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Alternative & Indie - Released September 16, 2020 | Double Six Records

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Alternative & Indie - Released September 16, 2020 | Double Six Records

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Alternative & Indie - Released September 3, 2020 | Double Six Records

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Alternative & Indie - Released August 14, 2020 | Double Six Records

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Alternative & Indie - Released August 4, 2020 | Double Six Records

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Alternative & Indie - Released July 22, 2020 | Double Six Records

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Alternative & Indie - Released July 9, 2020 | Double Six Records

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Alternative & Indie - Released June 17, 2020 | Double Six Records

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Alternative & Indie - Released March 3, 2020 | Double Six Records

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Alternative & Indie - Released October 31, 2019 | Double Six Records

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Alternative & Indie - Released October 18, 2019 | Double Six Records

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Alternative & Indie - Released October 4, 2019 | Double Six Records

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Alternative & Indie - Released January 18, 2019 | Double Six Records

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Alternative & Indie - Released November 26, 2018 | Double Six Records

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Electronic/Dance - Released October 25, 2018 | Double Six Records

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Alternative & Indie - Released September 12, 2018 | Double Six Records

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Electronic/Dance - Released August 31, 2018 | Double Six Records

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Electronic/Dance - Released August 3, 2018 | Double Six Records

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Electronic/Dance - Released July 18, 2018 | Double Six Records

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Electronic/Dance - Released March 9, 2018 | Double Six Records

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A new era is starting for George FitzGerald. One of many British producers to relocate in Berlin in the last ten years to study techno music, he has ended his stay in Germany to move back to London and raise his newborn. An album that aims to illustrate the confusion in FitzGerald’s mind: “I wanted to mirror the uncanniness you feel when a massive event happens in your life. Everything looks and sounds the same, but it’s somehow different.” From an outsider’s point of view, it’s quite easy to see what has changed with FitzGerald. In 2010, he released his first EP The Let Down with Hotflush, the label run by Scuba, at the time a leading figure in post-dubstep. Six years later, his album Fading Love revealed the Englishman’s pop-house side. And All That Must Be confirms the new face of a producer – by his own admission − weary of club music.FitzGerald is switching playground, but this is in no means to slow down his career, as this album seems to have been masterfully crafted for mainstream audiences. The radio-friendly Burns is already a huge hit with its arpeggiator and catchy gimmick made of cut and paste vocals (“ha ha ha/ha ho ha”) that seem to be everywhere nowadays. Furthermore, Frieda sounds like something the Kalkbrenner brothers and Flume could have composed together in a studio, while Roll Back is an electronic ballad sung by English artist Lil Silva, which is bound to haunt the YouTube channels of “The Sound You Need” and “Majestic Casual” any time now. The kind of album that could be entrusted to the ears of any electronic music neophyte and make them want to reach deeper into the genre. © Smaël Bouaici/Qobuz