Buscar:10 record cover

Emotionally, crafted by Brainislave Zivkovic and Andre Tschaskowski in 1986 for Coloursound, is arguably the most beautiful library album ever produced. A start-to-finish masterpiece of powerfully melodic music for reflection and introspection. It is, indeed, deeply emotional.

Branislave Zivkovic handles the majority of Side A. Opener "Morning Light" evokes exactly that feeling, with a gorgeous and plaintive acoustic guitar solo combining with alto flute to stunning effect. Its immediate counterpoint, "Sundown", in no less arresting but brings with it an after-dark drama of almost Lynchian proportions, again drawing upon guitar and flute but with a slightly more melancholic, even sinister edge, also calling to mind Ry Cooder's score for Paris, Texas. It truly captivates when the strings arrive. Remarkable.

The reflective cello solo with swelling strings at the heart of "Pastoral Walk 1" ensure this track is aptly titled, with parts 2 and 3 adding more agitation - via keys and percussive elements - to great effect. "In The Garden 1" presents an elegiac cello solo whilst its second part elevates the romance. The four-part "Soft Thoughts" suite invites further introspection via reflective alto flute and guitar. Fans of The Durutti Column will need to seek this.

Andre Tschaskowski enters proceedings with three tracks at the end of the Side A. All of them aces in the pack. "Grief", whilst sorrowful, uplifts in its second half through beautiful keys. Equally hopeful are the two-part "Personal Mood" sketches, both dreamy exercises in optimistic ambience.

Tschaskowski controls the entirety of Side B. "Woodland Mood", with its pastoral flute and cor anglais and "Reminiscence", with its classical, emotional strings, both beguile. The piano and strings-heavy "Sentimental View" suite is one of the most beautiful, atmospheric things you will ever hear, particularly its second part. "Moonset 1" with it's wonderful Joe Pass-esque guitar is tense yet easy, the beauty elevated further with the introduction of strings and horns. The more restrained "Moonset 2" is pared back to its divine, sweeping essence and should surely have been sampled by now. To close out an album of almost impossible refinement, the brief 2-part "Emotional Tension" salvo brings both increased stress before resolving itself and the LP with a piano motif and atmosphere of serenity. Blessed relief.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Emotionally comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Fly Me To The Sun is a breathtaking German library gem from the hallowed Coloursound label. Originally out in 1983 it features two Polish composers, Andrzej Marko and André Mikola. If outré synth-funk is your thing, you need this record.

Almost blindingly luminous with positive vibes and radiant optimism, Fly Me to the Sun is a collection of funky, sun-dappled compositions for synthesizer and live instruments like drums, bass and guitar. A dope blend of beatbox driven future jazz and electro pop.

The wonderfully sleaze-adjacent opener "Dhamma" includes some grandiose piano chords amid floating ambient sounds a la Steve Hillage with slick drums entering the fray at a languid pace. "Circulation" sounds like Bowie ran into Chaz Jankel during an extended stay in Los Angeles, the Thin White Duke emerging out of a studio at 6am, bleary-eyed and clutching this filthy, bleepy instrumental of sonic smut. "Magic Scenery" is as delicate and astounding as the title suggests, a deep ambient movement conjuring halcyon images of rolling fields with abundant fauna and flora; acid-tinged visions of intense colour and natural beauty. Cool, slo-mo breaks adorn the strutting melancholy of “Longing for Tomorrow” and “Nocturnal Flowers” to close out Side A.

Skip the title track, which opens up Side B, and head straight to “Birth of a Butterfly” for a slice of creeping digi-dub-soul niceness. This should've been front and centre of that Personal Space compilation a decade ago. Raising both the tempo and the temperature, “Riding on a Sunbeam” continues in the mesmerising cosmic funk style before "Osmosis", one of the clear stand-outs, presents a fine vintage synth solo over a mellow funky rubberband beat. The closing track, "Solar Heating", warms things up with slapped bass and bold drum machine beats and the synth lends Sci-Fi vibes to the dark dub-funk-reggae rhythm.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Fly Me To The Sun comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

White Vinyl

The Pretty Reckless haben dem Rock 'n' Roll den nötigen Schwung für eine neue Generation gegeben, und sie haben es auf ihre ganz eigene Weise geschafft. Seit 2008 haben sie sich als die ungewöhnlichste Naturgewalt entpuppt, die in INTERVIEW Magazine, Nylon, ELLE, Good Morning America und Entertainment Tonight erscheinen kann - und sich eine Bühne mit Guns N' Roses und Soundgarden teilt. Zusammen mit dem verstorbenen Produzenten Kato Khandwala entfachten sie diese Flamme auf Light Me Up 2010 und Going To Hell 2014. Letzteres enthielt drei Nummer-1-Hits - das Platin-zertifizierte "Heaven Knows" (der größte Rocksong des Jahres 2014), "Fucked Up World" und "Follow Me Down". Nach "Who You Selling For" von 2016 stieg "Take Me Down" auf Platz 1 der US Mainstream Rock Songs Chart und machte die Band laut Billboard zur "ersten Band, die ihre ersten vier Singles auf Platz 1 der Charts schickte". Im Jahr 2021 wurden sie mit dem Album "Death By Rock and Roll" in den Himmel gehoben. Die vierköpfige Band ging in die Geschichte ein als "die erste von einer Frau angeführte Band, die zwei Mal hintereinander auf Platz 1 der aktiven Rock-Charts stand" und "die erste von einer Frau angeführte Band, die sieben Mal auf Platz 1 der Billboard Rock Radio Charts stand". Das Album wurde nicht nur vom V Magazine, Spin und anderen gelobt, sondern landete auch auf Platz 1 der Billboard Top Album Sales Chart. Bemerkenswert ist auch die Zusammenarbeit mit Legenden wie Matt Cameron und Kim Thayil von Soundgarden bei "Only Love Can Save Me Now" und Tom Morello von Rage Against the Machine bei "And So It Went". Diese Grenzenlosigkeit treibt "Other Worlds" [Fearless Records] an, wo sie ihre ersten richtigen akustischen Aufnahmen, unerwartete Covers und andere Neuinterpretationen abliefern und einmal mehr Neuland betreten.

The Pretty Reckless haben dem Rock 'n' Roll den nötigen Schwung für eine neue Generation gegeben, und sie haben es auf ihre ganz eigene Weise geschafft. Seit 2008 haben sie sich als die ungewöhnlichste Naturgewalt entpuppt, die in INTERVIEW Magazine, Nylon, ELLE, Good Morning America und Entertainment Tonight erscheinen kann - und sich eine Bühne mit Guns N' Roses und Soundgarden teilt. Zusammen mit dem verstorbenen Produzenten Kato Khandwala entfachten sie diese Flamme auf Light Me Up 2010 und Going To Hell 2014. Letzteres enthielt drei Nummer-1-Hits - das Platin-zertifizierte "Heaven Knows" (der größte Rocksong des Jahres 2014), "Fucked Up World" und "Follow Me Down". Nach "Who You Selling For" von 2016 stieg "Take Me Down" auf Platz 1 der US Mainstream Rock Songs Chart und machte die Band laut Billboard zur "ersten Band, die ihre ersten vier Singles auf Platz 1 der Charts schickte". Im Jahr 2021 wurden sie mit dem Album "Death By Rock and Roll" in den Himmel gehoben. Die vierköpfige Band ging in die Geschichte ein als "die erste von einer Frau angeführte Band, die zwei Mal hintereinander auf Platz 1 der aktiven Rock-Charts stand" und "die erste von einer Frau angeführte Band, die sieben Mal auf Platz 1 der Billboard Rock Radio Charts stand". Das Album wurde nicht nur vom V Magazine, Spin und anderen gelobt, sondern landete auch auf Platz 1 der Billboard Top Album Sales Chart. Bemerkenswert ist auch die Zusammenarbeit mit Legenden wie Matt Cameron und Kim Thayil von Soundgarden bei "Only Love Can Save Me Now" und Tom Morello von Rage Against the Machine bei "And So It Went". Diese Grenzenlosigkeit treibt "Other Worlds" Fearless Records an, wo sie ihre ersten richtigen akustischen Aufnahmen, unerwartete Covers und andere Neuinterpretationen abliefern und einmal mehr Neuland betreten.

Heads have been after Otakar Olšaník and Jan Martiš's Advanced Process for a long time. That's because "coincidentally-cosmic disco" packed with spaced-out, smacky-synth dynamite tends to become sought-after. Originally slipping out on the mighty Coloursound in 1986, the label described the sound as "contemporary synthesizer underscores played by computers; depicting future technologies in today's process." If they'd just added "acid-drenched", they'd have been closer to nailing it.

The A-Side is totally beatless. It's also totally perfect. "Atomic Plant 1" is a pulsing synth epic and could've easily soundtracked a stylish 80s thriller such as Thief or To Live And Die In LA. It's a narcotically enhanced meeting between John Carpenter and Steve "Lovelock" Moore. "Atomic Plant 2" adds extra squelch and proper early computer synth squiggles. This stuff is addictive and truly ace. The 3 part "Fusion Point" showcases a dramatic and insistent industrial mood via a gripping sequencer pattern mixed with effects and accents. Menacing and magnificent. The trio of "Nuclear Radiation" tracks veer majestically from a hypnotic sequencer pattern with a heavy dramatic tune to hectic patterns without much of a tune, managing nevertheless to maintain a hold on the listener.

The drums enter proceedings on Side B and they're absolutely outstanding. Coming on like a slicker, heavier Johnny Jewel production, 20 years before Italians Do It Better, "Regulators 1" marries the smoothest head-nod beat you can wish for, with a murky mechanical rhythm and phasing effects. After the stunning beatless version ("Regulators 2") the suuuupppper slo-mo "Data Load" sounds like its wading through the heaviest K-Hole and is all the more thrilling for it. "Modem" is a brief and breezy funky bass and synth squiggle wonder, of the beatless variety. "Robot Masters", would you believe, actually sounds like something those Daft Parisians would've sampled on Discovery, over 15 years later. An uptempo, optimistic track with a real strut; propulsive rhythms with dramatic synths, what can only be described as "very-80s sounds" and digi-handclaps. The breathless "Digiheart" double bill rounds things out, one with a dynamic driving rhythm and more slick-as-hell beats and the other without drums. Mental, brilliant and completely essential.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Advanced Process comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

On Origins Chris Bartels takes on the role of singer-songwriter for the first time under his Elskavon moniker, unveiling a voice that wouldn't sound out of place next to vocal-forward artists like Justin Vernon, Jónsi, or Baths, who master the balance between conventional songcraft and bold, idiosyncratic experimentation. Origins is vast yet intimate, fluttering yet cohesive, tattered yet clean, a little like rainfall during sunlight. Shedding the ambient-classical confines of his previous output, the album's opener and title track, offers a swirling mosaic of acoustic textures that recall the beloved duo The Books, laced with warped vocal utterances flitting in and out of a club-friendly beat. "Origins" is followed by the equally danceable "Coastline," which drives home the smiling melodies and intricate sound-design that form the spine of Origins, keeping Bartels' voice in a largely decorative and impressionistic role up to this point. "Blossom and the Void" dissolves the introductory tension as Bartels comes out lyrically swinging, his digitized voice chanting widely over the mutated New Wave-esque anthem. Here, Bartels shows his instinct for dynamics by rising to bombast and quickly dispelling it, making steep yet grace- ful descents into skillfully delicate sound-design. Throughout Origins, the patient glacial aesthetic of his previous work is still discernible-- there are wordless, expansive panoramas that stretch out patiently for minutes at a time and smartly resist the impulse to pack each moment with a persona made even more impactful when Bartels chooses to wield it. At other times, his spokesmanship is woven discreetly into a larger tapestry, like on "See Out Loud" (and its ambient reprise) where Bartels' voice shimmers from a distance, covering the scene in diffuse splendor. "There is so much warping, mangling, re-sampling, reversing and pitching," Bartels says of his intricate vocal manipulations. "I printed a lot of the vocal recordings onto a tape machine from the `60s, first at one speed, and then I'd halve, or double the speed going back into my comput- er," he elaborates, illustrating how this kind of analog processing freed him from his habits. "Sometimes I'd do this multiple times on one recording or layer-- it gave me such a unique and unexpected sound. At this point, I threw away any inhibition on what type of vocals to have, or not have, on the album." This newfound freedom is palpable in the peaks of soaring grandeur that dot the emotional landscape of Origins. "All These Years" cathartically reaches one such summit in its second half after laying a path of gently plodding indie-IDM in its first. The cinematic vignette "Dreymur Aftur" provides pause for reflection amid its brisk procession of string plucks and rhythmic synthesizer while marching wordlessly into album-closer "This Won't Last Forever." Here at the end, Bartels' guitar playing is laid bare in the mix, skeletally framing a single ribbon of his voice as it unfurls into the atmosphere. Though the track isn't expressly lyrical, its starkness still exemplifies the new leaf of vulnerability Bartels has turned over on Origins, an album that documents his hard-won evolution from musician, to producer, to composer_ and finally_ his confident arrival in the role of songwriter.

50 years after the genre turned the music world upside-down, GRADE 2 bring the raw power of old school punk to a new generation. Their second release on Tim Armstrong’s legendary Hellcat Records is a thumping 15 track tour de force melding the uncompromising ethos of punk with the howl of contemporary injustice, personal identity and frustrations of Gen-Z youth, authentically told by three lads with punk
coursing through their veins.
Formed on their native Isle of Wight when they were just 14 years old, Jack Chatfield (guitar & vocals), Jacob Hull (drums) and Sid Ryan (bass & vocals) honed their craft covering punk pioneers before creating a sound uniquely theirs: ten years on, the eponymous Grade 2 is their magnum opus.
The new album was produced by the band along with Tim Timebomb (Armstrong) and T.J. Rivers at Armstrong’s Ship Rec Studio in Los Angeles. “Returning to Ship Rec Studio resparked that magic dynamic” says guitarist Jack Chatfield. “When we’re in there I feel like we reach our full potential.
Tim would offer tweaks and tips for some songs, while others he’d compliment as finished first time we played them.” “We worked flat-out recording this record,” says drummer Jacob Hull, “but we never felt pressured, Tim keeping us in the zone to make the best tunes of our lives.

Limited Yellow Coloured Vinyl Edition

50 years after the genre turned the music world upside-down, GRADE 2 bring the raw power of old school punk to a new generation. Their second release on Tim Armstrong’s legendary Hellcat Records is a thumping 15 track tour de force melding the uncompromising ethos of punk with the howl of contemporary injustice, personal identity and frustrations of Gen-Z youth, authentically told by three lads with punk
coursing through their veins.
Formed on their native Isle of Wight when they were just 14 years old, Jack Chatfield (guitar & vocals), Jacob Hull (drums) and Sid Ryan (bass & vocals) honed their craft covering punk pioneers before creating a sound uniquely theirs: ten years on, the eponymous Grade 2 is their magnum opus.
The new album was produced by the band along with Tim Timebomb (Armstrong) and T.J. Rivers at Armstrong’s Ship Rec Studio in Los Angeles. “Returning to Ship Rec Studio resparked that magic dynamic” says guitarist Jack Chatfield. “When we’re in there I feel like we reach our full potential.
Tim would offer tweaks and tips for some songs, while others he’d compliment as finished first time we played them.” “We worked flat-out recording this record,” says drummer Jacob Hull, “but we never felt pressured, Tim keeping us in the zone to make the best tunes of our lives.

Repress !

One of music's most unpredictable characters Tricky is back with his new album Adrian Thaws, released in conjunction with !K7 Records and his imprint False Idols.
'Calling it Adrian Thaws is saying you don't really know me,' says Tricky, explaining the title of his 11th album. 'So many times people have tried to put a finger on me and every album I
go to a different place.'It's typical of one of music's most unpredictable characters that the first album to bear his
birth name is one of his least introspective. Adrian Thaws is a vivid, attention-grabbing set of songs which roamfrom hip hop to house, jazz to blues, rock to reggae. It was recorded in
Tricky's home studio in London, where he's living again after almost two decades in New York, Los Angeles and Paris, and features an international crew of collaborators: Francesca
Belmonte, Nneka, Mykki Blanco, Bella Gotti, Tirzah, Blue Daisy and Oh Land. It's designed to be played loud.
'I suppose this is my club/hip hop album,' he says. 'I've only heard my music a few times in a club but I grew up in clubs from when I was 14: blues parties, hip hop clubs, a few raves. I'm
not known for doing club music but this album has some club tracks on it — well, what I would consider club music.'
Tricky makes complicated music because Adrian Thaws has had a complicated life. Born in 1968, he grew up in an extended family that was both black and white, urban and rural, containing strong women and volatile men. His choice of cover versions is revealing. Janet Kaye's 1979 lovers rock classic Silly Games reminds him of his childhood in Bristol's Knowle West district. London Posse's 1990 track Gangster Chronicle harks back to his musical apprenticeship with the Wild Bunch and Massive Attack under the name Tricky Kid before he launched his solo career with 1995's startling Maxinquaye. Tricky has always used music to explore the different, sometimes contradictory facets of his
background and personality. 'I can be anything I want when I do an album,' he says. 'I could be a woman, I could bea man. It's great to be able to be all these different things.'

One amp. One mic. One person. Countless hooks. That’s the Dazy formula. Since first releasing the single Bright Lights b/w Accelerate in August 2020, Dazy mastermind James Goodson has been writing, recording, and releasing new music like a man on the hunt to find the best pop hook, and he won’t stop until he’s put all of them into his songs. Show- casing a unique set of influences, Dazy’s sound marries thumping drum machine beats, blasts of feeding back guitar, and sugar-sweet hooks into something that sounds like God- flesh covering Oasis—or maybe the other way around. With lean songwriting that recalls Teenage Fanclub but a home-re- corded production style better suited for Big Black, Goodson builds a constant churn of abrasive, consuming noise and then makes it catchier than anyone else would ever dare to.

For the last five years, Los Angeles-based musician Noah Weinman has been Runnner, and for much of those five years, Runnner has been working. Working on his 2021 collection album, Always Repeating; working as a producer on the Skullcrusher records; and, of course, working towards his debut full-length, Like Dying Stars, We're Reaching Out. From LA to Ohio and the Northeast and back, he's been deep in the craft of sound. This is music made at home, using anything and everything: cell phones and handheld tape recorders, the hum of an a/c unit, voicemails from friends. Rubbing cardboard together, stretching acoustic sounds out to near liquid, or stacking delay pedals at random to scramble the smoothness of a song can make something known into something unknown –


something ordinary into something cosmic. These are songs where the edges have been left deliberately rough because perfection invites predictability, and imperfection imbalances, and those imbalances ask the listener to listen again, and again.

A fuzz-drenched, genre-crossing collection of cover renditions, filtered heavily through the spaced-out psychedelia of Jack Harlon's inimitable style - As Australia began a series of flash pandemic lockdowns in early 2021, Melbourne psychedelic fuzz rock band Jack Harlon & the Dead Crows' prolific frontman Tim Coutts-Smith began experimenting with home recording some of his favorite old songs. This rabbit-hole deep-dive eventually led him to bring the fans in on the project, with a social media post inviting suggestions of old underground songs they'd like to hear "Harlon-ified." The result is 'Hail to the Underground,' a collection of renditions by Jack Harlon & The Dead Crows selected for their musical importance and personal meaning, with the general throughline being that none of the original artists are household names. Filtered heavily through the spaced-out psychedelia of Jack Harlon's inimitable style, this fuzz-drenched, genre-crossing love letter includes songs by under the radar icons like Bauhaus, God, Butthole Surfers, Joy Division, The Melvins, and more. Perfect for fans of Lowrider, Domkraft, Mothership, Wo Fat and Freedom Hawk - Gorgeous first limited vinyl pressing on black and pink swirl colored LP!

Renaldo Domino
Chicago Soul Legend
Born March 27th 1950) from “The Valley” around 49th & Forestville.
He was nicknamed Domino because his voice was sweet as sugar, Domino being an American sugar brand name.
Renaldo Domino blasted onto the fertile Chicago soul scene of the late 60's with a voice as sweet as sugar and deep grooves that sound just as fresh five decades later. Releasing singles on Mercury subsidiaries Smash and Blue Rock, and later Twinight records, Renaldo’s all-too-brief career has still managed to leave an impact to all those lucky enough to hear it.
He had a relatively short recording career releasing only 7 singles between 1967-1971. His first 45 was recorded whilst he was still attending high school on a tiny label Arnell on a low budget.
The Arnell 45 did well enough for him to get signed to Smash (a Mercury subsidiary) where he released two 45s, re-recording 'I'm Hip To Your Game' for his second Smash single, as it's a different version to the one released on Arnell. His third 45 was released on another Mercury subsidiary, the now revived Blue Rock which had been 'suspended' since 1966 and reacivated in 1968. The records sold reasonably well locally but Dominio left to join Twinight, feeling that his material wasn't being promoted by Mercury, where he released a further three singles between 1969-71. Twinight released him in 1971 and despite trying to get another recording contract he was unsuccessful and left the music business to pursue another career.
He was managed by William Sandy Johnson who also managed LaShawn Collins and Wendy Woods who recorded on Johnson's Sincere label, the only 2 releases on the label. He also wrote Renaldo Domino's first 4 A sides: 'I'm Getting Nearer To Your Love', 'Just Say The Word', 'Not Too Cool To Cry', 'Let Me Come Within'. In addition he wrote 'Do It Now' for Wendy Woods and the flip to LaShawn Collin's classic 'What You Gonna Do Now', 'Girl Chooses The Boy'.
Renaldo returned to the spotlight in 2007 when the Chicago reissue powerhouse Numero Group put him on the cover of their deluxe box set Eccentric Soul: Twinight's Lunar Rotation (which included other greats Syl Johnson, The Notations, and many more). Renaldo’s performing career began to flourish once again with shows around country.
In early 2019 Renaldo teamed up with producer Jeremy Kay and arranger JB Flatt and set out to record new tracks that would live up to Renaldo’s great early records. Assembling a crack team of Brooklyn’s best they pulled out all the stops, creating a mix between the lush arrangements of Chicago’s early soul style and the hard-hitting beat of current Brooklyn soul. The new single “No Laggin’ & Draggin’” / “Give Up The Love”, released Feb 2020, is now available on Colemine Records.
Backed by The Heavy Sounds, Renaldo’s live performances continue to deliver with passion and precision, making new fans young and old.

​

Dubquake Records presents “Hold Strong”, a new collaboration between O.B.F Sound System and Jamaican singer Mikey General! Following the release of the emblematic title "My Sound A Danger" published in 2014 at the end of the album "Wild", the collaborations Mikey General / O.B.F had remained until this day of the order of the dubplate despite a few studio sessions very productive. With the release of this new single, recorded Yard Style in 2018 at the "Dog Ah Bark Studio" at Nazamba, O.B.F is catching up with time.
Rub-a-dub atmosphere on riddim O.B.F, brassy roots influences and text of struggle: "Hold Strong" follows the good recipes that made the success of the JA / Geneva collab. The tune available on 7 inch with its dub version comes in an original cover that highlights the work of the Ivorian up-cycler artist recognized under the name of Saliou Gnambode. Hold Strong!

Cantaro Ihara won himself plenty of friends in the deep-digging vinyl community last year with a very special Japanese cover of free soul star Weldon Irvine's 'I Love You' on a lush little 45rpm. It is now a hard-to-find and expensive record that has been remixed by the one and only beatmaker DJ Mitsu The Beats. He adds one his tight, textbook beats under the lush and airy vocal harmonies to make for something playful and jazzy. On the flip is an instrumental version that really showcases DJ Mitsu The Beats next-level production chops. Cop this one while you can, because it's sure to fly just like the original.

Dublin-based producer Moving Still further blends both his Saudi Arabian and Irish heritage on 'Kalam Hub', a triumphant new EP that marks the fifth release on CWPT/Cooking With Palms Trax. Following a series of 12” edits and original productions that have put his sounds in the record bags of DJs including Hunee, Nabihah Iqbal and Esa Williams, 'Kalam Hub' presents an ambitious expansion of the Moving Still sound, delving into his identity and background to open up imaginative, universal new corners for club culture.

This potent musicality is immediately evident from the first notes of 'Kunafa King'. Taking its title from a traditional Arabic dessert, analogue midi sounds deliver a skewed take on the traditional Saudi rhythms of the artist's youth, before expanding into a wistful diversion for any self-respecting dance floor. It's a trick Moving Still pulls off again on the pulsing 'Hayati 89', which transforms from a traditional aesthetic into a blistering, neon-tinted Italo banger, the kind of track designed to compliment an accelerated spin in the car gracing the eye-catching cover of ‘Kalam Hub’, a collaboration with the artist alongside Manchester-based graphic design studio, Dr. Me.

Concluding the record's A-side, the rhythms take a trippier turn for the duration of 'La Titasil Feeya'. Translating to “don't call me!” and making sonic reference to teenage years immersed in rock, metal and general angst, it unfolds as something akin to Middle East-tinted techno with a formidable kick drum, before exploding in colourful, organic breakbeats. Immediately on the flip, the sense of wonder returns in a sonic mirage for 'My Bosa Is For You', weightless rhythms blending with an electric organ and charming, lightly psychedelic breakdowns.

Further sonic tricks fall from Moving Still's delicately-tailored sleeves on 'Haram Odyssey', where an almost impossibly tight bass line provides the function for contrasting synthesis and unpredictable percussion, drawing parallels between the sometimes confusing aspects of the artist's dual-cultural life as a child, through to the music he makes as an adult. Fittingly, the record concludes with ‘Kalam Hub', a triumph of minimalist percussion and traditional instrumentation that pays tender tribute to the Moving Still's grandmother, translating simply to “Love Talk”.

An extended 12” ‘Club Mix’ of the 1980’s classic covered in true lovers rock style by the late Melody Beecher. Produced by husband Paul and remastered from the original two track session tape. Jura Soundsystem delivers a ‘Lovers Version’ combining snippets of vocal from the original with the Dub mix, going heavy on the reverb to create a more dubbed out excursion.

The 12” is housed in a black and yellow IOJ Island Disco sleeve with sticker designed by Bradley Pinkerton.

High Roller Records, reissue 2022 with alternate cover art, swamp green/ yellow splatter vinyl, ltd 200, 4 page insert, poster, 425gsm heavy card bord cover, bonus 7", mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2022 with alternate cover art, swamp green/ yellow splatter vinyl, ltd 200, 4 page insert, poster, 425gsm heavy card bord cover, bonus 7", mastered for vinyl by Patrick W. Engel at Temple of Disharmony

PINK VINYL

Austin-based, shoegazers Blushing will see the release of their debut EP Tether for the first time on vinyl on February 10, 2023 through Kanine Records. The limited (700 copies) pink colored vinyl is packaged as a double EP. Paired with sophomore EP Weak on the b side, the vinyl features new double-sided cover artwork, where fans can choose which side's cover art to display and includes an mp3 download code. Blushing's first step out into the musical world showcases shimmering guitars chords and infectious choruses, which sent shivers through the deam-pop community upon its original release After receiving such a positive response from Tether, Blushing quickly got to work writing and recording a follow up EP. Weak, a bit of a misnomer, solidified the group's reputation for writing catchy hooks over dreamy, soaring and at times extremely heavy instrumentation, which resulted in the band finding their signature sound. This release follows up Blushing's 2022 full album release, Possessions, an album with charismatic vocals, dreamy guitar hooks, swirling bass lines, filled with dream pop intensity and produced by Elliott Frazier (Ringo Deathstarr). Lead single "Blame" featured Miki Berenyi (Lush) and Mark Gardener (Ride) lent a hand on mixing and mastering. Blushing features two husband and wife duos consisting of Michelle Soto (guitar, vocals), Jacob Soto (drums), Christina Carmona (vocals, bass), and Noe Carmona (guitar). Jacob and Noe have been lifelong friends that played in bands growing up in El Paso, TX. Blushing is a part of the modern dream pop and shoegaze community that has helped Blushing create an album that all indie music lovers need to hear. Fans of LUSH, Cocteau Twins, My Bloody Valentine, RIDE, Slowdive won't be able to resist.