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Dwight Druick’s born in Montreal to a professional gambler and an ex-Radio City Rockette. One of five children, he grew up in a family buoyed by music and beleaguered by the vagaries of miscalculated risk. After attaining a McGill University bachelor’s degree in Art History, Dwight fully embraced both music and risk by traveling to London, where he signed a contract with Pye Records and Joe Cocker’s management company. The ensuing record, Druick & Lorange was released to critical acclaim and relative success. After returning to Canada, Dwight recorded two albums with Phil Vyvial: Midnight and Minuit. Recorded with the Muscle Shoals Rhythm Section in Alabama, the duo’s work achieved airplay success in Quebec and across Canada. Dwight subsequently released his first French language solo album, Tanger, released in 1980 by the Canadian label, Bobinason.Today quite hard to find in its original version, Tanger is first of all an incredibly solid album, clearly underrated and deserving more credit. Mostly known by collectors and DJs for the stunning cover of Toto’s classic hit, “Georgy Porgy”, which was produced and arranged with the help of George Thurston (Boule Noire), it includes many other tasty titles, with amongst them another fine rendition of “Open Your Eyes” by The Doobie Brothers. In fact, with its brilliant mix of Modern-Soul, Disco and AOR styles, the whole album is already considered by many connoisseurs as a classic, and clearly a must have for anyone enjoying this musical blend.Never reissued on vinyl until now, there was not much more needed at Favorite Recordings to make it happened. Officially licensed to Dwight Druick, who was unfortunately not able to provide the original tapes, Tanger has been perfectly restored and remastered by Frank Merritt, at The Carvery, London. CD and digital edition will also come with “Georgy Porgy (Version Disco)” as a bonus track.

"Lovely" Electro / Wave from Venice, Italy (1981-1984) - Alessandro: “No one can tell for sure that a sound of love actually exists, but love and any other emotion can be reverberated by some musical colors always capable to make emotions resounding here and there during a song, ten songs, a thousand ones...” The second to last decade of the 20th century was flourishing in its full glory with uncompromising decisions and emergence of new genres to experiment with. Several years before the boom of the 80s is when Alessandro Pizzin got involved with the creation of RUINS and was later joined by Piergiuseppe Ciranna in the fluctuating group constitution. After several alterations in the group it didn’t take long until their duo came together in an attempt to make the first wave twist towards experimenting with electronic sounds. In the frame of the birthtime of many new branches of musical subdivision, the artists fused their intentions and virtuosity to base the centerpiece of their prospective electro sound. Piergiuseppe: “A characteristic of our music has always been that of moving transversely: from intense emotions to whimsical visions” In a musical conversation between Piergiuseppe and Alessandro, the productions resulted in a relentless manifestation of a variety of contrasting musical colors. Springing from beneath sinister notes and arpeggiating chords to groundless joy and quirky noises. All of it encompassing the perpetual movement and shift of feelings and positions. Obscurity reflecting the anecdotal nature of life. Alessandro: “I think that we both were keen on listening to all kinds of music, therefore our sound was the result of all these different listenings and concepts blended with new technology products and equipments we were used to experimenting with” The ranging melodic palette within the compositions, is riddled with external influences manifested in the web of atmospheric scales. Mirroring a plethora of emotions, even though produced quite the while ago, this collection of compositions will undeniably have something to resonate with and object to. Conflicting love, uninhibited anger, driving passion, young maximalism, childlike cynicism. The joy of human existence is inescapably accompanied by utter suffering, taking turns between each other. Piergiuseppe: “Artistic works, and even songs, should be by definition ineffable, giving suggestions that everyone must then frame and interpret even according to their own experience…” The path into the light seems dark, the road forward seems to go back. The greatest love seems indifferent, the greatest wisdom seems childish. Each is up to their own interpretation of the songs assembled in this Valentine’s Day speciality. The contradictions perfectly balancing each other out will not leave anyone indifferent. After all, there would be no love without hate.

Limited LPMoon B takes a step out of his comfort zone with ‘Udaya’, giving a lesson on how it isn’t the tools at your disposal, but rather how you use them. A stalwart of vintage analogue gear under normal circumstances, he’s harnessed the full power of his iPad to conjure up 8 cuts of slick, lo-fi boogie that emanate with a smoky warmth. Gone are the genre-hopping sensibilities of earlier releases, replaced with a renewed focus on what really counts: the funk.Gliding on thick, queasy basslines, woozy synths, sampled instruments and iOS-powered FX, it’s a “navigational soundtrack through life's mysteries,” velvety and fuggy in equal measure right to the final beat. Roughly translating to ‘ascension’ in Sanskrit, ‘Udaya’ is a deeply affecting record at times: a sample of Jordan Peterson reciting philosophy on the ‘individual’ provokes reflection on behalf of the listener, while ethereal pads hint at the idea of heightened experience through music.There’s something outward looking and contemplative about the album too, in a wistful, heavy-hearted sort of way - the sort of feeling evoked when man considers the vastness of the universe and his place within it. It isn’t often you find a record simultaneously offering transcendent moments and evoking imagined memories of late night cruises through dimly lit suburban streets and while contemplating humanity’s cosmic insignificance.

Atlanta-based rapper/DJ/chef, Dillon is perhaps best known for his collaborations with acclaimed beatmakers, Diamond D (Black Tie Affair), Supa Dave West (Studies in Hunger), Paten Locke (Food Chain) & Batsauce (On Their Way), but that might change when Lobsterdamus washes up.'The Tails of Lobsterdamus' is Dillon's self-produced solo debut, a deep dive into the origin of his bottom-dwelling evil alter-ego, Lobby Dom. Half man, half lobster and 100% jerk, Lobsterdamus was sent to Earth (unwillingly) from his home planet of Lobtropolis on a quest to save humanity from itself. More importantly, he's looking for Lobby Dame!