful music and stopped caring about genre boarders. Aside from his music activities he is one of the founders of Beat Kollektiv (together with his brother Markus Tone) who were very successfully running the legendary "Wedding Soul" party in Berlin, which started in 2012, with the aim of enriching Berlin’s music and club landscape with more soul and a wider range of soulful music offside the mainstream. The event- series has found much respect and attention both nationally and internationally. More than 60 shows were made, with more than 15.000 visitors, numerous national and international collaborateurs, artists, collectives and labels, like Aloha Got Soul, Mr Bongo, Wah Wah 45s took part in it.
1 Boy Dude - Cosmic Lights 2 Bill Summers - Flying 3 Alek Lee - Sfarot 4Tony Palkovic - Born With A Desire 5 Ivan Ave - I Do 6 The Cheebacabra - Paisley Garden 7 Hemingsway - Memoirs 8 Quadrant 77 - Slow Burn feat. Udi Levi 9 Pomona Dream - Easy Rider 10 Nemoy - One For Ckenz 11 Ozerbey - Mihrimah (Ergüder Abi özür dilerim edit) 12 Suzana Estrada - Gozame Ya 13 Gauges - Get Up 14 Grotto - When Will I Learn 15 Split Decision Band - Seeking 16 Vulfpeck - Dean Town 17 Raf Reza - Pineapple Island 18 Misumami & First Touch - Prove Your Love (Istrumental) 19 Klinke Auf Clinch - CLSR (Ranko Remix) 20 The Pendletons - Gotta Get Out (Mat Matrix Remix) 21 Msafiri Zawose - Chibitenyi 22 Cross Bronx Expressway - Cross Bronx Expressway 23 Minority Band - Live 24 Joe Bataan - I’m The Fool Part 2 25 Aura - Short And Sweet 26 Mallard - Untitled (Breaks) 27 Hemingway - Ayahuasca 28 Raf Reza - Why You Gotta 29 Nu Guinea - Amore 30 Osage - I Found You (Soul Power All-Stars Remix) (feat. Dezeray Dawn) 31 Lemur - Get That Happy Feeling 32 Khadija & Marian Tone - Impossible (SOUL SUPREME REMIX) unreleased* 33 Rah Band - Messages From The Stars 34 Adam Chini - Dark Sky 35 Hollie Cook - Survive
https://soundcloud.com/beat-kollektiv http://www.weddingsoul.de/
Paskal & Urban Absolutes playing our 7th episode of Sonar Kollektiv Radio. The love for electronic dance music between the poles of pop, downtempo and house is what we can expect from this 2 hour set.
For the sixth show on Sonar Kollektiv Radio we have a special guest: Osunlade. Now known for his legendary dj sets, remixes and albums including several mix cd’s, Osunlade has placed himself on solid ground maintaining his reputation of unparalleled quality in music. Expect a musical journey!
Glenn Astro & Max Graef - Cool Garage Band Intro Braille Face - Faraway Peter Korinek - Down Town Tall Black Guy - JB Suite I New Sector Movements - Mass Car Raid As One - Problems Tony Williams - There Comes A Time Jordan Rakei – Talk To Me A Tribe Called Quest - Whatever Will Be Rob -- Make It Fast Make It Slow Jazztronik - Dentro Mi Alma (Yoruba Soul Remix) Tenderlonious - Sula Roland Brival - Sakitayo (Yoruba Soul Mix) Jesse Gannon - Take Your Time Georgia Anne Muldrow - Lo Mein sir Was - In The Midst Roberto De Simone - Secondo Coro Delle Lavandaie Osunlade - Beloved (feat. Morley) The Cavendish Orchestra - Funkrund Kevin Reynolds - Fembehyahget ? Nathan Haines - U See That ? Roy Ayers - Tarzan (Yoruba Dub) Indigenes - Da Hoti (Osunlade Yoruba Soul Mix) ?
From the new album "Into Existence" released 20.10.2017.
Harry Miller aka Glow In The Dark is neither to be found on any social media channel nor can you google anything about him, let alone does he maintain a website. The man hides completely behind his music and quite obviously in his studio. After his debut in February earlier this year, now already a few months later, his second album drops, “Into Existence.”
From the new album "Into Existence" released 20.10.2017.
Harry Miller aka Glow In The Dark is neither to be found on any social media channel nor can you google anything about him, let alone does he maintain a website. The man hides completely behind his music and quite obviously in his studio. After his debut in February earlier this year, now already a few months later, his second album drops, “Into Existence.”
At a time when DJing is less about connecting with music lovers and more about branding, play counts and frequent flyer miles, Daniel W. Best’s approach is so straightforward that it’s almost groundbreaking: an egoless passion, a fine-tuned ear and most important, an open mind with good taste. Although he prefers to call himself a music activist rather than a DJ, Best has over two decades of experience behind the decks, getting crowds onto their feet whether he plays Jazz, Soul, Reggae, Rare Groove, Disco or House – sometimes all within the same set, always on vinyl.
Dom Servini has been filling dance floors since the early 1990s with his beautifully blended, open minded mix of music steeped in soul, jazz and funk. From the early days of his Brighton residency with DJ Snowboy, his infamous late 90s Mouseorgan club events, to a decade and a half DJing under the Wah Wah 45s banner, Dom has become something of a clubbing institution.
Hollis P Monroe is known for his project with Overnite as The Black 80s or his smasher „I’m Lonely“. With releases on Freerange, Suol, Defected, West End, Noir Music, Compost and many more he’s definitely not new to this game. For our 3rd Sonar Kollektiv Radioshow you can expect a journey through his music collection of finest house music.
For our second Sonar Kollektiv Radioshow 📡 we have invited Red Rack'em to play some of his favorite records.
Check Red Rack'em - "Self Portrait" on iTunes: https://tinyurl.com/RedRack-em-SelfPortrait-iTunes
Sonar Kollektiv Radio 01! Juergen v. Knoblauch is opening our new radio show 📡, playing an eclectic mix of soul, jazz and electronic with special guest Hollis P Monroe (The Black 80s) warming up.
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Pre-Order here: https://SonarKollektiv.lnk.to/SonarKollektingVol2 Format: digital ; Release: 02.06.2017
“Sonar Kollekting Vol. 1”, releases in 2013, was actually the first true, official showcase of the by now over two decades operating Berlin label. Four years later we already get the chance to get once more a 360-degree view of Sonar Kollektiv's creative work. Four years during which quite a lot has happened apparently. No more than two artists of all the present collaborators on Vol.2 have been already featured on the first edition of “Sonar Kollekting”: Pete Josef and Stee Downes. “Sonar Kollekting Vol. 2” opens up an appetizing prospect on the label's near future when it comes to current and forthcoming releases. Just out, for example, is the marvellous electronics-folky album “Wiped Out” by Mooryc, off which the profound song “One Day” is featured here. A bit buoyant is the remix done by Erobique for Marlow's Backroom (on which you can hear Pete Josef). Next to other releases of the past months (The Black 80s, Mius und Tim Aminov), the listener is treated with ten exclusive tracks on this impressive collection. Talents like Dürerstuben already aroused attention with releases on Mutual Musik, Pampa Records und Luettje Luise and now make a lot of noise via Sonar Kollektiv. “Will E. & Gynt Her” implies a splendid feature of the twosome and the label. Together with London based singer Mark Borgazzi, Jad & The (formerly known as Jad & The Ladyboy) also contributes a song thus far unreleased (“Underwater”) to the 15 tracks strong compilation. From Harry Miller aka Glow In The Dark we get “Dark Stars”, a song not to be found on his just released debut “Future Bliss”. There is additional exclusive material in the form of the Nikitch remix of ComixXx' “Can U Feel?”, a subtle remix by ComixXx and Alex Barck for Matthew Halsall & The Gondwana Orchestra's “Into Forever”, a remix by Envee for Pete Josef's “The Travelling Song” (off his 2015 album “Colour”) and new tracks by Dutchman Geurt Kersjes aka Pitto (“Being”), the Italian Hip-hop production combo The Mixtapers (“Take Me Away”) and as well as ComixXx (“Synthesizer Journey”).
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Format: 2LP, CD, Digital Release: 05.05.2017
It's the utmost honor for Sonar Kollektiv to be in the position to introduce “Ankhor”, the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice only now, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With “Ankhor” (a combination of the Egyptian symbol for eternal life “Ankh” and “anchor”) Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and befriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On “Breathing Water” and the sublime, for the whole album groove defining opening song “The Drum Major Instinct” the native New Zealander duets with Aku.
Further collaborators on “Ankhor” are for instance the Hip-hop rooted Canadian producer duo Potatohead People. Their 2015 track “Blue Charms” is purified by Liz Aku's voice and becomes “Seasons Change”. Also built on a sample (“Waters” by Electric Wire Hustles) is the bass heavy and lasciviously lolling “Deceive The Mind”. The Rotterdam based beat smith Maximoe is responsible for this co-production, as well as for the Piano looping “Hunger”. For “Just What I Need”, one of the most sophisticated pieces of the album, Aku drummed up a whole band with the Belgian Jazz pianist Bram Weijters, the drummer Lander Ghyselinck, the bass player Juan Manssens, the trumpet player Bars Maris and the background singers Ann Waets, Steve Kashala, Vicky Venijn and Charlotte Adigéry. Bart Vincent and Serge Hertoge produced this song, as well as “Ashamed”. Both two companions from Aku's home country. Also at home in Belgium, in Ghent to be exact, is the female rapper Zulu Moon, who delivers on the title song “Ankhor” a spoken word performance in the vein of Ursula Rucker or Me'Shell NdegéOcello. The Bruxelles based producer Morshmellow adopts a quieter tone for this track and creates together with his two compatriots a mood which is present all over the whole album: A positive confidence, a brave outlook in times of unrest, an assertive statement to believe in oneself and of course lots of feeling, or more precisely, soul. And if soul music 2017 has to sound like something, then it should sound exactly like this. Thanks, Liz Aku.
Track taken from the upcoming album Pete Josef - 'Colour Remixed' out April 21st.
The release of Colour brought Pete Josef to the attention of some much-respected fellow artists, and none more so than 2009 Mercury award winner, Speech Debelle. Responding to the effervescent energy of the album’s title track, Speech apparently penned her inspired verse whilst listening to ‘Colour’ at the beach. Her mercurial spoken word graces the intro of this edit with a swing and a swagger only a rapper of her caliber could muster. She references religion, philosophy and the natural world in a verse that builds in intensity to introduce the by-now familiar opening ‘Ooh’s’ of this snapshot of the joys of living in a Technicolor world.
Track taken from the upcoming album Pete Josef - 'Colour Remixed' out April 21st.
The Roni Size ‘Travelling Song’ remix manages to capture both the classic Reprazent vibes of that golden late 90’s era, whilst building to a drop that will satisfy clubland in the way only the biggest Full Cycle Remixes manage to do. It has something of a 70’s soul musicality in the live instruments (bass, fender rhodes and guitars played by Josef), but is transported timelessly into 2017 with Roni Size’s trademark synths, beats and basslines. This remix is a reminder of the ongoing and fruitful collaboration between Size and Josef that begun a decade ago with Josef playing guitar in Reprazent Live, and has since seen him feature as vocalist and instrumentalist on numerous Roni Size releases.
Format: CD, 2LP (colored vinyl), digital ; Release: 24.03.2017
This release heralds the start of the 20th anniversary of Jazzanova as internationally renowned remixers. That is to say, it was in the summer of 1997 when the very first remix by Jazzanova was released, the one for United Future Organization's „Friends... We'll Be“ on Gilles Peterson's founded label Talkin’ Loud. Said remix can be found on the first edition of the by now accumulated to a trilogy compilation series. When the first part covers the early, yeasty years from 1997 to 2000, the second episode pays tribute to the years from 2002 to 2005 and the third sequel takes the last few years, the lapse of time from 2006 to 2016 to task. This decade as well was – as you can hear strongly by listening to this long player – a very prosperous, inspiring productive period for Jazzanova.
How fast time flies is displayed by these nine selected tracks from the last ten years. All of them still sound as if they have been released just yesterday. Starting with the remix of “Listen To The Drums” by Outlines, which evolved into a worldwide club hit over the years, also thanks to the edit by Dixon. Most remarkably this work is already ten years old! The remixes of Furry Phreaks' „All Over The World“ and Heritage Orchestra's „Skybreaks“ also doesn't really sound like two tunes from 2007. Au contraire, this is the trademark sound of Jazzanova carving itself genre-spanning into eternity. Or who would dare to not declare the 2009 remix for Atjazz' „Parallels“ as an modern day dance floor classic? And with the reworks of tracks by Hugh Masekela („Stimela“) and Joe Bataan („Ordinary Guy“) we have two actual funk/soul evergreens featured on this compilation's wonderful third edition. A must is obviously the inclusion of the remix for “Believer” by Paul Randolph from 2007. It was this remix that was somehow the start of longterm relationship that culminated in Paul becoming the steady guest singer of Jazzanova and with whom they’re touring worldwide since 2009. To top „Jazzanova – The Remixes 2006-2016“ off there's the rework of the forgotten, but recently re-issued by Notes On A Journey Spinning Motion's “Naze”.
And as a bonus track you are treated with a not yet released remix of “Dimentica Domani“ by young, Italian singer-songwriter Malika Ayane. These are nine state-of-the-art remixes carrying Jazzanova's name deep into the next decade. Back to the future. Currently Jazzanova is focussing on finishing their third longplayer for 2018. Watch out.
Format: CD, 2LP (colored vinyl), digital ; Release: 24.03.2017
This release heralds the start of the 20th anniversary of Jazzanova as internationally renowned remixers. That is to say, it was in the summer of 1997 when the very first remix by Jazzanova was released, the one for United Future Organization's „Friends... We'll Be“ on Gilles Peterson's founded label Talkin’ Loud. Said remix can be found on the first edition of the by now accumulated to a trilogy compilation series. When the first part covers the early, yeasty years from 1997 to 2000, the second episode pays tribute to the years from 2002 to 2005 and the third sequel takes the last few years, the lapse of time from 2006 to 2016 to task. This decade as well was – as you can hear strongly by listening to this long player – a very prosperous, inspiring productive period for Jazzanova.
How fast time flies is displayed by these nine selected tracks from the last ten years. All of them still sound as if they have been released just yesterday. Starting with the remix of “Listen To The Drums” by Outlines, which evolved into a worldwide club hit over the years, also thanks to the edit by Dixon. Most remarkably this work is already ten years old! The remixes of Furry Phreaks' „All Over The World“ and Heritage Orchestra's „Skybreaks“ also doesn't really sound like two tunes from 2007. Au contraire, this is the trademark sound of Jazzanova carving itself genre-spanning into eternity. Or who would dare to not declare the 2009 remix for Atjazz' „Parallels“ as an modern day dance floor classic? And with the reworks of tracks by Hugh Masekela („Stimela“) and Joe Bataan („Ordinary Guy“) we have two actual funk/soul evergreens featured on this compilation's wonderful third edition. A must is obviously the inclusion of the remix for “Believer” by Paul Randolph from 2007. It was this remix that was somehow the start of longterm relationship that culminated in Paul becoming the steady guest singer of Jazzanova and with whom they’re touring worldwide since 2009. To top „Jazzanova – The Remixes 2006-2016“ off there's the rework of the forgotten, but recently re-issued by Notes On A Journey Spinning Motion's “Naze”.
And as a bonus track you are treated with a not yet released remix of “Dimentica Domani“ by young, Italian singer-songwriter Malika Ayane. These are nine state-of-the-art remixes carrying Jazzanova's name deep into the next decade. Back to the future. Currently Jazzanova is focussing on finishing their third longplayer for 2018. Watch out.
Format: CD, 2LP (colored vinyl), digital ; Release: 24.03.2017
This release heralds the start of the 20th anniversary of Jazzanova as internationally renowned remixers. That is to say, it was in the summer of 1997 when the very first remix by Jazzanova was released, the one for United Future Organization's „Friends... We'll Be“ on Gilles Peterson's founded label Talkin’ Loud. Said remix can be found on the first edition of the by now accumulated to a trilogy compilation series. When the first part covers the early, yeasty years from 1997 to 2000, the second episode pays tribute to the years from 2002 to 2005 and the third sequel takes the last few years, the lapse of time from 2006 to 2016 to task. This decade as well was – as you can hear strongly by listening to this long player – a very prosperous, inspiring productive period for Jazzanova.
How fast time flies is displayed by these nine selected tracks from the last ten years. All of them still sound as if they have been released just yesterday. Starting with the remix of “Listen To The Drums” by Outlines, which evolved into a worldwide club hit over the years, also thanks to the edit by Dixon. Most remarkably this work is already ten years old! The remixes of Furry Phreaks' „All Over The World“ and Heritage Orchestra's „Skybreaks“ also doesn't really sound like two tunes from 2007. Au contraire, this is the trademark sound of Jazzanova carving itself genre-spanning into eternity. Or who would dare to not declare the 2009 remix for Atjazz' „Parallels“ as an modern day dance floor classic? And with the reworks of tracks by Hugh Masekela („Stimela“) and Joe Bataan („Ordinary Guy“) we have two actual funk/soul evergreens featured on this compilation's wonderful third edition. A must is obviously the inclusion of the remix for “Believer” by Paul Randolph from 2007. It was this remix that was somehow the start of longterm relationship that culminated in Paul becoming the steady guest singer of Jazzanova and with whom they’re touring worldwide since 2009. To top „Jazzanova – The Remixes 2006-2016“ off there's the rework of the forgotten, but recently re-issued by Notes On A Journey Spinning Motion's “Naze”.
And as a bonus track you are treated with a not yet released remix of “Dimentica Domani“ by young, Italian singer-songwriter Malika Ayane. These are nine state-of-the-art remixes carrying Jazzanova's name deep into the next decade. Back to the future. Currently Jazzanova is focussing on finishing their third longplayer for 2018. Watch out.
Format: CD, 2LP (colored vinyl), digital ; Release: 24.03.2017
This release heralds the start of the 20th anniversary of Jazzanova as internationally renowned remixers. That is to say, it was in the summer of 1997 when the very first remix by Jazzanova was released, the one for United Future Organization's „Friends... We'll Be“ on Gilles Peterson's founded label Talkin’ Loud. Said remix can be found on the first edition of the by now accumulated to a trilogy compilation series. When the first part covers the early, yeasty years from 1997 to 2000, the second episode pays tribute to the years from 2002 to 2005 and the third sequel takes the last few years, the lapse of time from 2006 to 2016 to task. This decade as well was – as you can hear strongly by listening to this long player – a very prosperous, inspiring productive period for Jazzanova.
How fast time flies is displayed by these nine selected tracks from the last ten years. All of them still sound as if they have been released just yesterday. Starting with the remix of “Listen To The Drums” by Outlines, which evolved into a worldwide club hit over the years, also thanks to the edit by Dixon. Most remarkably this work is already ten years old! The remixes of Furry Phreaks' „All Over The World“ and Heritage Orchestra's „Skybreaks“ also doesn't really sound like two tunes from 2007. Au contraire, this is the trademark sound of Jazzanova carving itself genre-spanning into eternity. Or who would dare to not declare the 2009 remix for Atjazz' „Parallels“ as an modern day dance floor classic? And with the reworks of tracks by Hugh Masekela („Stimela“) and Joe Bataan („Ordinary Guy“) we have two actual funk/soul evergreens featured on this compilation's wonderful third edition. A must is obviously the inclusion of the remix for “Believer” by Paul Randolph from 2007. It was this remix that was somehow the start of longterm relationship that culminated in Paul becoming the steady guest singer of Jazzanova and with whom they’re touring worldwide since 2009. To top „Jazzanova – The Remixes 2006-2016“ off there's the rework of the forgotten, but recently re-issued by Notes On A Journey Spinning Motion's “Naze”.
And as a bonus track you are treated with a not yet released remix of “Dimentica Domani“ by young, Italian singer-songwriter Malika Ayane. These are nine state-of-the-art remixes carrying Jazzanova's name deep into the next decade. Back to the future. Currently Jazzanova is focussing on finishing their third longplayer for 2018. Watch out.
Format: CD, 2LP (colored vinyl), digital ; Release: 24.03.2017
This release heralds the start of the 20th anniversary of Jazzanova as internationally renowned remixers. That is to say, it was in the summer of 1997 when the very first remix by Jazzanova was released, the one for United Future Organization's „Friends... We'll Be“ on Gilles Peterson's founded label Talkin’ Loud. Said remix can be found on the first edition of the by now accumulated to a trilogy compilation series. When the first part covers the early, yeasty years from 1997 to 2000, the second episode pays tribute to the years from 2002 to 2005 and the third sequel takes the last few years, the lapse of time from 2006 to 2016 to task. This decade as well was – as you can hear strongly by listening to this long player – a very prosperous, inspiring productive period for Jazzanova.
How fast time flies is displayed by these nine selected tracks from the last ten years. All of them still sound as if they have been released just yesterday. Starting with the remix of “Listen To The Drums” by Outlines, which evolved into a worldwide club hit over the years, also thanks to the edit by Dixon. Most remarkably this work is already ten years old! The remixes of Furry Phreaks' „All Over The World“ and Heritage Orchestra's „Skybreaks“ also doesn't really sound like two tunes from 2007. Au contraire, this is the trademark sound of Jazzanova carving itself genre-spanning into eternity. Or who would dare to not declare the 2009 remix for Atjazz' „Parallels“ as an modern day dance floor classic? And with the reworks of tracks by Hugh Masekela („Stimela“) and Joe Bataan („Ordinary Guy“) we have two actual funk/soul evergreens featured on this compilation's wonderful third edition. A must is obviously the inclusion of the remix for “Believer” by Paul Randolph from 2007. It was this remix that was somehow the start of longterm relationship that culminated in Paul becoming the steady guest singer of Jazzanova and with whom they’re touring worldwide since 2009. To top „Jazzanova – The Remixes 2006-2016“ off there's the rework of the forgotten, but recently re-issued by Notes On A Journey Spinning Motion's “Naze”.
And as a bonus track you are treated with a not yet released remix of “Dimentica Domani“ by young, Italian singer-songwriter Malika Ayane. These are nine state-of-the-art remixes carrying Jazzanova's name deep into the next decade. Back to the future. Currently Jazzanova is focussing on finishing their third longplayer for 2018. Watch out.
Format: CD, 2LP (colored vinyl), digital ; Release: 24.03.2017
This release heralds the start of the 20th anniversary of Jazzanova as internationally renowned remixers. That is to say, it was in the summer of 1997 when the very first remix by Jazzanova was released, the one for United Future Organization's „Friends... We'll Be“ on Gilles Peterson's founded label Talkin’ Loud. Said remix can be found on the first edition of the by now accumulated to a trilogy compilation series. When the first part covers the early, yeasty years from 1997 to 2000, the second episode pays tribute to the years from 2002 to 2005 and the third sequel takes the last few years, the lapse of time from 2006 to 2016 to task. This decade as well was – as you can hear strongly by listening to this long player – a very prosperous, inspiring productive period for Jazzanova.
How fast time flies is displayed by these nine selected tracks from the last ten years. All of them still sound as if they have been released just yesterday. Starting with the remix of “Listen To The Drums” by Outlines, which evolved into a worldwide club hit over the years, also thanks to the edit by Dixon. Most remarkably this work is already ten years old! The remixes of Furry Phreaks' „All Over The World“ and Heritage Orchestra's „Skybreaks“ also doesn't really sound like two tunes from 2007. Au contraire, this is the trademark sound of Jazzanova carving itself genre-spanning into eternity. Or who would dare to not declare the 2009 remix for Atjazz' „Parallels“ as an modern day dance floor classic? And with the reworks of tracks by Hugh Masekela („Stimela“) and Joe Bataan („Ordinary Guy“) we have two actual funk/soul evergreens featured on this compilation's wonderful third edition. A must is obviously the inclusion of the remix for “Believer” by Paul Randolph from 2007. It was this remix that was somehow the start of longterm relationship that culminated in Paul becoming the steady guest singer of Jazzanova and with whom they’re touring worldwide since 2009. To top „Jazzanova – The Remixes 2006-2016“ off there's the rework of the forgotten, but recently re-issued by Notes On A Journey Spinning Motion's “Naze”.
And as a bonus track you are treated with a not yet released remix of “Dimentica Domani“ by young, Italian singer-songwriter Malika Ayane. These are nine state-of-the-art remixes carrying Jazzanova's name deep into the next decade. Back to the future. Currently Jazzanova is focussing on finishing their third longplayer for 2018. Watch out.
Format: CD, 2LP (colored vinyl), digital ; Release: 24.03.2017
This release heralds the start of the 20th anniversary of Jazzanova as internationally renowned remixers. That is to say, it was in the summer of 1997 when the very first remix by Jazzanova was released, the one for United Future Organization's „Friends... We'll Be“ on Gilles Peterson's founded label Talkin’ Loud. Said remix can be found on the first edition of the by now accumulated to a trilogy compilation series. When the first part covers the early, yeasty years from 1997 to 2000, the second episode pays tribute to the years from 2002 to 2005 and the third sequel takes the last few years, the lapse of time from 2006 to 2016 to task. This decade as well was – as you can hear strongly by listening to this long player – a very prosperous, inspiring productive period for Jazzanova.
How fast time flies is displayed by these nine selected tracks from the last ten years. All of them still sound as if they have been released just yesterday. Starting with the remix of “Listen To The Drums” by Outlines, which evolved into a worldwide club hit over the years, also thanks to the edit by Dixon. Most remarkably this work is already ten years old! The remixes of Furry Phreaks' „All Over The World“ and Heritage Orchestra's „Skybreaks“ also doesn't really sound like two tunes from 2007. Au contraire, this is the trademark sound of Jazzanova carving itself genre-spanning into eternity. Or who would dare to not declare the 2009 remix for Atjazz' „Parallels“ as an modern day dance floor classic? And with the reworks of tracks by Hugh Masekela („Stimela“) and Joe Bataan („Ordinary Guy“) we have two actual funk/soul evergreens featured on this compilation's wonderful third edition. A must is obviously the inclusion of the remix for “Believer” by Paul Randolph from 2007. It was this remix that was somehow the start of longterm relationship that culminated in Paul becoming the steady guest singer of Jazzanova and with whom they’re touring worldwide since 2009. To top „Jazzanova – The Remixes 2006-2016“ off there's the rework of the forgotten, but recently re-issued by Notes On A Journey Spinning Motion's “Naze”.
And as a bonus track you are treated with a not yet released remix of “Dimentica Domani“ by young, Italian singer-songwriter Malika Ayane. These are nine state-of-the-art remixes carrying Jazzanova's name deep into the next decade. Back to the future. Currently Jazzanova is focussing on finishing their third longplayer for 2018. Watch out.
Format: Digital Single ; Release: 24.02.2017
Probably it got around already: In May one of this year's most anticipated and most important releases for Sonar Kollektiv is in store, Belgian soul singer and songwriter Liz Aku's debut for the label, “Ankhor”. The first single off the twelve-tracks strong album, “Seasons Change”, hits now the digital stores. Credits for the song go to producer duo Potatohead People (Nick Wisdom & AstroLogical). Their track “Blue Charms” (together with guitar player Danny McKinnon), already featured on their 2015 album “Big Luxury”, serves as the ultimate foundation for Liz Aku's tantalizing voice. To be honest, everything matches so perfectly, you more likely tend to imagine how these four musicians composed and recorded the song together in the same studio. Eventually they created a tune which is a pleasant presentiment for the album named “Ankhor” coming out in May 2017.
Format: LP, Digital ; Release: 10.02.2017
There's not a lot to tell about the project Glow In The Dark by a certain Harry Miller. Only perhaps we can state that with these eight tracks at hand Harry Miller accomplished probably the most enchanting album of the still quite young year. Just when we wanted to dismiss the short-dated genre of Chillwave wistfully, “Future Bliss” comes along with a bewitching sound hailing from an optimistic but cranky future. Already the opening track “step ONE” with its vocal samples and its spoken word intro is futuristic soul full of affirmation of life pillowed on a synth bedding smoothed to the max up to its edges. But also the following seven tracks spread infectious positive vibes all around.
The magic of Glow In The Dark's tracks is energized mostly by Miller's delicate way of treating his various samples, a wary manner one usually only shows when picking up a guitar. And unlike sample based music feeding from Hiphop his tracks are completely free from any sort of nostalgia, because all of his songs are designed for the future through and through.
“Future Bliss” is one hell of a joy ride, from the first note to the last tone. The neon funk of “1987”, the broken beat of “7 Billion = 1”, the synth pop of “The Last Dance” and in general, all of the eight tracks could be little, but great hymns on their own. But only in its entirety they sparkle this fathomless ingeniousness hidden in Glow In The Dark. In the end it seems to be wiser that one has as little background information as possible to be able to lose oneself fully in this “Future Bliss”.
Format: LP, Digital ; Release: 10.02.2017
There's not a lot to tell about the project Glow In The Dark by a certain Harry Miller. Only perhaps we can state that with these eight tracks at hand Harry Miller accomplished probably the most enchanting album of the still quite young year. Just when we wanted to dismiss the short-dated genre of Chillwave wistfully, “Future Bliss” comes along with a bewitching sound hailing from an optimistic but cranky future. Already the opening track “step ONE” with its vocal samples and its spoken word intro is futuristic soul full of affirmation of life pillowed on a synth bedding smoothed to the max up to its edges. But also the following seven tracks spread infectious positive vibes all around.
The magic of Glow In The Dark's tracks is energized mostly by Miller's delicate way of treating his various samples, a wary manner one usually only shows when picking up a guitar. And unlike sample based music feeding from Hiphop his tracks are completely free from any sort of nostalgia, because all of his songs are designed for the future through and through.
“Future Bliss” is one hell of a joy ride, from the first note to the last tone. The neon funk of “1987”, the broken beat of “7 Billion = 1”, the synth pop of “The Last Dance” and in general, all of the eight tracks could be little, but great hymns on their own. But only in its entirety they sparkle this fathomless ingeniousness hidden in Glow In The Dark. In the end it seems to be wiser that one has as little background information as possible to be able to lose oneself fully in this “Future Bliss”.
Format: LP, Digital ; Release: 10.02.2017
There's not a lot to tell about the project Glow In The Dark by a certain Harry Miller. Only perhaps we can state that with these eight tracks at hand Harry Miller accomplished probably the most enchanting album of the still quite young year. Just when we wanted to dismiss the short-dated genre of Chillwave wistfully, “Future Bliss” comes along with a bewitching sound hailing from an optimistic but cranky future. Already the opening track “step ONE” with its vocal samples and its spoken word intro is futuristic soul full of affirmation of life pillowed on a synth bedding smoothed to the max up to its edges. But also the following seven tracks spread infectious positive vibes all around.
The magic of Glow In The Dark's tracks is energized mostly by Miller's delicate way of treating his various samples, a wary manner one usually only shows when picking up a guitar. And unlike sample based music feeding from Hiphop his tracks are completely free from any sort of nostalgia, because all of his songs are designed for the future through and through.
“Future Bliss” is one hell of a joy ride, from the first note to the last tone. The neon funk of “1987”, the broken beat of “7 Billion = 1”, the synth pop of “The Last Dance” and in general, all of the eight tracks could be little, but great hymns on their own. But only in its entirety they sparkle this fathomless ingeniousness hidden in Glow In The Dark. In the end it seems to be wiser that one has as little background information as possible to be able to lose oneself fully in this “Future Bliss”.
Format: LP, Digital ; Release: 10.02.2017
There's not a lot to tell about the project Glow In The Dark by a certain Harry Miller. Only perhaps we can state that with these eight tracks at hand Harry Miller accomplished probably the most enchanting album of the still quite young year. Just when we wanted to dismiss the short-dated genre of Chillwave wistfully, “Future Bliss” comes along with a bewitching sound hailing from an optimistic but cranky future. Already the opening track “step ONE” with its vocal samples and its spoken word intro is futuristic soul full of affirmation of life pillowed on a synth bedding smoothed to the max up to its edges. But also the following seven tracks spread infectious positive vibes all around.
The magic of Glow In The Dark's tracks is energized mostly by Miller's delicate way of treating his various samples, a wary manner one usually only shows when picking up a guitar. And unlike sample based music feeding from Hiphop his tracks are completely free from any sort of nostalgia, because all of his songs are designed for the future through and through.
“Future Bliss” is one hell of a joy ride, from the first note to the last tone. The neon funk of “1987”, the broken beat of “7 Billion = 1”, the synth pop of “The Last Dance” and in general, all of the eight tracks could be little, but great hymns on their own. But only in its entirety they sparkle this fathomless ingeniousness hidden in Glow In The Dark. In the end it seems to be wiser that one has as little background information as possible to be able to lose oneself fully in this “Future Bliss”.
Format: LP, Digital ; Release: 10.02.2017
There's not a lot to tell about the project Glow In The Dark by a certain Harry Miller. Only perhaps we can state that with these eight tracks at hand Harry Miller accomplished probably the most enchanting album of the still quite young year. Just when we wanted to dismiss the short-dated genre of Chillwave wistfully, “Future Bliss” comes along with a bewitching sound hailing from an optimistic but cranky future. Already the opening track “step ONE” with its vocal samples and its spoken word intro is futuristic soul full of affirmation of life pillowed on a synth bedding smoothed to the max up to its edges. But also the following seven tracks spread infectious positive vibes all around.
The magic of Glow In The Dark's tracks is energized mostly by Miller's delicate way of treating his various samples, a wary manner one usually only shows when picking up a guitar. And unlike sample based music feeding from Hiphop his tracks are completely free from any sort of nostalgia, because all of his songs are designed for the future through and through.
“Future Bliss” is one hell of a joy ride, from the first note to the last tone. The neon funk of “1987”, the broken beat of “7 Billion = 1”, the synth pop of “The Last Dance” and in general, all of the eight tracks could be little, but great hymns on their own. But only in its entirety they sparkle this fathomless ingeniousness hidden in Glow In The Dark. In the end it seems to be wiser that one has as little background information as possible to be able to lose oneself fully in this “Future Bliss”.
Format: LP, Digital ; Release: 10.02.2017
There's not a lot to tell about the project Glow In The Dark by a certain Harry Miller. Only perhaps we can state that with these eight tracks at hand Harry Miller accomplished probably the most enchanting album of the still quite young year. Just when we wanted to dismiss the short-dated genre of Chillwave wistfully, “Future Bliss” comes along with a bewitching sound hailing from an optimistic but cranky future. Already the opening track “step ONE” with its vocal samples and its spoken word intro is futuristic soul full of affirmation of life pillowed on a synth bedding smoothed to the max up to its edges. But also the following seven tracks spread infectious positive vibes all around.
The magic of Glow In The Dark's tracks is energized mostly by Miller's delicate way of treating his various samples, a wary manner one usually only shows when picking up a guitar. And unlike sample based music feeding from Hiphop his tracks are completely free from any sort of nostalgia, because all of his songs are designed for the future through and through.
“Future Bliss” is one hell of a joy ride, from the first note to the last tone. The neon funk of “1987”, the broken beat of “7 Billion = 1”, the synth pop of “The Last Dance” and in general, all of the eight tracks could be little, but great hymns on their own. But only in its entirety they sparkle this fathomless ingeniousness hidden in Glow In The Dark. In the end it seems to be wiser that one has as little background information as possible to be able to lose oneself fully in this “Future Bliss”.
Format: LP, Digital ; Release: 10.02.2017
There's not a lot to tell about the project Glow In The Dark by a certain Harry Miller. Only perhaps we can state that with these eight tracks at hand Harry Miller accomplished probably the most enchanting album of the still quite young year. Just when we wanted to dismiss the short-dated genre of Chillwave wistfully, “Future Bliss” comes along with a bewitching sound hailing from an optimistic but cranky future. Already the opening track “step ONE” with its vocal samples and its spoken word intro is futuristic soul full of affirmation of life pillowed on a synth bedding smoothed to the max up to its edges. But also the following seven tracks spread infectious positive vibes all around.
The magic of Glow In The Dark's tracks is energized mostly by Miller's delicate way of treating his various samples, a wary manner one usually only shows when picking up a guitar. And unlike sample based music feeding from Hiphop his tracks are completely free from any sort of nostalgia, because all of his songs are designed for the future through and through.
“Future Bliss” is one hell of a joy ride, from the first note to the last tone. The neon funk of “1987”, the broken beat of “7 Billion = 1”, the synth pop of “The Last Dance” and in general, all of the eight tracks could be little, but great hymns on their own. But only in its entirety they sparkle this fathomless ingeniousness hidden in Glow In The Dark. In the end it seems to be wiser that one has as little background information as possible to be able to lose oneself fully in this “Future Bliss”.
Format: LP, Digital ; Release: 10.02.2017
There's not a lot to tell about the project Glow In The Dark by a certain Harry Miller. Only perhaps we can state that with these eight tracks at hand Harry Miller accomplished probably the most enchanting album of the still quite young year. Just when we wanted to dismiss the short-dated genre of Chillwave wistfully, “Future Bliss” comes along with a bewitching sound hailing from an optimistic but cranky future. Already the opening track “step ONE” with its vocal samples and its spoken word intro is futuristic soul full of affirmation of life pillowed on a synth bedding smoothed to the max up to its edges. But also the following seven tracks spread infectious positive vibes all around.
The magic of Glow In The Dark's tracks is energized mostly by Miller's delicate way of treating his various samples, a wary manner one usually only shows when picking up a guitar. And unlike sample based music feeding from Hiphop his tracks are completely free from any sort of nostalgia, because all of his songs are designed for the future through and through.
“Future Bliss” is one hell of a joy ride, from the first note to the last tone. The neon funk of “1987”, the broken beat of “7 Billion = 1”, the synth pop of “The Last Dance” and in general, all of the eight tracks could be little, but great hymns on their own. But only in its entirety they sparkle this fathomless ingeniousness hidden in Glow In The Dark. In the end it seems to be wiser that one has as little background information as possible to be able to lose oneself fully in this “Future Bliss”.
Format: Digital ; Release: 20.01.2017
"It Could Go Either Way" is the remix single off the debut album ("Darkness On The Edge Of Ecstasy", SK335LP) by Jonatan Bäckelie aka Ernesto. At the same time it's also the farewell gift by Berlin duo Trickski. As you might know, Yannick Labbé and Daniel Becker decided a while ago to go separate ways. The last mutual task they got their hands on was this remix here. And they delivered even two versions, which are both on their own exceptional interpretations of this sensitive ballad by the Swedish songwriter and singer. As the title indicates, The "Garage Mix" floors the car a bit more, uses a quite complex rhythm structure though making it delicate for DJs when to play it. Dropped at the right time at the right place it can work wonders. On the contrary, "The Trickski Way Mix" shines with a retro aesthetics and a groovy smoothness which goes under your skin instantly. That's why you find the instrumental version on this package as well.
Format: Digital ; Release: 20.01.2017
"It Could Go Either Way" is the remix single off the debut album ("Darkness On The Edge Of Ecstasy", SK335LP) by Jonatan Bäckelie aka Ernesto. At the same time it's also the farewell gift by Berlin duo Trickski. As you might know, Yannick Labbé and Daniel Becker decided a while ago to go separate ways. The last mutual task they got their hands on was this remix here. And they delivered even two versions, which are both on their own exceptional interpretations of this sensitive ballad by the Swedish songwriter and singer. As the title indicates, The "Garage Mix" floors the car a bit more, uses a quite complex rhythm structure though making it delicate for DJs when to play it. Dropped at the right time at the right place it can work wonders. On the contrary, "The Trickski Way Mix" shines with a retro aesthetics and a groovy smoothness which goes under your skin instantly. That's why you find the instrumental version on this package as well.
Format: Digital ; Release: 20.01.2017
"It Could Go Either Way" is the remix single off the debut album ("Darkness On The Edge Of Ecstasy", SK335LP) by Jonatan Bäckelie aka Ernesto. At the same time it's also the farewell gift by Berlin duo Trickski. As you might know, Yannick Labbé and Daniel Becker decided a while ago to go separate ways. The last mutual task they got their hands on was this remix here. And they delivered even two versions, which are both on their own exceptional interpretations of this sensitive ballad by the Swedish songwriter and singer. As the title indicates, The "Garage Mix" floors the car a bit more, uses a quite complex rhythm structure though making it delicate for DJs when to play it. Dropped at the right time at the right place it can work wonders. On the contrary, "The Trickski Way Mix" shines with a retro aesthetics and a groovy smoothness which goes under your skin instantly. That's why you find the instrumental version on this package as well.
Format: digital ; Release: 02.12.2016
Since his debut album in summer 2012 (“The Colors Of Hope“) Fetsum has grown to become an artist, whose goal is to make music with social relevance and is able to provoke to act. The “Peace x Peace”-Festival in Berlin this year, initiated and organized by Fetsum Sebhat reinforces his wholeheartedly involvement for a fairer, more social and more peaceful world.
Looked at it that way it's not a surprise at all that the son of an Eritrean refugee family just wrote a book together with the vice president of the German parliament, Claudia Roth about the current political situation (“So geht Deutschland – Eine Anstiftung zum Mitmachen und Einmischen”). You could almost believe there's no time left for music. But just before Christmas Fetsum finally favours us with his new EP “Light In A Dark Place” and turns its title into substantial action. Just as with the PxP festival, UNICEF children aid projects in Syria, South Sudan, in the Ukraine and in Iraq will be supported with the net revenues. For the EP's six songs Fetsum visited the recording studios of several top shot producers in Great Britain and in the US over the last few months.
“Pass It On” is a beautiful, folky soul ballad with inevitable sing-along effect Fetsum wrote together with Dominic Salole aka Mocky and recorded it with hit producer Justin Stanley. It's also Stanley who produced “Tiger”, a song Fetsum is collaborating on with LA based Harlan Silverman (e.g. guitar player with Mayer Hawthorne). Probably one of the most important songs the Berliner by choice has written in his career is “Refugee”. An anthem which could make Fetsum carry the hope of a whole generation. For this song, no one less than British composer Guy Chambers (Robbie Williams, James Blunt etc.) has helped him out as well as Swedish prouder Martin Terefe. He was also responsible for production duties on “Love Isn't Love” and “Paradise”. Both two songs which get under the skin and spread optimism without ever drift off into cheesiness. A downright call for action is the protest song “Stop For A Minute” for which Fetsum invited a whole choir to the Funkhaus Studios Berlin and which was mixed by the eight time Grammy Awards winner Manny Marroquin.
Fetsum manages with “Light In A Dark Place” to achieve something that not a lot of artists succeeded in: To make music that exactly reflect the Zeitgeist and invites the listeners to play one's part in making this world a little bit better. “I have received a lot during my life”, says Fetsum. “Now it's time to give back a lot”. This EP is certainly not the last thing we will receive as a gift from him in the near future.
Format: digital ; Release: 02.12.2016
Since his debut album in summer 2012 (“The Colors Of Hope“) Fetsum has grown to become an artist, whose goal is to make music with social relevance and is able to provoke to act. The “Peace x Peace”-Festival in Berlin this year, initiated and organized by Fetsum Sebhat reinforces his wholeheartedly involvement for a fairer, more social and more peaceful world.
Looked at it that way it's not a surprise at all that the son of an Eritrean refugee family just wrote a book together with the vice president of the German parliament, Claudia Roth about the current political situation (“So geht Deutschland – Eine Anstiftung zum Mitmachen und Einmischen”). You could almost believe there's no time left for music. But just before Christmas Fetsum finally favours us with his new EP “Light In A Dark Place” and turns its title into substantial action. Just as with the PxP festival, UNICEF children aid projects in Syria, South Sudan, in the Ukraine and in Iraq will be supported with the net revenues. For the EP's six songs Fetsum visited the recording studios of several top shot producers in Great Britain and in the US over the last few months.
“Pass It On” is a beautiful, folky soul ballad with inevitable sing-along effect Fetsum wrote together with Dominic Salole aka Mocky and recorded it with hit producer Justin Stanley. It's also Stanley who produced “Tiger”, a song Fetsum is collaborating on with LA based Harlan Silverman (e.g. guitar player with Mayer Hawthorne). Probably one of the most important songs the Berliner by choice has written in his career is “Refugee”. An anthem which could make Fetsum carry the hope of a whole generation. For this song, no one less than British composer Guy Chambers (Robbie Williams, James Blunt etc.) has helped him out as well as Swedish prouder Martin Terefe. He was also responsible for production duties on “Love Isn't Love” and “Paradise”. Both two songs which get under the skin and spread optimism without ever drift off into cheesiness. A downright call for action is the protest song “Stop For A Minute” for which Fetsum invited a whole choir to the Funkhaus Studios Berlin and which was mixed by the eight time Grammy Awards winner Manny Marroquin.
Fetsum manages with “Light In A Dark Place” to achieve something that not a lot of artists succeeded in: To make music that exactly reflect the Zeitgeist and invites the listeners to play one's part in making this world a little bit better. “I have received a lot during my life”, says Fetsum. “Now it's time to give back a lot”. This EP is certainly not the last thing we will receive as a gift from him in the near future.
Format: digital ; Release: 02.12.2016
Since his debut album in summer 2012 (“The Colors Of Hope“) Fetsum has grown to become an artist, whose goal is to make music with social relevance and is able to provoke to act. The “Peace x Peace”-Festival in Berlin this year, initiated and organized by Fetsum Sebhat reinforces his wholeheartedly involvement for a fairer, more social and more peaceful world.
Looked at it that way it's not a surprise at all that the son of an Eritrean refugee family just wrote a book together with the vice president of the German parliament, Claudia Roth about the current political situation (“So geht Deutschland – Eine Anstiftung zum Mitmachen und Einmischen”). You could almost believe there's no time left for music. But just before Christmas Fetsum finally favours us with his new EP “Light In A Dark Place” and turns its title into substantial action. Just as with the PxP festival, UNICEF children aid projects in Syria, South Sudan, in the Ukraine and in Iraq will be supported with the net revenues. For the EP's six songs Fetsum visited the recording studios of several top shot producers in Great Britain and in the US over the last few months.
“Pass It On” is a beautiful, folky soul ballad with inevitable sing-along effect Fetsum wrote together with Dominic Salole aka Mocky and recorded it with hit producer Justin Stanley. It's also Stanley who produced “Tiger”, a song Fetsum is collaborating on with LA based Harlan Silverman (e.g. guitar player with Mayer Hawthorne). Probably one of the most important songs the Berliner by choice has written in his career is “Refugee”. An anthem which could make Fetsum carry the hope of a whole generation. For this song, no one less than British composer Guy Chambers (Robbie Williams, James Blunt etc.) has helped him out as well as Swedish prouder Martin Terefe. He was also responsible for production duties on “Love Isn't Love” and “Paradise”. Both two songs which get under the skin and spread optimism without ever drift off into cheesiness. A downright call for action is the protest song “Stop For A Minute” for which Fetsum invited a whole choir to the Funkhaus Studios Berlin and which was mixed by the eight time Grammy Awards winner Manny Marroquin.
Fetsum manages with “Light In A Dark Place” to achieve something that not a lot of artists succeeded in: To make music that exactly reflect the Zeitgeist and invites the listeners to play one's part in making this world a little bit better. “I have received a lot during my life”, says Fetsum. “Now it's time to give back a lot”. This EP is certainly not the last thing we will receive as a gift from him in the near future.
Format: digital ; Release: 02.12.2016
Since his debut album in summer 2012 (“The Colors Of Hope“) Fetsum has grown to become an artist, whose goal is to make music with social relevance and is able to provoke to act. The “Peace x Peace”-Festival in Berlin this year, initiated and organized by Fetsum Sebhat reinforces his wholeheartedly involvement for a fairer, more social and more peaceful world.
Looked at it that way it's not a surprise at all that the son of an Eritrean refugee family just wrote a book together with the vice president of the German parliament, Claudia Roth about the current political situation (“So geht Deutschland – Eine Anstiftung zum Mitmachen und Einmischen”). You could almost believe there's no time left for music. But just before Christmas Fetsum finally favours us with his new EP “Light In A Dark Place” and turns its title into substantial action. Just as with the PxP festival, UNICEF children aid projects in Syria, South Sudan, in the Ukraine and in Iraq will be supported with the net revenues. For the EP's six songs Fetsum visited the recording studios of several top shot producers in Great Britain and in the US over the last few months.
“Pass It On” is a beautiful, folky soul ballad with inevitable sing-along effect Fetsum wrote together with Dominic Salole aka Mocky and recorded it with hit producer Justin Stanley. It's also Stanley who produced “Tiger”, a song Fetsum is collaborating on with LA based Harlan Silverman (e.g. guitar player with Mayer Hawthorne). Probably one of the most important songs the Berliner by choice has written in his career is “Refugee”. An anthem which could make Fetsum carry the hope of a whole generation. For this song, no one less than British composer Guy Chambers (Robbie Williams, James Blunt etc.) has helped him out as well as Swedish prouder Martin Terefe. He was also responsible for production duties on “Love Isn't Love” and “Paradise”. Both two songs which get under the skin and spread optimism without ever drift off into cheesiness. A downright call for action is the protest song “Stop For A Minute” for which Fetsum invited a whole choir to the Funkhaus Studios Berlin and which was mixed by the eight time Grammy Awards winner Manny Marroquin.
Fetsum manages with “Light In A Dark Place” to achieve something that not a lot of artists succeeded in: To make music that exactly reflect the Zeitgeist and invites the listeners to play one's part in making this world a little bit better. “I have received a lot during my life”, says Fetsum. “Now it's time to give back a lot”. This EP is certainly not the last thing we will receive as a gift from him in the near future.
Format: digital ; Release: 02.12.2016
Since his debut album in summer 2012 (“The Colors Of Hope“) Fetsum has grown to become an artist, whose goal is to make music with social relevance and is able to provoke to act. The “Peace x Peace”-Festival in Berlin this year, initiated and organized by Fetsum Sebhat reinforces his wholeheartedly involvement for a fairer, more social and more peaceful world.
Looked at it that way it's not a surprise at all that the son of an Eritrean refugee family just wrote a book together with the vice president of the German parliament, Claudia Roth about the current political situation (“So geht Deutschland – Eine Anstiftung zum Mitmachen und Einmischen”). You could almost believe there's no time left for music. But just before Christmas Fetsum finally favours us with his new EP “Light In A Dark Place” and turns its title into substantial action. Just as with the PxP festival, UNICEF children aid projects in Syria, South Sudan, in the Ukraine and in Iraq will be supported with the net revenues. For the EP's six songs Fetsum visited the recording studios of several top shot producers in Great Britain and in the US over the last few months.
“Pass It On” is a beautiful, folky soul ballad with inevitable sing-along effect Fetsum wrote together with Dominic Salole aka Mocky and recorded it with hit producer Justin Stanley. It's also Stanley who produced “Tiger”, a song Fetsum is collaborating on with LA based Harlan Silverman (e.g. guitar player with Mayer Hawthorne). Probably one of the most important songs the Berliner by choice has written in his career is “Refugee”. An anthem which could make Fetsum carry the hope of a whole generation. For this song, no one less than British composer Guy Chambers (Robbie Williams, James Blunt etc.) has helped him out as well as Swedish prouder Martin Terefe. He was also responsible for production duties on “Love Isn't Love” and “Paradise”. Both two songs which get under the skin and spread optimism without ever drift off into cheesiness. A downright call for action is the protest song “Stop For A Minute” for which Fetsum invited a whole choir to the Funkhaus Studios Berlin and which was mixed by the eight time Grammy Awards winner Manny Marroquin.
Fetsum manages with “Light In A Dark Place” to achieve something that not a lot of artists succeeded in: To make music that exactly reflect the Zeitgeist and invites the listeners to play one's part in making this world a little bit better. “I have received a lot during my life”, says Fetsum. “Now it's time to give back a lot”. This EP is certainly not the last thing we will receive as a gift from him in the near future.
Format: digital ; Release: 02.12.2016
Since his debut album in summer 2012 (“The Colors Of Hope“) Fetsum has grown to become an artist, whose goal is to make music with social relevance and is able to provoke to act. The “Peace x Peace”-Festival in Berlin this year, initiated and organized by Fetsum Sebhat reinforces his wholeheartedly involvement for a fairer, more social and more peaceful world.
Looked at it that way it's not a surprise at all that the son of an Eritrean refugee family just wrote a book together with the vice president of the German parliament, Claudia Roth about the current political situation (“So geht Deutschland – Eine Anstiftung zum Mitmachen und Einmischen”). You could almost believe there's no time left for music. But just before Christmas Fetsum finally favours us with his new EP “Light In A Dark Place” and turns its title into substantial action. Just as with the PxP festival, UNICEF children aid projects in Syria, South Sudan, in the Ukraine and in Iraq will be supported with the net revenues. For the EP's six songs Fetsum visited the recording studios of several top shot producers in Great Britain and in the US over the last few months.
“Pass It On” is a beautiful, folky soul ballad with inevitable sing-along effect Fetsum wrote together with Dominic Salole aka Mocky and recorded it with hit producer Justin Stanley. It's also Stanley who produced “Tiger”, a song Fetsum is collaborating on with LA based Harlan Silverman (e.g. guitar player with Mayer Hawthorne). Probably one of the most important songs the Berliner by choice has written in his career is “Refugee”. An anthem which could make Fetsum carry the hope of a whole generation. For this song, no one less than British composer Guy Chambers (Robbie Williams, James Blunt etc.) has helped him out as well as Swedish prouder Martin Terefe. He was also responsible for production duties on “Love Isn't Love” and “Paradise”. Both two songs which get under the skin and spread optimism without ever drift off into cheesiness. A downright call for action is the protest song “Stop For A Minute” for which Fetsum invited a whole choir to the Funkhaus Studios Berlin and which was mixed by the eight time Grammy Awards winner Manny Marroquin.
Fetsum manages with “Light In A Dark Place” to achieve something that not a lot of artists succeeded in: To make music that exactly reflect the Zeitgeist and invites the listeners to play one's part in making this world a little bit better. “I have received a lot during my life”, says Fetsum. “Now it's time to give back a lot”. This EP is certainly not the last thing we will receive as a gift from him in the near future.
Format: 12inch, digital ; Release: 18.11.2016
For Sonar Kollektiv the 12inch series Based On Misunderstandings is something like a testing ground for new projects, sounds and trends of aesthetics. RüBA KPØ is not a veteran's hard rock line-up like the name might suggest, but a four-headed hydra that patched things up in 2009 to turn everything upside down we always thought we knew about club music. A prime release on King Sound Music in 2013 targeted a first direction, now the gloves are taken off. “We Are World” is a true challenge for any listening habit without losing any catchiness though. A downright minimalistic techno track with an extra overwhelming bassline and a mad acid arpeggio is carried by a whimsical, pastoral choir into heaven. A concept captivating in the original version incredibly. The remixes by Simbad and Eddy & Dus urge the mischief of this composition to even riskier places. At the end of the day is this 4-track EP keeping everybody on their toes and one will wonder once again: Is this all just a misunderstanding or is this after all the sound of the future?
Format: 12inch, digital ; Release: 18.11.2016
For Sonar Kollektiv the 12inch series Based On Misunderstandings is something like a testing ground for new projects, sounds and trends of aesthetics. RüBA KPØ is not a veteran's hard rock line-up like the name might suggest, but a four-headed hydra that patched things up in 2009 to turn everything upside down we always thought we knew about club music. A prime release on King Sound Music in 2013 targeted a first direction, now the gloves are taken off. “We Are World” is a true challenge for any listening habit without losing any catchiness though. A downright minimalistic techno track with an extra overwhelming bassline and a mad acid arpeggio is carried by a whimsical, pastoral choir into heaven. A concept captivating in the original version incredibly. The remixes by Simbad and Eddy & Dus urge the mischief of this composition to even riskier places. At the end of the day is this 4-track EP keeping everybody on their toes and one will wonder once again: Is this all just a misunderstanding or is this after all the sound of the future?
Format: 12inch, digital ; Release: 18.11.2016
For Sonar Kollektiv the 12inch series Based On Misunderstandings is something like a testing ground for new projects, sounds and trends of aesthetics. RüBA KPØ is not a veteran's hard rock line-up like the name might suggest, but a four-headed hydra that patched things up in 2009 to turn everything upside down we always thought we knew about club music. A prime release on King Sound Music in 2013 targeted a first direction, now the gloves are taken off. “We Are World” is a true challenge for any listening habit without losing any catchiness though. A downright minimalistic techno track with an extra overwhelming bassline and a mad acid arpeggio is carried by a whimsical, pastoral choir into heaven. A concept captivating in the original version incredibly. The remixes by Simbad and Eddy & Dus urge the mischief of this composition to even riskier places. At the end of the day is this 4-track EP keeping everybody on their toes and one will wonder once again: Is this all just a misunderstanding or is this after all the sound of the future?
Format: 12inch, digital ; Release: 18.11.2016
For Sonar Kollektiv the 12inch series Based On Misunderstandings is something like a testing ground for new projects, sounds and trends of aesthetics. RüBA KPØ is not a veteran's hard rock line-up like the name might suggest, but a four-headed hydra that patched things up in 2009 to turn everything upside down we always thought we knew about club music. A prime release on King Sound Music in 2013 targeted a first direction, now the gloves are taken off. “We Are World” is a true challenge for any listening habit without losing any catchiness though. A downright minimalistic techno track with an extra overwhelming bassline and a mad acid arpeggio is carried by a whimsical, pastoral choir into heaven. A concept captivating in the original version incredibly. The remixes by Simbad and Eddy & Dus urge the mischief of this composition to even riskier places. At the end of the day is this 4-track EP keeping everybody on their toes and one will wonder once again: Is this all just a misunderstanding or is this after all the sound of the future?
Format: digital ; Release: 11.11.2016
Sadly it was just a mini LP (or an extended EP, which way you look at it) The Mixtapers put out last March on Sonar Kollektiv (“We So Good“, SK314). Before Michele Manzo and Martino Bisson from Bologna will feed us with new goodies we have to enjoy this tidbit as a stop-gap snack in form of a homage remix EP by none other than Inkswel.
As if the bustling Australian wouldn't have enough on his plate already with his enormous output. But even with all of his recent solo releases and collaborations here and there the jack of all trades still finds time to zap up the four existing Mixtapers tracks with his contagious lo-fi funk most brilliantly. Logically this is not just for the two Italians a great honor but also for all the listeners outmost fun. Somehow everything Inkswel takes hold of sounds so damn easygoing and expressed so slack, his productions seem to be almost a piece of cake. But if you listen closely hidden samples, hyphy sound effects and boldly added basslines unfold within these sophisticated arrangements. This way the Mixtapers' sound is put in a total different context, which is actually the spirit and purpose of a remix. “Peaces” is probably the best example how the by now in Berlin based Inkswel gives a song a going-over until it's reduced to a wonderful dub construct. Always funky, always lo-fi, always a bit like on an air mattress most heavily stoned floating towards the sunset. Another milestone of Inkswel's ever fantastic evolving career. Thanks to The Mixtapers.
Format: digital ; Release: 11.11.2016
Sadly it was just a mini LP (or an extended EP, which way you look at it) The Mixtapers put out last March on Sonar Kollektiv (“We So Good“, SK314). Before Michele Manzo and Martino Bisson from Bologna will feed us with new goodies we have to enjoy this tidbit as a stop-gap snack in form of a homage remix EP by none other than Inkswel.
As if the bustling Australian wouldn't have enough on his plate already with his enormous output. But even with all of his recent solo releases and collaborations here and there the jack of all trades still finds time to zap up the four existing Mixtapers tracks with his contagious lo-fi funk most brilliantly. Logically this is not just for the two Italians a great honor but also for all the listeners outmost fun. Somehow everything Inkswel takes hold of sounds so damn easygoing and expressed so slack, his productions seem to be almost a piece of cake. But if you listen closely hidden samples, hyphy sound effects and boldly added basslines unfold within these sophisticated arrangements. This way the Mixtapers' sound is put in a total different context, which is actually the spirit and purpose of a remix. “Peaces” is probably the best example how the by now in Berlin based Inkswel gives a song a going-over until it's reduced to a wonderful dub construct. Always funky, always lo-fi, always a bit like on an air mattress most heavily stoned floating towards the sunset. Another milestone of Inkswel's ever fantastic evolving career. Thanks to The Mixtapers.
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: digital ; Release: 11.11.2016
Sadly it was just a mini LP (or an extended EP, which way you look at it) The Mixtapers put out last March on Sonar Kollektiv (“We So Good“, SK314). Before Michele Manzo and Martino Bisson from Bologna will feed us with new goodies we have to enjoy this tidbit as a stop-gap snack in form of a homage remix EP by none other than Inkswel.
As if the bustling Australian wouldn't have enough on his plate already with his enormous output. But even with all of his recent solo releases and collaborations here and there the jack of all trades still finds time to zap up the four existing Mixtapers tracks with his contagious lo-fi funk most brilliantly. Logically this is not just for the two Italians a great honor but also for all the listeners outmost fun. Somehow everything Inkswel takes hold of sounds so damn easygoing and expressed so slack, his productions seem to be almost a piece of cake. But if you listen closely hidden samples, hyphy sound effects and boldly added basslines unfold within these sophisticated arrangements. This way the Mixtapers' sound is put in a total different context, which is actually the spirit and purpose of a remix. “Peaces” is probably the best example how the by now in Berlin based Inkswel gives a song a going-over until it's reduced to a wonderful dub construct. Always funky, always lo-fi, always a bit like on an air mattress most heavily stoned floating towards the sunset. Another milestone of Inkswel's ever fantastic evolving career. Thanks to The Mixtapers.
Format: digital ; Release: 11.11.2016
Sadly it was just a mini LP (or an extended EP, which way you look at it) The Mixtapers put out last March on Sonar Kollektiv (“We So Good“, SK314). Before Michele Manzo and Martino Bisson from Bologna will feed us with new goodies we have to enjoy this tidbit as a stop-gap snack in form of a homage remix EP by none other than Inkswel.
As if the bustling Australian wouldn't have enough on his plate already with his enormous output. But even with all of his recent solo releases and collaborations here and there the jack of all trades still finds time to zap up the four existing Mixtapers tracks with his contagious lo-fi funk most brilliantly. Logically this is not just for the two Italians a great honor but also for all the listeners outmost fun. Somehow everything Inkswel takes hold of sounds so damn easygoing and expressed so slack, his productions seem to be almost a piece of cake. But if you listen closely hidden samples, hyphy sound effects and boldly added basslines unfold within these sophisticated arrangements. This way the Mixtapers' sound is put in a total different context, which is actually the spirit and purpose of a remix. “Peaces” is probably the best example how the by now in Berlin based Inkswel gives a song a going-over until it's reduced to a wonderful dub construct. Always funky, always lo-fi, always a bit like on an air mattress most heavily stoned floating towards the sunset. Another milestone of Inkswel's ever fantastic evolving career. Thanks to The Mixtapers.
Format: 2LP + Download Code, digital ; Release: 11.11.2016
Even though “Darkness On The Edge Of Ecstasy” is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut (“Reunion”) on Sonar Kollektiv.
As the title might suggest, „Darkness On The Edge Of Ecstasy“ is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by himself. “Circles” is a captivating club track, and – as the opener of the album – arouses expectations massively for all the things to come. The following tune, “It Could Go Either Way”, though is something like a ballad with a menacing synth line and a prickly bass sound expanding the listeners’ horizon by another dimension. This variety continues throughout the whole album. “Song” is a cover of a tune by blue-eyed soul legend Lewis Taylor. On “When Your Phase Is Gone” Bäckelie collaborates with his old companion Paul Lachenardière and the guitar player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like “Weapon Together” with which the Swede shows off his producers skills impressively. These skills are so well-versed that a track like “I Don't Know” had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. „Darkness On The Edge Of Ecstasy“ is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: LP + Bonus CD, digital ; Release: 14.10.2016
This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal.
“Wiped Out” fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year.
When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for “Wiped Out”.
“You Will Go” is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks („One Day“ oder „Bad Luck“) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like „Inconceivable“ or „Who Are You Now“ air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.
Format: Download ; Release: 07.10.2016
For its fifth consecutive edition the Japanese branch of the Montreux Jazz Festival invited – amongst others – Pete Josef for an exclusive gig. To celebrate this honorable deference Sonar Kollektiv releases a special 3-track EP. “The Travelling Song” off Josef's debut album “Colour” gets three different remixes which suit the occasion perfectly. The first one comes from the Kyoto Jazz Sextet and turns the pop song into a proper Bebop track with mesmerizing horn stabs and a drum break out of this world. The remix by DJ Kawasaki & Makoto pushes the song straight onto the dancefloor by making a uplifting vocal house track out of it. The third and last rework by Mark De Clive-Lowe from New Zealand keeps the positive, life-affirming vibes up. His version is probably the one with the most explicit effect in the club, while the other two remixes are the ones to be heard on radio stations all around the world, not only in Japan.
Format: Download ; Release: 07.10.2016
For its fifth consecutive edition the Japanese branch of the Montreux Jazz Festival invited – amongst others – Pete Josef for an exclusive gig. To celebrate this honorable deference Sonar Kollektiv releases a special 3-track EP. “The Travelling Song” off Josef's debut album “Colour” gets three different remixes which suit the occasion perfectly. The first one comes from the Kyoto Jazz Sextet and turns the pop song into a proper Bebop track with mesmerizing horn stabs and a drum break out of this world. The remix by DJ Kawasaki & Makoto pushes the song straight onto the dancefloor by making a uplifting vocal house track out of it. The third and last rework by Mark De Clive-Lowe from New Zealand keeps the positive, life-affirming vibes up. His version is probably the one with the most explicit effect in the club, while the other two remixes are the ones to be heard on radio stations all around the world, not only in Japan.
Format: Download ; Release: 07.10.2016
For its fifth consecutive edition the Japanese branch of the Montreux Jazz Festival invited – amongst others – Pete Josef for an exclusive gig. To celebrate this honorable deference Sonar Kollektiv releases a special 3-track EP. “The Travelling Song” off Josef's debut album “Colour” gets three different remixes which suit the occasion perfectly. The first one comes from the Kyoto Jazz Sextet and turns the pop song into a proper Bebop track with mesmerizing horn stabs and a drum break out of this world. The remix by DJ Kawasaki & Makoto pushes the song straight onto the dancefloor by making a uplifting vocal house track out of it. The third and last rework by Mark De Clive-Lowe from New Zealand keeps the positive, life-affirming vibes up. His version is probably the one with the most explicit effect in the club, while the other two remixes are the ones to be heard on radio stations all around the world, not only in Japan.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / Download ; Release: 16.09.2016
Everything is just perfect for once. From the ambiguous band name to the cheeky album title and the ten productions at hand everything hits the mark and therewith satisfies the spirit of these times.
The Black 80s come up with probably the best club album by far this year with „Heart To Art“. It's an album fully equipped with hits designed for the club but also proper songs you want to hear during your workout, in your car, to clean your kitchen to, and so on.
„Russian Roulette“ , „And You Feel Something“ and „Trembling“ are three of the songs for example you'd don't want to play in the background for no particular reason. The basslines are too gripping, the vocals by Franck Julien aka Overnite too emphatic and the pressure set up by the tight productions is simply too assertive to resist. If Hollis P. Monroe wasn't making music for ages (first release in 1997 for Stickman Records), you could almost get the idea that someone internalized the sound of fellow Montreal based Kaytranada totally and intensified it for the club.
The music of Monroe and Julien has precious little to do with the Eighties. Even “Daylight”, together with Hamburg based Yannick Labbé and Augsburg based Dominik Marz, with its perky synth bassline and the jaunty melody sounds much too much of now and here than of anything resembling something from yesteryear. The spoken word track “Where's The Money” is a masterpiece of reluctance and of a futuristic deepness current club music lacks most of the time. Only “Wake Up” breaks ranks within the ten album tracks. Almost like a summer anthem-like riddim from Jamaica the tune is the most merry of the oeuvre. “Heart To Art” is one of these unusual albums transporting its very own distinctive sound and a incomparable aesthetic.
Something you hear rarely, but outmost willingly.
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: 2LP / CD / Download ; Release: 02.09.2016
„Asking Eyes“ by RAFFAELA RENZULLI off her first and only album „Children Of The Light“ from 1987 kicks off extremely laid-back before driving the listeners round the bend. This zest for life, this excessive friskiness is the recurrent theme which is constantly present across all eras, continents and genres covered on “Paz e Futebol 2”.For instance, “Dunks” by the meanwhile defunct Brighton based project HARDKANDY. According to composer Tim Bidwell, this a track, when released on the connoisseur label Wah Wah 45s in 2008, which wasn't intended to hold a Brazilian reference but was directed more towards afrobeat influences only now fits perfectly into the new context and narrative of the compilation.
Also “Palmeiras” by the Argentinian combo CANDEIAS is taylor made for this voyage of exploration all around the world in search of the Brazilian vibration. The extremely rare album “Sambaiana” from 1976, which features next to “Palmeiras” another six gems of Brazilian vitality, will incidentally be re-released on NOTES ON A JOURNEY. Also finding a wider public than its initial release is the long forgotten 1983 LP “Num Dia Azul” by the couple MINAS (Patricia & Orlando).
Orlando Haddad, currently residing in Philadelphia, recalls how he wrote the song for his wife in the early 70's at Ipanema Beach: „It's about a man saying to his woman to calm down, as life is about much more than material possessions. It's about love.“
Then New Zealander NATHAN HAINES steps up for the release with one of his 2003 recordings together with the two singers Marcus Begg and Vanessa Freeman: “U See That”, a track oozing positive energy with its infectious message and beautiful arrangement. Another song entailing exactly everything that also fascinated us so much with what Zico, Sokrates, Eder, Falcao, Serginho etc. did on the pitch.
Talking about legends and veterans, ARY LOBO was one of the most successful singers and composers of the 40's and 50's in Brazil's northeast. It's here where the lesser-known style “Forró” is coming from and unifies a multitude of regionally rooted rhythms like Baião, Côco, Rojão, Xaxado, Xote and Arrasta-Pé. Lobo, as one of the most popular solicitors of Forró, and known for his superb phrasing and his folky feel, appears on “Paz e Futebol 2” with one of his rare 7inch singles: The dancey “Nêgo São” from 1966.
Probably even more rare is the 7inch single by PENHA MARIA „Você Balanca O Meu Coracão (Ou Sol Demais)“, released in 1968 on the Mocambo Rozenblit label from Recife. „É Só Balanco“ by JACKSON DO PANDEIRO & ALMIRA has a similar vibe to it. The song is off the scarce LP “Coisas Nossas” from 1965, the short-spanned samba period of the bandleader normally also closely connected to the Forró style. The rarity of the record is due to the fact that the record company Philips thought these specific recordings were too experimental for Pandeiro and simply pressed a lot less copies. Making this a true diggers anthem.
The compilation then switches things up with the illustrious KATE CEBERANO. The title track off her fourth, 1990 released album “Like Now” is a beautiful Brazil tribute being a rare occurrence for an Australian release, especially at that time.
Next up is ED MOTTA. Born in 1971 in Rio De Janeiro, Motta is the nephew of legendary Tim Maia and has recorded sixteen amazing LPs up to date and continues to release music on a regular basis. 1997's „Daqui Pro Méier“ is one hell of a dance floor belter which he arranged together with Lincoln Olivetti. The latter has the distinction of being one of Brazil's true pioneers of electronic music and was one of the country's most sought-after songwriters and producers in the 70s and 80s.
Read more here:
https://jazzanova.bandcamp.com/album/paz-e-futebol-2-compiled-by-jazzanova?lf=7dade0b5a1f67b1dade17f9005f5b22b
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.
Format: CD, Download | Releasedate: 12.08.2016
Eight whole years have gone by since Stee Downes ecstasized the entire world with his debut „All In A Day“ (SK203CD). It probably must have been all the different, formidable collaborations with the crème de la crème of the pop appealing house music scene, from Flight Facilities („Hold Me Down“, 2014), Kraak & Smaak („How We Gonna Stop The Time“, 2014), Alex Barck („Like A Drug“, 2014), Lovebirds („Want You In My Soul“, 2011) to Kyodai („Music Rises Up“, 2013) or Marlow („Something Is Coming“, 2016), which kept the bustling Dublin based singer and musician again and again from raising the ante by releasing his long-awaited sophomore album.
“The Bigger Picture” though, is an album worth waiting for in every respect. The eleven songs are altogether a bit more mature than everything Downes has ever recorded to this day. Every track embeds a load of funk – spread over the 60 minutes never showing a disposition to get jittery but twists the listener round one's little finger smoothly and in a laid-back fashion hard to compare. “Lock And Load” and “Never Good Enough” are two textbook examples of throttled funkyness paired with boundless sex appeal. The preliminary single and opener “Big Mistake” is one of these songs literally inviting you to sing along. „You gonna get your life in check“ is just one of the album's many punch lines which will creep into your mind like an earworm. That's why it's hardly surprising that it took Downes so long to compose these eleven gems and finally, after several misrouted attempts, finding the matching co-producer in Pascal Blanche (of Chasing Kurt) and the perfect sound for his condign successor on Sonar Kollektiv. After all one of the tracks is called “Dignity”, a song with which Stee Downes explains what this is all about: To believe in yourself, to pull your own thing through no matter the effort it takes and trouble it may cause, and first and foremost to preserve your own freedom in whatever you try to achieve. “The Bigger Picture” radiates in all its facets, in its lyrics, in its production and in its casual groove an eternal optimism. You can prescribe this album extraordinaire easily for repeatedly daily consumption. One thing is for sure by all means: With “The Bigger Picture” Stee Downes has arrived all the way at the top, at the zenith of his glory.