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In March 2020, Tahiti 80 had a plan to start recording their new album in the studio. That plan, of course, along with everything else in the world, got derailed. But the five-piece group was resilient and resourceful. They quickly shifted to a socially distanced plan B that included file swapping and virtual sessions, all refereed by producer Julien Vignon. The result, due for release in March 2022, is the buoyant Here With You, a collection of eleven upbeat songs that unfold like a prescription for a post-pandemic panacea.

“When lockdown in France happened, we said, 'We're not going to stay at home not doing anything,'” says singer-guitarist Xavier Boyer. “And our new plan became a hopeful thing, waking up every morning and seeing what the other guys had worked on. It wasn't always easy, but this new method allowed a freer approach where we could really go all the way with an idea without being influenced by each other’s suggestions. It must've been overwhelming for Julien, who ended up selecting all our arrangements. But he stayed positive all the way through.”

To help stay inspired and focused during their time in isolation, the band created a mood board, with the centerpiece a photo of an early '90s rave in the UK.

Boyer says, “Whenever you see pictures from this era, people seem very innocent. There are no cell phones and everybody is in to what they are experiencing. We kept that picture in mind as a kind of mantra that would help everyone feel connected to this idea of people celebrating, gathering and just having fun. We were missing the connection with people, and thought it would be great if we could create music that would inspire that kind of emotion.”

Indeed, the songs on Here With You are brimming the feeling of communion that we've all been missing over the past two years. It's there in the catchy opener Lost in the Sound, which walks the walk with Chic guitar flicks, urban nightfall sparkles and an inviting chorus (“Your heart grooves like a thousand 808s on the right time”). It's there in the Jackson 5-style syncopated bounce of “Vintage Creem,” the lush, dreamy “Breakfast in L.A.” and the panoramic sweep of “UFO.” And it's there in the first single “Hot,” which matches an irresistible groove with a neon-lit, percolating arrangement that evokes the disco clubs of 1979.

What's remarkable is that though Tahiti 80 displays a clear affection for sounds of the past, from bubble gum to '70s soul, they never trade in mere pastiche. Their take is more a slightly warped and playful carnival mirror mash-up of classic pop styles, given depth through Boyer's hang-gliding, coolly emotive vocals and lyrics that often rub against the euphoric grain of the music.

“I like to think of songs as a three-minute drama,” says Boyer. “This concept of drama definitely adds different levels to our music. There's the melody, the lyrics, then the production that can maybe emphasize or counterbalance the interaction between the yin and yang in a song.

“There's a difference between the very upbeat, sunshine-y soft rock and the lyrics, even on our past albums,” he continues. “Not dark, but a little more melancholy, and also looking for some kind of motivation, talking to yourself. Like with a lot of Motown songs, you get that feeling where you body’s dancing while your mind’s reflecting, reminiscing.”

That alluring blend of happy-sad has been a signature part of the Tahiti 80 sound from the time Boyer and bassist Pedro Resende formed the group in 1993, as students at the University of Rouen. Taking their name from a souvenir t-shirt given to Boyer's father in 1980, the duo recruited guitarist Mederic Gontier in 1994, and with the addition of drummer Sylvain Marchand a year later, the lineup was complete. The foursome released a self-produced and self-financed EP, 20 Minutes, in 1996, which resulted a record deal with French label Atmospheriques in 1998. Their full-length debut Puzzle, produced with Ivy's Andy Chase and mixed by Tore Johansson, went gold and featured the international hit “Heartbeat” that established the band throughout Europe and Asia.

In the years since, Tahiti 80 – with the additions of Raphaël Léger on drums and Hadrien Grange on keys - has released eight acclaimed albums. The band has fused what Mojo called a “glorious entente of old and new technology” (including singles like “Yellow Butterfly,” “1000 Times,” “Sound Museum,” “Crush!” and “Big Day,” which was featured on a Fifa video game soundtrack), while collaborating with such producers and arrangers as Richard Swift, Tony Lash and Richard Anthony Hewson, who famously arranged The Beatles' “Long and Winding Road.” Boyer has also put out two solo albums, the first under the anagram Axe Riverboy and the second under his name. In 2019, the band released Fear of an Acoustic Planet, a stripped-down reimagining of some of their best-loved tracks from the previous twenty years. It served not only as a look back but a reminder of their formidable songwriting skills.

Boyer is definitely a student of the timeless three-minute pop song format pioneered by '60s artists like The Beatles and The Beach Boys. He says, “I see it as kind of a frame for a painting. Most of the songs on this album, I wrote a verse, pre-chorus and chorus. There aren't many middle eights. I wanted it to be very concise. I feel like people have less attention. There's so much music. It's too easy to switch off or skip to another track, so I want to hook the listener. The three-minute song is kind of an easy code to crack, but at the same time you have to figure out a new way to tell the stories that we've heard before.”

And the stories on Here With You are very much about the longing for connection. Of the album title, Boyer says, “In the world right now, that can mean a lot of different things. Like missing our fans, missing going to concerts. In a way, it can be a statement of what happened last year, and a wish of 'I want to be here with you again.' It's our ninth album. We've had some had some very open, conceptual titles like Puzzle, Activity Center. Sometimes they were more specific like Fosbury orWallpaper for the Soul. Here with You, seems more personal, more engaging in terms of relationships. When I suggested that title, everyone in the band said, 'Yeah, that's it.'”

Until Tahiti 80 can resume a full tour schedule, Boyer says he hopes the new record will make that personal connection. “If I see from the point of view as a music fan, sometimes I see albums I like as companions throughout my life. So if we can be a part of people's existence, even if it's a song that reminds them of the time they were driving with the windows open and it was sunny. Or a sad song that resonates with them after a breakup. That's what we're all looking for when we're making music. You do this very personal thing and you want it to touch as many people as possible.”

A1. Tahiti 80 - Lost In The Sound A2. Tahiti 80 - Vintage Creem A3. Tahiti 80 - Telling Myself A4. Tahiti 80 - Hot A5. Tahiti 80 - Breakfast In LA

B1. Tahiti 80 - Cameo B2. Tahiti 80 - UFO B3. Tahiti 80 - Riddles & Rhymes B4. Tahiti 80 - Zoo B5. Tahiti 80 - Wicked Wicked B6. Tahiti 80 - Let's Get Started

Today New York based singer, songwriter and producer Amber Mark announces details of her long-awaited debut album ‘Three Dimensions Deep’, out January 28th via Emi/pmr Records. The announcement of the album is accompanied by a sultry R&B instant-grat track ‘What It Is’ as well as a huge UK, EU and US spring tour announcement including London’s O2 Shepherd’s Bush Empire in March

Amber’s debut album arrives almost 4 years after the release of her second EP ‘Conexão’, an extended process that has proved central to its thematic development. The 17 track album can be divided into three main acts that follow the arc of Amber’s personal and musical development; Without, Withheld and Within. Beginning by acknowledging her insecurities and anxieties before reflecting on her time in denial and spent processing them in all the wrong ways, Amber eventually widens her focus by seeking answers to the world’s negativity and trauma on a cosmic scale. Finding peace and a form of inherent spirituality in the world of astrophysics while writing the album led to a fresh perspective on

life and a renewed sense of self. Amber’s debut album is simultaneously a profound concept album and a love letter to herself, richly intertwining messages of self-worth and reflections on the universe beneath a veneer of shimmering pop. In true Amber Mark style, ‘Three Dimensions Deep’ is a kaleidoscopic melting pot of influences and genres, drawing from funk and R&B, soul and hip-hop with international accents influenced by a nomadic childhood spent travelling the world with her late mother.

“Three Dimensions Deep is a musical journey of what questions you begin to ask yourself when you start looking to the universe for answers.” says Amber; “I can only go as deep as the third dimension as that’s how we see the world, but what about when you start looking to the universe within for answers.”

“‘What It Is’ low key is the title track of the album without it actually being the title track” explains Amber; “It comes from going through negative experiences which end up being the gateway to a question I think I’ll be asking for the rest of my life. What is the meaning of life,the universe and everything?”

The three official singles already released from the album ‘Worth It’, ‘Competition’ and ‘Foreign Things’ marked Amber’s first official singles since 2020’s ‘Generous’, though 2020 was still a hugely productive year for Amber. With her hometown of NYC hit hard in the first wave of the pandemic and placed under strict lockdown, Amber turned to her simple home studio to create an acclaimed series of home-produced covers and originals titled ‘Covered-19’, each accompanied by a homemade video and artworks. The series was followed by a collaboration with longtime friend Empress Of on the protest song ‘You’ve Got To Feel’, earning Annie Mac’s Hottest Record, ‘Tune Of The Week’ and a spot on the Radio 1 playlist. Earlier this year Amber was featured on legendary DJ Paul Woolford’s new piano-house track ‘heat’, again snagging Annie Mac’s Hottest Record and a long run across the Radio 1 and 2 playlists. Having already amassed over 300 million streams since the release of her breakout debut EP 3:33AM in 2017, Amber has built a global fanbase eager to hear her debut full length -

„Sybilline“, „unique“ and „peerless“. These are some of the adjectives that were used to describe Everyone Is A Door – Panoram’s first full-length on Edinburgh’s Firecracker Recordings. Since then, the elusive producer, founded his own label Wandering Eye, produced automated piano music in Los Angeles (Thom Yorke Sonos playlist approved), composed synth lines underwater for Amen Dunes Freedom and toured two years with the band as well being involved in their collaboration with Sleaford Mods Feel Nothing and their upcoming album on SubPop. But Panoram can also hold its own very well. His debut on Running Back’s Incantations series lets you hear and experience that after the first few bars already. Acrobatic Thoughts is surreal, abstract, puzzling and urgent, yet filled with beautiful, slow-moving melodies and emotional passages. Eccentric humor meets serious soundscapes, acrobatic thoughts evolve around abstract key notes, while an out-of-time and out-place atmosphere surrounds a microcosmos that seems to be otherworldly and very natural at the same time. Panoram manages to build a house that can be as much of a home for ambient record collectors as for futuristic pop fans and all the ones in-between those poles. Or to describe it one sentence while quoting two titles of this enigmatic record: Seabrains controlled by beautiful engines. Short: Seabrains controlled by beautiful engines. Panoram’s new record Acrobatic Thoughts and his debut on Running Back is surreal, abstract, puzzling and urgent, yet filled with beautiful, slow-moving melodies and emotional passages. Eccentric humor meets serious soundscapes, acrobatic thoughts evolve around abstract key notes. One LP to make millions happy.

Still sealed. Clear vinyl. tiny wear.

White opaque wax.

Last chance, last repress.

Cleo Sol - Mother is the second studio album by British singer-songwriter Cleo Sol, released on August 20, 2021. The album is deeply personal, with themes centered around motherhood, family, healing, and self-discovery. As part of the Sault collective, Cleo Sol had already established herself as a key figure in the neo-soul and R&B world, but Mother showcases her vulnerability and emotional depth in a more intimate, reflective setting.

The album blends elements of soul, jazz, R&B, and folk, creating a serene, acoustic soundscape that complements its introspective lyrics. Mother features lush, soulful arrangements, with gentle strings, piano, and acoustic guitar forming the backbone of many tracks. The overall sound is calming and meditative, allowing Sol's vocals to take center stage.

Lyrically, the album reflects on Cleo Sol's experience with motherhood and the emotional changes it brings. She addresses themes of unconditional love, personal growth, and the challenges of raising a child while also navigating her own self-healing. Songs like "Don’t Let It Go to Your Head" and "We Need You" express a sense of nurturing and tenderness, while "Promises" speaks to the weight of responsibility and the desire to protect loved ones.

Key Tracks:
"Don’t Let It Go to Your Head" – A standout track that offers both encouragement and advice, encapsulating the nurturing spirit of the album.
"We Need You" – A deeply emotional song that explores themes of connection, support, and the importance of being present for those you love.
"Build Me Up" – A soulful ballad that speaks to vulnerability and the need for support and growth within a relationship.
Critical Reception: Mother received widespread acclaim for its emotional honesty and soothing production. Critics praised Cleo Sol for her vocal performance and the way she was able to capture the complexity of motherhood and personal transformation. The album’s stripped-down production was also commended for allowing her voice and storytelling to shine.

While Mother is a personal solo project, it is clear that Cleo Sol’s work with Sault influences its sound, especially in terms of the introspective lyricism and the use of minimalist, organic instrumentation. Producer Inflo, who has worked extensively with Sault, was also heavily involved in the production of Mother, contributing to its cohesive and intimate sound.

Overall, Mother is a deeply personal and emotionally rich album that solidifies Cleo Sol's place as a standout voice in contemporary soul and R&B

THE Band That Never WAS, Finally IS!

Frank Musker, Elizabeth Lamers, Jeff Hull and Marty Walsh, four good friends living in Laurel Canyon in 1989, writing hits for major artists including Queen, Linda Ronstadt, Chaka Khan, Supertramp, Jeffery Osborne, Air Supply, and John Fogerty, recorded an album of their own original songs which got lost in their success as songwriters. Rediscovered in 2019, the group and friends were surprised to hear lyrical themes that are more topical now than when they wrote them over 30 years ago. The music captures the spirt of that momentous time, but is enduring and timeless, as history has proven.

Little Creatures are long running Japanese band formed in 1987 while still in high school by Takuji Aoyagi (Vo/G), Masato Suzuki (Bass/Key), and Tsutom Kurihara (Dr/Per). They gained popularity while performing street shows centered around Shinjuku and Shibuya and debuted with a single in 1990 “things TO Hide”. 2020 marks their 30th anniversary from their debut. In January of 2021, they released their 8th album, “30”, a masterpiece packed with advanced minimal pop music that can only be made by the current Little Creatures, which boasts overwhelming musicianship and career.

Chris Wicked is an experienced artist from Bergen, best known as the vocalist in Malice in Wonderland where he toured the world and released several albums, EP’s and singles. After a tour in China with Finnish band Negative, the artist was brought to Finland where he spent several years touring, doing festival work, as well as several TV appearances. Back in Bergen, the band was eventually disbanded, and Chris has spent the last few years creating a new sound singing in his own language - now as a solo artist. The recent time has been spent in Polyfon Studio and the debut album has now been recorded. Although parts of the Black Metal elite such as Gaahl (Gaahls Wyrd), Hoest (Taake, Gorgoroth), Vgandr (Helheim, Taake) and Niklas Kvarforth (Shining SE) contributes on the album, it is in no way extreme music we are talking about. This is melancholic and catchy, at times low-key, with a dark, beautiful and unique expression, inspired by artists such as The Cure, Nick Cave, David Bowie and Depeche Mode.

Aparde's new album, Alliance sees the German musician retreat from his recent experimentations with avant-gard pop music back into the world of deep, and oftentimes dark, electronica. For his previous album, Hands Rest, Aparde ventured outside Berlin's club scene through the use of his voice, which gave his music a softer and more intimate edge. Alliance is no less intimate, except this time the musician's vulnerability seeps through the cracks rather than taking center stage. With Alliance, Aparde brings listeners deep into his soul, a soul that is at times conflicted and agitated and at times low-key and solemn. And as he does so, the listener's own mood is muted and lifted in a journey of quest, dance and healing.

Ever since his 2016 mini-album-length EP Rojus (Designed To Dance), Leon Vynehall has been a house producer in flux, an artist interested in pushing four-on-the-floor revelry off the beaten track, his debut LP Nothing Is Still further throttled expectations with string and horn-laden mood pieces, the kick-hi hat-snare melee another emotive musical choice among many. Rare, Forever picks up where Vynehall left off in 2018, and signals his return to the club — on his own terms.

The spirit of euphoric deferral runs deep throughout the LP, as rhythms start and stop — or transform into different shapes entirely — to keep would-be ravers on their toes. To that end, ‘Mothra’ is the album in microcosm; the perfect bait and switch. Bubbly synth arpeggios slowly take shape around a low-key deep house beat until synthesised ambient swells cut through the mix. A surprise sample appearance cuts the tension like a starting pistol, which sends the beat running again. Elsewhere, Vynehall discards convention entirely, crafting sensual grooves from washes of dreamy sax licks.

With Rare, Forever, Vynehall further demonstrates the flexibility of club music, and shows that he can rearrange it any way he likes — dance-designed or otherwise.

Valerie June announced her first new album in four years The Moon and Stars: Prescriptions For Dreamers, out March 12th, 2021 via Fantasy Records. Produced by Jack Splash (Kendrick Lamar, Alicia Keys, John Legend) and Valerie June, the new album is sweeping and ambitious with earthy R&B production and a touch of psychedelia amidst its astral folk-pop orchestration, the pair arrived at a sound that is elegant and endlessly surprising. At the center is June’s spellbinding vocals and infectious sense of wonder that finds the Brooklyn-via-Memphis artist narrating the often-precarious journey to joyful possibility.

The album’s first official single "Call Me A Fool,” is a marvelous preview of her upcoming LP, a delicious slice of Memphis soul that features Stax legend Carla Thomas on background vocals. Valerie

shared the song’s sensuous day-dreamy video today with joint support across BET, CMT and MTV, including a broadcast premiere via CMT, watch it: Here.

Valerie June on “Call Me A Fool”:

“Have you ever been a fool for a dream? It might have been a little dream like a kiss from a lover or a big one like the dream of peace that Dr. King, John Lennon, and so many others have had for humanity. No matter how big or how small your dream may be, keep believing, and let the world call you a fool!”

Working at Fresh Young Minds in L.A. and Hit Factory Criteria in Miami June found an ideal collaborator in Splash, who shares her tendency toward childlike adventuring in the artistic process. “For this album I wanted to see how we could bring some modern elements into that band-in-the-room approach I’ve taken with my records in the past,” says June. In bringing the album to life, the pair utilized reference points ranging from the Afrobeat of Fela Kuti to the grandiose string arrangements of Bowie producer Tony Visconti as the eclectic lineup of esteemed musicians absorbed themselves in free-flowing experimentation.

From the delicate whispered epiphany of “Fallin” and the sagebrush soul of “Two Roads” to

the joyful determination of “Smile” and the prayerful invocation of “Home Inside,” the shapeshifting textures of The Moon and Stars: Prescriptions for Dreamers prove infinitely mesmerizing.

Commenting on the new album, June says:

“With this record, it finally became clear why I have this dream of making music. It’s not for earthly reasons of wanting to be awarded or to win anybody’s love—it’s because dreaming keeps me inquisitive and keeps me on that path of learning what I have to share with the world. When we allow ourselves to dream like we did when we were kids, it ignites the light that we all have within us and helps us to have a sort of magic about the way we live.”

Late last year, Valerie released “Stay” / “Meditation” / “You and I,” a rhapsodic, three-song suite that Rolling Stone affirmed, "If early previews like [this] are any indication, June’s next record should be a career-making statement." In addition, Essence called the tracks "well worth the wait" and the New York Times named “You and I” one of the Best Songs Of 2020. Listen to them Here.

The follow-up to her 2013 breakthrough, Pushin’ Against A Stone, and the widely adored The Order of Time—a 2017 effort that earned the admiration of Bob Dylan and landed on best-of-the-year lists—The Moon and Stars: Prescriptions For Dreamers is a transportive, deeply affecting work - a potent catalyst for those foolish enough to dream.

Sealed copy. Cover corners slightly dented.

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.
‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.

Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!

Daniel Ögren is one of the key artists in Sweden’s contemporary, underground music scene. He has already accrued quite the back catalogue, both as a member of the sensational quartet Dina Ögon and also as a solo artist with eight albums already under his belt. ‘Fastingen-92’ was originally released as a limited-edition vinyl pressing in 2020 on the independent label Sing A Song Fighter Records (the same label that first introduced us to Dina Ögon's music). The album came to our attention after hearing Daniels' solo band performing live at the Stockholm Jazz Club, Fasching. The band featured Love Örsan and Christopher Cantillo of Dina Ögon fame (who also records with the incredible Sven Wunder), and their sensational genre-busting set blew us away. It convinced us that this now out-of-print album needed to reach a wider audience.
‘Fastingen-92’ doesn't sit in one genre, it draws from Daniels's love of South American folk music, soul, Nordic folk music and film soundtracks, resulting in something unique, dreamlike and transformational.

It features 'Idag’, an epic, beautiful, cinematic song that introduces the ethereal vocalist Anna Ahnlund. ‘Idag’ has gained a cult following and Daniel has stated that it was the spark that started the Dina Ögon project. Tracks like 'Annalena' and 'Kristinehamn by Night (for Christopher)' sound like a new club sound that hasn't yet been invented (which Nicola Cruz would spin in his DJ sets), mysterious, hypnotic, and engaging. Other songs like 'Maj (for Tintin)' and 'Picasso' venture into blissed-out Scando-Balearic realms. Daniel's love of nature and the inspiration he draws from the geographic environment of the Swedish countryside can be felt in these tracks, they take you to other places and times and are simultaneously familiar, ancient and alien.

Alongside the collaborations with Anna and Christoper, the album features Josefin Runsteen playing the drums on 'Idag' and Swedish musicians Edvin Nahlin and Ulrik Ordin. The majority of the album was played, recorded and mixed by Daniel. For the Mr Bongo edition, we have added the bonus track 'April’, which was previously only available digitally. ‘Fastingen - 92’ is a truly remarkable record that gets into your soul, so please delve in!

With silent film cinematic aesthetics imbued with unique and 21st-century flair, Ukranian Coldwave Duo The Glass Beads invoke sorrowful sounds, both strange and sensual, on their debut LP Therapy, melancholic life stories focused on the search and struggle of trying to find your way as an individual way and to accept yourself. These themes explored on the record are filled with pain and anger as well as hope. The Glass Beads feature the talents of musicians Mark Arshynnikov and Morin Sane, a pair of musicians whose Slavic features construct an appearance that is altogether commanding, beautiful and timelessly Gothic, yet gracefully tempered with a modern and tasteful style woven between two eras of the centennial: 1920, and now. In collaboration, Mark and Morin conjure melodies that reverberate like footsteps through the hallways of an abandoned house, haunted by memories of love, sickness, and death. Their melodic music is interwoven with sighing keys, palpitating drum machines, sauntering basslines, and disaffected vocals like an eastern european version of Velvet Underground chanteuse Nico. It has been 4 years since the two made their debut with “Going”, a song that would two years later make itself part of The Glass Beads’ 4 track debut EP Phobia issued on cassette via Squall Records. For that release, The Wave of Things spotlighted the pair in their Sounds of Ukraine episode, Describing them as a cross between Lebanon Hanover and Drunken C, and highlighted their mesmerizing video for the title track “Phobia” where a blindfold vocalist Morin Sane drifts amongst a field of sunflowers in stark black and white.

The Radio 2 Top 2000 is the largest annual radio event in The Netherlands. The audience of Radio 2 gets to vote for their favourite all-time songs. Literally millions of votes come together in the Top 2000. All these 2000 songs are broadcasted back to back from Christmas until a few minutes before New Year’s Eve, when they air the No.1 of the chart. The Top 2000 bridges the gaps between all musical generation from the Sixties to the present, making it the most eclectic chart out there, and keeping more than half of the country glued to their radio day and night for the whole week it’s broadcasted. And with a daily tv spin-off during its broadcast, it has reached an even bigger audience. Top 2000 - The 00’s contains the best hits from the century in which various styles of the late 20th century remained popular, such as in rock, pop, metal, hip hop, and indie. A variety of genres started to fuse in order to see new styles emerging. Artists like Amy Winehouse, Justin Timberlake, Alicia Keys, Duffy, Anastacia Pearl Jam, Keane, Maroon 5, and The Black Eyed Peas are featured on this 2LP compilation.

Kiss OF THE Whip is Tristan Victor. Writing, Production, and Mixing by Tristan Victor. Mastering by Ryan Schwabe. Artwork by Suzelle Levasseur.

With their Debut „Everything Went Down As Planned“ A Tale Of Golden Keys made it to numerous club and festival stages, into the good radios and Spotify playlists. Their sophomore album continued their way of releasing beautiful songs for the indie pop crowd. „Shrimp“ is a critically acclaimed record and was one of the most successful indie pop albums from Germany in 2018. In 2019 the band released the soundtrack for the adventure documentary "Tyry" called "Tyry (Music for the Film)".

Soft-spoken with the look of a slightly disaffected 1950s matinee idol, Aaron Frazer possesses a unique voice that's both contemporary and timeless. On Introducing... -- his debut solo album produced by The Black Keys' Dan Auerbach, co-released on Easy Eye Sound and Dead Oceans -- Aaron melds mid-`60s soul with Auerbach's particular sensibilities (`Over You'), songs with a message in the key of Gil Scott-Heron (`Bad News'), and uplifting tales of love told through a blend of disco, gospel, and doo-wop (`Have Mercy'). The Brooklyn-based, Baltimore-raised songwriter first came into the international spotlight as multi-instrumentalist and colead singer of Durand Jones & The Indications, but he's more than a revivalist act. "I didn't want Introducing... to be an exact recreation of an era or a style," Frazer says. "I'm excited to keep breaking some of the expectations around what exactly I'm supposed to be artistically and musically, or what this scene as a whole can be." On Introducing..., Aaron expertly calibrates consciousness-raising and the desire to be enveloped by love. Where previous records were written in a partial state of turmoil, Aaron's debut LP shows maturation and range. Introducing... is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent.

Sonically, Marie Davidson & L’Œil Nu’s Renegade Breakdown LP is noticeably different to previous Davidson releases. This is a record which largely eschews the wave music, house and techno influences that drove albums like Working Class Woman. Instead, Davidson and her bandmates Pierre Guerineau (Essaie Pas) and Asaël R. Robitaille (Bataille Solaire) draw heavily from styles like dream-pop, 60s chansons, jazz-tinged balladry and the stately rock style of David Bowie’s The Next Day to create an alluring set of leftfield pop for the twilight hours.

Even on the tracks where Renegade Breakdown comes close to Working Class Woman territory - the steady electro-disco stomp of the opening title-track, for instance, or Gary Numan-esque ‘C’est parce que j’m’en fous’ - the sound here is more slow-burning than its frenetic predecessor. On these cuts the group soften up the chunky Big Beat stomp of an act like Daft Punk with reflexive keys and vocals that reach more for !!! territory.

The connecting thread between Renegade Breakdown and Davidson’s other work is her arch lyricism and appetite for subversion. Few other artists would break the fourth wall with a line like “Oh by the way, there are no money makers on this record”, something Davidson does on the title-track. Throughout the album Davidson & L’Œil Nu never allow the listener to get too comfortable, meaning that, while Renegade Breakdown may sound luxurious, there is a playfulness about it which always keeps you on your toes.

Together they have produced an album of sleek, lush pop tracks which are elevated by Davidson’s trademark wit and wry lyrical content.

Since 1981 French new wave/rock band Indochine have sold millions of albums and singles marking them as one of the bestselling French bands of all time. Led by founder/frontman Nicola Sirkis, their extraordinary career has spanned four decades and has fully established Indochine as a key part of France's history. Singles Collection (2001-2021) features the new track 'Nos Célébrations', recorded in London at the legendary Rak Studios.

The first release from Nothin Personal, comes from Melbourne based artist 'Loure'. House music has always been made from the heart and for the floor. Whilst Loure's music adheres to this hackneyed creed, it exists beyond simply the confines of one particular genre. His jazz-infused, house cuts have found homes on labels such as Delicieuse Musique, Apparel Music, and Slothboogie. An oscillating live performer, Loure can be found in the middle of a flurry of hardware for his solo live show, behind the platters for his DJ sets or conducting a full live band setup that is riddled with horns, guitars, keys and infectious improvisation. For these reasons, it's our pleasure to share 'np001: Loure - Outta 106'. Marking a slightly new direction for Loure, 'Outta 106' celebrates the diversity and talent of the Melbourne underground. Showcased through a collection of 6 finely crafted tracks stretching from contemporary jazz, to breakbeat, through to house cuts - Loure collaborates with some of Melbourne's best-kept secrets, to surface the stunning talent and beauty that is the Melbourne underground.

It would be fair to say that Leng co-founder Paul “Mudd” Murphy is a born collaborator. Since first donning the Mudd alias at the dawn of the century, Murphy has released numerous collaborative albums and singles with regular collaborators Ben Smith (as Smith & Mudd) and Kevin Pollard (Mudd & Pollard), as well as playing a key role in “super-groups” Paqua and Bison. “Susta”, which marks his first single on Leng since 2009, sees Murphy add some new names to his growing list of collaborators. It was made in cahoots with singer/songwriter David Harks, a regular Satin Jackets collaborator who also appeared on Jack Cutter’s superb “Serpent Strut” cut on Murphy’s Claremont 56 label.

“Susta” is a bubbly, evocative and ear-pleasing chunk of mid-tempo nu-disco pop featuring lead vocals from Jaanika Leino AKA JaneLy – a former X-Factor Finland contestant whose sultry and evocative voice simply soars above Murphy and Harks’ sparkling, life-affirming instrumentation. Rich in twinkling synth solos, rich Clavinet lines, chugging arpeggio lines and eyes-closed piano, “Susta” is a strong song that will squat inside your head and stay there for days. Our advice is to welcome it in – it’s as joyous and life-affirming a track as Leng has ever released. It’s accompanied by a predictably strong remix by British electronic music veteran Andrew Meecham (Bizarre Inc, Chicken Lips etc.), who dons the now familiar Emperor Machine alias to deliver a dub for the ages. Combining his own analogue and modular electronics with snippets of Leino’s vocal and some of the warmest instrumentation from Murphy and Harks’ original mix (think Clavinet and Rhodes for starters), Meecham offers up an epic slice of electronic dub disco that bubbles away for ten mesmerizing minutes. It’s a superb interpretation of a high quality cut.

This set features the original album plus Demos and Remixes, incl. Massive Attacks Remix of "Manchild". Three discs in single LP sleeves, housed in a rigid slip-case, includes original album remastered and two bonus discs of b-sides, remixes & extras
Also features the 48-page book

Remastered at Abbey Road, pressed on heavyweight vinyl, with download card included.

30th anniversary of Neneh Cherry’s classic hit album Raw Like Sushi (1989),“an unorthodox and brilliantly daring blend of R&B, rap, pop, and dance music”, sees the original album remastered and given the super deluxe treatment as a 3LP box set.

This box sets feature a 48-page 12x12 book packed full of iconic photos, new interviews, liner notes and memorabilia. The album features 5 singles - includes the worldwide smash hit single ‘Buffalo Stance’ (number 1 US Dance Chart) as well as hit singles – ‘Manchild’ produced by Massive Attack’s Robert Del Naja, ‘Kisses On The Wind’, ‘Heart’ & ‘Inna City Mamma’. Also features rare mixes of key tracks by Massive Attack, Arthur Baker, Smith N Mighty, and more.One of the most important records of all-time. Listed as one of the "1001 Albums You Must Hear Before You Die".

Last chance, last repress.

Sault - 5 is the debut album by the mysterious collective Sault, released in May 2019. It was the first in a series of albums that would establish the group's signature blend of genres, including funk, soul, R&B, post-punk, Afrobeat, and electronic influences. The album received critical acclaim for its fresh sound, combining socially conscious themes with infectious grooves and rhythms.

The album features minimalist yet impactful production, with prominent basslines, funky guitar riffs, and layered vocal harmonies. The vocals are often delivered with a cool, detached style, which contrasts with the emotional and sometimes politically charged lyrics. Themes of identity, love, power dynamics, and the Black experience are present throughout the album.

Sault's 5 also stands out for its stripped-down approach to instrumentation, emphasizing rhythm over complexity, and allowing space for the vocals to shine. The tracks have a raw, DIY aesthetic, reminiscent of post-punk and underground soul movements, yet they feel timeless and modern.

Key Tracks:
“Up All Night” – One of the most well-known songs from the album, it’s a funky, high-energy track with danceable grooves and infectious hooks.
“Don’t Waste My Time” – A song that encapsulates the band’s ability to blend catchy melodies with a gritty, almost industrial sound.
“Why Why Why Why Why” – This track combines soulful vocals with a driving rhythm and contemplative lyrics about the struggles of life.
“Let Me Go” – A standout song about freedom and independence, with minimalist production that places focus on the emotional delivery of the vocals.
Mystery Around Sault: At the time of this release, very little was known about the members of Sault, which only added to the intrigue. The group has kept a low profile, eschewing traditional promotion and rarely giving interviews or detailed credits for their music. It’s widely believed that the producer Inflo is a central figure in the collective, with vocal contributions from artists like Cleo Sol and Kid Sister, though these have not always been officially confirmed.

Sault - 5 marks the beginning of the collective’s prolific output, which would continue to evolve with subsequent albums like 7 (2019), Untitled (Black Is) (2020), and more.

Sault - 7 is the second album by the enigmatic collective Sault, released in September 2019, just a few months after their debut 5. Like its predecessor, 7 builds on the group's distinctive fusion of funk, soul, Afrobeat, R&B, post-punk, and electronic music. The album continues to explore socially conscious themes, especially around the Black experience, empowerment, and resilience, all while maintaining a danceable and groove-driven sound.

Sault - 7 has a slightly darker and more introspective tone than 5, though it retains the infectious rhythms and minimalist production that define the group's sound. The album feels more cohesive, with stronger thematic continuity across the tracks. It deals with themes of love, loss, self-empowerment, and societal struggles. The music is often underpinned by hypnotic basslines, percussion-heavy grooves, and layered vocals, combining the experimental with the accessible.

Key Tracks:
"Over" – A standout track with a raw, pulsating rhythm and a sense of emotional urgency. The vocals convey a sense of heartbreak and frustration, paired with a minimal but powerful instrumental.
"No Bullshit" – This song blends funk and soul with a defiant message, urging listeners to cut through dishonesty and focus on truth and realness.
"Friends" – A soulful, almost melancholic reflection on relationships, with stripped-down instrumentation that lets the emotive vocals shine.
"Living in America" – One of the more overtly political tracks, it addresses racial injustice and the realities of systemic oppression, a theme that becomes more pronounced in Sault's later work.
"Feel So Good" – With its infectious groove and danceable rhythm, this track channels optimism and joy, bringing a sense of release and celebration despite the heavier topics covered in other songs.
Mystery and Collective Approach: Much like with their debut 5, Sault continued to maintain a low profile with 7, avoiding typical promotional strategies or revealing much about their identities. Inflo is believed to be the primary producer, with artists like Cleo Sol and Kid Sister likely contributing vocals, though the group's collaborative nature makes it difficult to pin down exact credits. This mystery only adds to their allure, allowing the music to stand front and center.

The release of 7 so soon after 5 demonstrated the collective's prolific creativity, establishing a pattern of frequent and impactful releases that challenge genre conventions while maintaining a strong social and cultural consciousness.

Sault - 7 was well-received by critics, who praised the album for its innovative sound, emotional depth, and powerful messages. It solidified Sault as a major force in contemporary music, blending the political with the personal in a way that feels both timeless and urgent.

• Cover art by famed artist Hiroshi Nagai
• Extensive liner notes and bios
• Compiled by Andy Cabic (Vetiver), Zach Cowie (DJ & music supervisor) and Mark “Frosty” McNeill (dublab)
• 2xLP housed in a deluxe wide spine jacket with over sized fold-out booklet, full color printed inner sleeves, and custom die-cut obi card
• Remastered audio

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.

Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.

Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.

Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

Global pop star and 3-time Grammy winner Angélique Kidjo has partnered with 2015 Grammy producer of the year Jeff Bhasker (Kanye West, The Rolling Stones, Beyonce) for a full circle re-imagining of Talking Heads’ 1980 landmark album Remain in Light. The album features appearances by Alicia Keys, Questlove of The Roots, Ezra Koenig of Vampire Weekend, Blood Orange, Tony Allen, Angelique’s longtime guitarist Dominic James, and Magatte Sow (percussionist for the ‘Black Panther’ film score). Visual artist Kerry James Marshall collaborated on the album artwork.

Drum-machine soul, funk, disco and boogie from Buffalo, NY. Rare 7" singles and previously unreleased tracks presented as a complete album. In the early 70s, Jessie Key and Sylvester Cleary - two passionate idealists living in Buffalo, New York - formed a close friendship based on a mutual mission to better their city. The Attica State Prison Riot of 1971 was a burning memory, and the Arthur vs. Nyquist lawsuit - brought against the City of Buffalo for creating and maintaining a racially segregated school system - was on the docket. Key was once a cotton-laborer in Mississippi, who journeyed north for school where he met his kindred spirit, Cleary. The two struck up an intense friendship, bought a drum machine and recorded their first 45, "A Man," a paean to self-actualization and Black American empowerment, which they custom pressed and issued privately. Dozens of recordings followed over a decade long span, issued on local labels and warehoused on cassette tapes. Perennial optimists, Key & Cleary tried any - perhaps every! - path they could demarcate in hopes of forwarding their agenda of self-effected, positive change. They formed Buffalo’s first minority-owned construction company, opened a health food restaurant in a building previously occupied by a fast food chain, and even concocted a candy bar called "The Buffalo Treat," which they manufactured and sold locally. Eventually they started their own label, Buffalo’s Reflection. On it they released their masterpiece, "What It Takes To Live," a sought-after disco and Northern Soul classic, which previously appeared on Now-Again”s Soul Cal anthology. This album collates the breadth of Key & Cleary’s recordings from 1970 until the mid 1980s, both with songs issued on rare 7" singles and previously unreleased. It presents a conjoined musical vision and tells the story of a duo years ahead of their time, both musically and culturally. Love Is The Way was their ethos - their goal was to enlighten humanity and to bend history in a more loving direction through communion.

Few debut singles have made such an impact, or left such a mark, as the Zombies’ 1964 She’s Not There. Hard to believe that the group had only been together a year when they came to record this timeless classic. Long after its release, many fans believe the Zombies’ album recorded at Abbey Road worthy of comparison to Sgt. Pepper… Released in April 1968, Odessey & Oracle was largely ignored on its release – though today original copies sell for £500. Odessey & Oracle is widely hailed as one of the key albums of the late 60s - and was ranked No.80 in the Rolling Stone poll for the Greatest Albums Of All Time.

"The events of May ’68 are seen as a turning point in France’s social history - pictures of the barricades are still potent images. Lines were drawn politically, culturally, socially, and pop music was not exempt.

“Paris In The Spring” is a collection of the new music, put together by Saint Etienne’s Bob Stanley and Pete Wiggs, that emerged from France between 1968 and the mid-70s, an extraordinary blend of several previously independent strains – French chanson and yé-yé, American jazz and funk, British chamber pop – shot through with the era’s underlying mixture of optimism, uncertainty and darkness. This is the first collection of its kind, released on the 50th anniversary of the Paris uprising.

Serge Gainsbourg – a jazz pianist with a chanson past and a pop present – was in a position to play a key role in soundtracking France in flux over the next five years. His “Histoire de Melody Nelson”, with its heavily atmospheric arrangements by Jean-Claude Vannier, was the acme of this new, unsettling French sound. “Paris In The Spring” includes other equally dazzling Vannier arrangements (for Léonie) and Gainsbourg compositions (for Jane Birkin and Mireille Darc).

Prior to 1968, 60s French pop had been dominated by yé-yé, the country’s unique brand of upbeat pop, a world of primary colours, mini-jupes and discothèques (a French invention, after all). Its stars either faded fast after May ’68 or adapted to the new era: Jacques Dutronc (‘Le Métaphore’) and France Gall (‘Chanson Pour Que Tu M’aimes un Peu’) discovered a moody side they had previously kept hidden, while Françoise Hardy released the Brazilian-influenced, after-hours classic “La Question”, from which we have picked ‘Viens’.

New bands like Triangle emerged, influenced by Soft Machine and Gong who became regulars on the Paris club scene. French library music from Janko Nilovic and film soundtracks (François De Roubaix, Karl-Heinz Schäfer) reflected the era’s edginess. All are represented on “Paris In The Spring”, making it a continental cousin to Stanley and Wiggs’s hugely popular 2017 Ace compilation “English Weather”..
"

Otis Stacks, three syllables. A name and a first name that recall a mythical singer as much as the Memphis music label that got him to it’s days of glory. A name that evokes him in particular and soul music in general.
Behind a name that sounds familiar are Elias Wallace and Justmike, two men united to become one: Otis Stacks. In truth, the optimized version of a work started long ago, when Justmike was producing the Danish hip-hop sound of Dafuniks and decided to get in touch with Elias after hearing his voice on a friend’s tune. He first wanted him to lay his voice on a chorus, then a verse, and ended letting him take over the lyrics of “All I Want”, the song that would later bring Dafuniks on air and around Europe. After traveling miles and miles across the ocean and the seas separating California from Denmark, Elias undeniably became a member of the group.
As gigs went on, stages after stages, Justmike got inspired by Elias’s voice and presence. Thus, the idea of a duo collaboration between the two men geminated and grew in his mind. As the evidence of their getting along, “Fashion Drunk” became the first tune to infiltrate Nova and FIP radio playlists, as its music video reached 8 million views. This now obvious complicity as extended in the form of an album, also called Fashion Drunk, released by Underdogs Records. With this French stopover, the line between California and Denmark is now completed. The result is an artistic fusion in which Justmike has plugged his instruments to the machines he uses to compose, letting Elias in charge of the lyrics and singing. Here, the soul music is printed as a guideline in an organic and digital composite matter. In an ethereal and aerial production that perches its arrangements in the air of the mix or buries them in its bases, letting electro music spread on a groove punched with black and white keys. Each element intervenes with discretion to let Elias stories be related with elegance. Frustrated, disappointed or aborted love stories.

After a series of cassettes and one self released CD Così e Così has honed the dense and gritty textures of his deconstructed pop forays and sound experiments into a collection of poetry awash in subdued synths, bending tones, and sometimes frantic rhythms. Its efforts to dissect the constructs of time to overcome fleeting ideals in life and love make 'Impermanence In The Time Of Heavens' at once far-reaching and overwhelming, yet cathartic; a romanticism for an era of fragmented identities.

Music and extended poems throughout IITTOH sample from Vincent’s personal audio and lyrical collections dating back to 2004. Reworking the same loop in nearly every song until it's unrecognizable, and referencing other passages within, creates a work cut and scattered, yet bound by repeated motifs and moods of memory, loss, and rebirth. Recorded primarily in a log cabin in Manitoba, Canada, IITTOH was also recorded on a deserted beach town in Montenegro and a lakeside apartment in Macedonia, and completed in Montreal, Canada.

Intervention Records is thrilled to bring Joe Jackson's "Summer In the City" Live in New York to vinyl for the very first time! Previously available only on CD, "Summer In The City" joins IR's wildly successful vinyl reissues of Jackson's early New Wave classics "Look Sharp!", "I'm The Man" and "Night And Day". Naturally, "Summer In The City" will street on vinyl in the summer of 2017, in August.
"Summer In The City's" repertoire is an amazing bridge that spans the greatest hits of Jackson's early canon with stunning new arrangements and covers from other great songwriters. Jackson classics like "Fools in Love", "You Can't Get What You Want" and "It's Different For Girls" meet with covers as diverse as Duke Ellington's "Mood Indigo", The Beatles' "Eleanor Rigby" and Steely Dan's "King Of the World".
"Summer In The City" was mastered to vinyl by Kevin Gray at Cohearent Audio from brand-new high-res master files. "Summer In The City" was recorded live in New York City in August of 1999 by Steve Remote and Co-Producer Sheldon Steiger. Sony's archivists and Battery Studios' Mike Piacentini compiled new high-res digital master files from the original DATs with the final mixes, and IR consulted with Remote and Steiger on key aspects of the recording to ensure the best possible source files were used. The result is an absolute sonic stunner, brought to new life on this double LP set!
"Summer In The City's" original album art has been rebuilt into a beautiful gatefold jacket by IR's art director Tom Vadakan.

After the dark concept-album Good Morning Dystopia the new record goes in different directions. The accessible and song-oriented compositions merge a wide range of influences to form a musical journey on rivers and oceans, through green hills and dark nights to the fictitious Isle of Dogs. The album closes with a sixteen-minute opus about a writer with writer's block. The Isle of Dogs is the first Osta Love album to feature new band members Marcel Sollorz on keys and vocals
and Oliver Nickel on bass.