Fascination
Why You Wanna Go

Volta is the sixth studio album by Icelandic singer Björk, released on 1 May 2007 by One Little Indian Records. A wide array of artists collaborated with Björk on material for the album, including longtime collaborator Mark Bell, along with new producers Timbaland and Danja.The album received positive reviews upon its initial release, and is Björk's first and only album to reach the top 10 on the US Billboard 200, peaking at number nine. Volta spent nine weeks at number one on the US Top Electronic Albums chart and in the first three months of release sold over half a million copies worldwide. In the United Kingdom it was certified Silver. The lead single, "Earth Intruders", reached number 67 on the UK Official Download Chart, and number 78 on the main UK Singles Chart, while the remix EP later charted on its own at number 150. In the United States, the song became her second entry on the US Billboard Hot 100 at number 84. Volta was nominated for Best Alternative Music Album at the 50th Annual Grammy Awards.The album was re-released in June 2009 in expanded versions, under the name Voltaïc. There were five separate versions of related material from Volta. The full version included a CD of 11 songs performed live at the Olympic Studios, a DVD of live performances in Paris and Reykjavík during the Volta tour, a second DVD of the Volta music videos, videos of the top ten runners-up from the "Innocence" video contest, and a second CD of remixes from Volta's singles. The official worldwide release date of all editions was 23 June 2009. The artwork was nominated for an award at the 2010 Brit Insurance Design Awards. It was a collaboration between the German fashion designer Bernhard Willhelm and British fashion photographer Nick Knight. Björk went on an 18-month tour in support of the album, which was her first tour in four years.

Samy Ponsar aka War has been a firm favourite and valued member of the Utopia family, so it was only a matter of time until his first solo body of work for them would surface. It also happens to be the first dubstep / 140 bpm offering from the label, completely taking things away from the drum & bass things for a beat. An ice-cold body of work showcases Sam's impressive and continuously growing dexterity both in the idea and engineering spheres alike. The EP is laden with his well-known style and distinctive approach to writing music. As the artist harnesses room-shaking low end frequencies and bone breaking beats, we're invited on a trip filled with jazz and noir soundscapes between 110 and 140 bpm, served on a solid White 10” with full colour sleeve designed by War himself.

For the latest volume in Planet E's long-running Detroit Love compilation, label boss Carl Craig has handed over to DJ Holographic (real name Ariel Corley), a rising star of the Motor City scene. It's a hugely entertaining collection told, with Corley doing her best to showcase artists on the up - from both Detroit and elsewhere - as well as established stars of the underground. Musically, it's as diverse and mixed-up as you'd expect, kicking off with revivalist Afrobeat (Underground System), slick deep house (Pontchartrain with Javontte) and revivalist '80s soul (Shri Schwartz), before taking in everything from broken house and nu-disco, to sci-fi techno, sleazy warehouse jams, sleazy acid, percussion-rich Latin house and much more besides.

Sensational – that’s Frank Hatchett! These words can be found on many of the 16 albums credited to the legendary jazz dancer, choreographer, and teacher to the stars. At the height of his fame in the 1980s, Hatchett’s classes in New York City at the wildly popular Hines-Hatchett studio (now renamed the Broadway Dance Centre) attracted celebrities including Madonna, Brooke Shields, Olivia Newton-John, and Naomi Cambell. Though he hated flying, preferring to cruise in a Corvette from Massachusetts to Manhattan, each week saw Hatchett jet setting for classes and performances around the world.In the highlights compiled on this expansive double LP set, the sounds of Hatchett’s albums run the gamut from disco and funk in the 1970s to electro and proto-techno as they glide through the ’80s. Like many albums in the dance instruction genre, nearly one third of the songs are covers (Prince, Paul Hardcastle, Earth, Wind & Fire, Billy Cobham) and most clock in at a brisk 2:30 – the ideal length for Hatchett’s classes or his students’ recital performances. Fans of library music will find a similar focus on immaculate performances, while the tightly coiled drum breaks, Afro-Cuban rhythms, and thumping 808s will send rare groove collectors into a state of head nodding bliss.