Suche:41

palms palms, also known as lampsey lamps, has been making music ever since he felt like it. He creates melodies for both terrestrial and extraterrestrial forms of life, including plants, earthworms, lydgae and amyopi.

“The term ‘Front Porch Singin’’ may actually be a metaphor for
many creative and conceptual musical ideas. But, for us, this title
has become more of an attitude than anything else. What if the
four of us were sitting on a porch together and someone begins to
sing a favorite old Gospel song, like ‘Swing Down Chariot’, or a
country and Western standard like ‘Red River Valley’, and
everyone else just joined in?
“That is what happened at RCA Studio A. But, as usual under
producer Dave Cobb’s leadership, this album turned into so much
more. The Front Porch Singin’ attitude remained prevalent
throughout, as songwriters, musicians, Dave and all four of us
kept coming to the table with terrific creative ideas to enhance our
Front Porch experience.
“This project is quite honestly one of the most heartfelt albums we
have ever recorded. Perhaps it is because we recorded these
songs in the middle of a raging pandemic that changed the face of
America and obviously took a huge toll on those of us in the music
business. It was a bit strange to social-distance from each other in
the studio, but we believe it drew us all closer and, in doing so, we
may have inadvertently recorded the perfect project for this time
period. These songs, whether new or old, reflect a certain
optimism and a deep-seated faith that God will work all of this out
as we move forward. ‘Life is beautiful’, as one song says. We must
embrace it and celebrate it with all of our being.
“Join us on The Front Porch and, if it is God’s will… Let’s keep on
SINGIN’.” - The Oak Ridge Boys
Produced by six-time Grammy award-winning producer Dave
Cobb (John Prine, Brandi Carlile, Chris Stapleton, Sturgill
Simpson, Jason Isbell & the 400 Unit), who also co-wrote several
of the songs on the album.
The Oak Ridge Boys are members of the Country Music Hall of
Fame and The Grand Ole Opry. They are Grammy, ACM, CMA
and Billboard Award winners. They have had 12 gold, three
platinum and one double platinum album, more than a dozen
national Number One singles and over 30 Top Ten hits.

[o] 15. Teach Me [Bonus Track]
[p] 16. Before The Accident [Bonus Track]
[q] 17. S.O.S. [Bonus Track]
[r] 18. Dutch Boy [Bonus Track]
[s] 19. Stupid [Bonus Track]
[t] 20. Dance Tunes For The Undergods [Bonus Track]
[u] 21. Photogenia [Bonus Track]
[v] 22. Cha Cha Cha [Bonus Track]
[w] 23. Back In The Street [Bonus Track]

Japanese veteran dj & producer “kza”(half of dj duo “force of nature”) have released his first solo album in 2009 on only cd.

kza is one of best dj in the modern disco/house scene in japan and also well known as vinyl digger.
this album was made with his knowledge from his big collection of vinyl.

we’re listening to this album at studio mule and feeling we should release this album on vinyl.

finally we are going to release this epic modern disco album on 2lp.

White Vinyl

The record opens out with clamouring field recordings taken on Vernon's travels in Japan; the cacophony melts effortlessly into the muted beauty of "Amber Fade", its cold synths and sombre chords striking a perfect emotional balance. "Tilted" similarly plays with ambient elements, lush pads easing their way out of the sounds of a waterfall but the natural sounds are contrasted by a touch of acidic 303. This hint of the club is forefronted in "Late Nights", which dials up the energy with chunky big room drum loops, a stirring piano section showing Vernon can turn up the heat without losing the emotional side.

On the B-side, "This Moment (I Feel)" toys with a muzak sound palette and dazed poolside beats. "Disappear" lean heavily on an electro beat; but for a hazy elongated drop it's a heady dancefloor number, before easing off again into the closing track. "Start Again" is full of texture and character, cleverly arpeggiated synths cascading over a soft house jam.

Songs zu schreiben ist für Toby Whyle eine Selbstverständlichkeit, im Musikkosmos ist er seit langer Zeit ein bekanntes Gesicht. Neu ist die Erkenntnis, dass Songwriting für ihn einer der wenigen Wege ist, die grelle, schnelllebige Außenwelt auszublenden. "A Mood Of Its Own" ist der Anfang eines neuen Abenteuers, auf das sich Toby erstmals alleine begibt. Vorbehaltlos setzt er sich den Anziehungskräften von elektronischer Musik und Gitarrenpop aus, umkreist beide immer wieder knapp, lässt sich aber nie ganz fangen. Jeder Song folgt dabei einer eigenen Umlaufbahn, gewährt neue Einblicke in Tobys Gedankenwelten.

Der Titel "A Mood Of Its Own" entstammt einer Textzeile der ersten Single "No One Moves", mit der Toby gleich mal auf dem ersten Platz der Radio FM4 Charts landete. Der Song beschreibt eine Schreibblockade, die zweite Single "Quiet The Silence" begleitet das Auseinanderdriften zweier Menschen, "Pity" erzählt von Stolpersteinen und einem Neubeginn und "How It Feels" von der Suche nach Konstanten in einer schnelllebigen Welt. Auf seiner ersten Solo-EP zeigt Toby Whyle die volle Bandbreite seines Songwritings, lässt einen oft energiegeladen aber nachdenklich zurück. Gemeinsam mit Produzent Maximilian Walch hat Toby unterschiedliche Stimmungen eingefangen, auf das Wesentliche reduziert und eine verbindende Ästhetik geschaffen.

Duisburg und sein Kantpark. Dreckig, kaputt, gefährlich,
düster und voller Junkies... dies hört man, wenn man über
ihn spricht. Doch der Kantpark hat auch andere Seiten, ein
Museum inklusive Skulpturengarten, einen Spielplatz,
Basket- und Boule- Platz, aber vor allem Menschen, die ihn
für ihre ganz persönliche Entspannung als grünen
Rückzugsort zu nutzen wissen. Und er hat Bias & Mettphonic,
die beide, so sehr man auch schlecht über Duisburg und
seinen Park redet, mit ihm verbunden sind. Im Herzen der
Stadt gelegen war er ihre verruchte Wohlfühloase um nach
den Produktionen in die neuen Werke zu lauschen und die
Gedanken schweifen zu lassen. Gedanken, die nur der Musik
und nicht ihrem Ego dienlich waren. So klingt die Kantpark
Chiqueria! Es sollte nicht klingen wie alles, was man mit den
Beiden verbindet und doch wie beide sind. Ehrlich,
kompromisslos, neugierig. Pattak

Orange and black. Fire and ebony. Fury and pride. Wearing its signature colors proudly and raising its exclamation point high, Impulse! Records was the go-to label for music that harnessed the searching and political stand-taking of the Sixties. Launched in 1961, Impulse grew to become an inherent part of the era’s velocity as well as its volume, pulling jazz into the age of Black Power, Afrocentricity, and Spiritual Expansion. In its balance of tradition and transition, it bridged the golden age of jazz, that brief window from the late Fifties to the Seventies when players representing every jazz era were alive and active—from Louis Armstrong to Albert Ayler, from the legends of lore to a new generation of energy players. Impulse treated all its musicians as innovators, revolutionaries even—from swing and bebop, to free and Afrofuturist. The performances on Impulse Records: Music, Message and the Moment draw their staying power from a wide embrace of styles and sounds, as well as a tight focus on a historic moment when the promise of change was in the air and the message of racial harmony was in the music. Today that music has lost none of its relevance: the promise still deferred, the message still on time.

Buzzing new Glasgow five-piece VLURE release their hotly anticipated
debut 7” ‘Shattered Faith’ via London-based label Permanent Creeps
Records.
Bursting onto the scene at the dawn of 2020, VLURE introduced
themselves to the world with a live audio/visual performance of their
phenomenal track ‘Desire’, captured in beautiful cinematography from
the loading bay of their Glasgow studio space. Blurring the lines between
live electronics, jarring guitars and the performance sensibilities of their
post-punk contemporaries, the video offered a keyhole view into their
captivating live shows.
Combining synth laden hooks, heavy club influenced rhythms and
emotionally confronting lyrics, VLURE have already seen support from
the likes of So Young and Wax Music praising their life affirming, intense
and enigmatic live performances.
Recorded between the halls of a deconsecrated church in the heart of
the Scottish Borders, the self-produced ‘Shattered Faith’ is an indulgent,
genre bending coming of age anthem influenced by the rhythms,
repetitions and euphoric hooks of Glasgow’s thriving afterparty and club
scene with an angular post-punk foundation. Speaking on the track the
band explain: “We wanted to create something that felt at home on the
dancefloors that we all found ourselves on growing up, yet still equally at
home in the sweat-filled venues that the band was conceived in. At its
crux, ‘Shattered Faith’ is about self-empowerment. It’s the
disillusionment with where you are and what you’ve been given. It’s lying
on your kitchen floor at 3am realising who you truly are and finding
power in that - it’s a new lease of life. We believe that, if they want to find
it, there is something for everyone in this song.”
“There is nothing comparable - this is a new era of musically skeletal
human showmanship” - So Young Magazine
“Urgent, destructive and completely absorbing. Brutalist in form -
unyielding, massive-sounding, distinctive - their atmospheric, yearning
mood is overflowing with inclination and exposed tenderness -
vulnerable and exasperated. They pound the door down with every inch
of blood, sweat and tears in their vessels” - Wax Music
“This is post-punk, but not as you might familiarly expect” - Little Indie
Blogs
“One of Scotland’s most exciting new bands” - Tenement TV

Repress

The 10th release on BLKMARKET MUSIC features Payphone, with ‘Unicorn System.’ From the founders of Toronto’s Payphone Studios and members of the Hypnotic Mindscapes crew and record label, the Payphone trio make their label debut with 4 hardware-heavy tracks. This elusive 3-member live-act take a functional yet improvisational approach, influenced by years of chasing the wonk during late-night jam sessions.

Kicking-off the EP is the retro futurism of ‘Don E = Dark O’ - a melancholic, chiaroscuro-esque house-meets-techno track harking back to a bygone era of rave. The A2 ‘Fool Circle’ shifts gears into the afterhours with an infectious, metallic groove. On the flip, aquatic-deep techno cut ‘Sea Sex Librarian’ dubs things out with trippy vocals and a booming round baseline. Rounding out the EP, ‘Get Outta 84’ conjures cinematic dystopia with deep electro-infused breaks.

All tracks written & produced by Cosmic JD, Ryan W, and Tro

Tape

'Verzamelen II' is the second volume in a retrospective series in which we look back at the work of Wouter van Veldhoven (Netherlands). Throughout the past decade, the Dutch composer built an impressive catalogue of music in which tape loop and modular synthesis experiments hold a central place. Both collaborations and solo-work saw the light through some distinctive labels such as Slaapwel, The Tapeworm, Umor Rex and Digitalis among others.

With this series we want to dive into some work which slightly went under the radar. The pieces are collected from several releases and are re-mastered for the occasion. Some of them were never physically released before.

Peter Broderick and Hainbach kindly joined this trip by offering two new reworks which close this second volume.

Songs taken from ‘A head stuck in tapes’, ‘Een paar schetjes en optredens 2005-2006’ & other found unreleased tracks.

The Mental Traveller - A Soundtrack by Noa Erni

If music can take our mind to any imaginable place, on endless individual journeys, Noa Erni's "The Mental Traveller" is the infinite soundtrack. A soundtrack for mental wandering and soul searching, a blend of rap, jazz and hip-hop beats. "The Mental Traveller", an album assembled like a literary anthology, offers musical arrangements and unique narratives where epilogue and prologue of each track merge seamlessly. Far beyond the horizon of compiling single tracks, "The Mental Traveller" is a journey of sound and unity. Inspired by David Axelrod and William Blake, Ahmad Jamal and Flying Lotus - just to name a few - this work aims to be a tribute to these legends' legacies of past, present and future, detached from trends, norms and classical narrative structure.

Swiss-born producer and computer conductor Noa Erni has been crafting obscure jazz and hip-hop behind closed curtains (a.k.a. his flat in Berlin, Germany) for years - free from external pressure and as an adjunct to his day jobs as sommelier and co-owner of local fine wine store "Friedenauer Weinhandlung". On April 30th, 2021, Kommerz Records will release Noa Erni's debut album "The Mental Traveller" on 12" vinyl as well as on all digital platforms. The project features internationally renowned artists such as Count Bass D (alternative rap pioneer, who worked with Snoop Dogg, MF Doom (R.I.P.) and Retrogott), Miles Bonny (New Mexico-based singer and trumpeter), S. Fidelity (hip-hop producer signed to German tastemaker label Jakarta Records) and more. Erni's guests meld seamingly with this unapologetic and experimental album showcasing stand out performances on vocals, instruments and production.

While the album sounds like it was played by a jazz outfit with years of stage experience, the truth surprises and is even more exciting: Noa crafted the songs in countless hours of experimenting with a midi keyboard, various instrument plugins and perfected reverb settings. It was not one and the same band but one and the same person. Just a few tracks include actual live instruments: drums by Max von der Goltz on "The Mental Traveller Theme" and "Uncertainty", bass by Roman Klobe on "Longitude" and flugelhorn by Miles Bonny on "Train Ride".

EVILE geben Thrash der alten Schule neuen Biss!
Seit ihrer Gründung 2004 hat sich die britische Thrash-Abrissbirne EVILE mit bis dato vier veröffentlichten Studioalben einen stattlichen Ruf erspielt, indem sie puren Thrash mit einer kompromisslosen Death-MetalAttacke befeuert. Das fünfte Studioalbum, Hell Unleashed (30. April 2021 via Napalm Records), markiert nicht nur den lang ersehnten Nachfolger des vorangegangenen 2013er Albums Skull, sondern zeigt das Quartett mit Ol Drake (Gesang, Gitarre) und RipTides Adam Smith (Rhythmusgitarre) außerdem in herausragender, neuer Formation.
Auf 41 Minuten entfesselt Hell Unleashed die ungestümen Mächte der Hölle, fängt Dämonen der Vergangenheit ein und verleiht dem klassischen Thrash Metal einen zeitgemäßen, aber dennoch harten Touch.
EVILE sind zurückgekehrt und das direkt aus dem Abgrund!

Sub Pop release ‘Indian Yard’, the debut record
from Sitka, Alaska project Ya Tseen.
Band founder, Nicholas Galanin is one of the most
vital voices in contemporary art. His work spans
sculpture, video, installation, photography,
jewellery and music; advocating for Indigenous
sovereignty, racial, social and environmental
justice, for present and future generations.
‘Indian Yard’ is a compelling document of humanity
centred in an Indigenous perspective. Created by
one of the world’s foremost Indigenous artists, the
irrepressible album is an intense illumination of
feeling and interconnectedness.
On the track ‘Close the Distance’ Galanin reflects
on the universal need for connection and the
expression of desire across distances. The official
video, directed by Stephan Gray (Shabazz
Palaces ‘Dawn In Luxor’, ‘Deesse Du Sang’),
extends beyond human experience to consider
physical expressions of desire in biological,
mechanical, and celestial forms.

La grande vallée (1993/95), 20'41

Musical composition, design and sound production carried out at the INA grm Studios (Paris) in 1993/95

Original audio recordings in the Drôme and the Mont Ventoux areas

Voice: Hélène Bettencourt

Vocal occurrences: Frédéric Malenfer, Bruno Roche, Lionel Marchetti

Bass clarinet (for processing): Jean Andréo

Micro-climat (1989/90), 21'33

Micro-climat is the first movement of the Sirrus cycle (Micro-climat, Passerelle, Sirrus) composed in 1989/90

Musical composition, sound design and production, audio recordings in 1989/90 at the CFMI studios in Lyon (Lumière University, Lyon 2)

"I wonder if my fascination for clouds (without being an obsession) may have risen at the end of the 80s as, whilst composing Micro-climat, I would regularly wander between the Vercors mountains and the high plateaus of the Monts du Forez discovering, through my eyes, body, breath, active observation and walk, that natural forms when constantly changing and yet swollen with a unity of matter (in this instance, water) open one up to a deep, fundamental breath and a clear field for the mind. The sky and its forces: our ally.

A model for a natural music which, although fixed, as in musique concrète (a rule of the genre), moreover on a recording tape, will remain charged with such a poetic quality that (isn't it its role or rather its reality?) it will ensure a perpetual renewal for our senses, so as to reach another idea of the world, far more open and richer than what we could have imagined."

Lionel Marchetti, 2011

Lionel Marchetti is a major figure of the "third generation" of concrète musicians, a term he values. Listening to these works, imbued with poetry and traversed by micro-narratives, one can indeed retrieve the original concrète spirit, the one that draws from the sonic world, with ears wide open, so as to extract a fertile, rich and multiple substance then shaped and conveyed towards a formal and musical abstraction. Lionel Marchetti has mastered this process, but his real distinctive feature is a truly unique talent for setting climates (as one sets traps) and keeping us on constant alert. The two pieces in this record perfectly illustrate the entrancing dimension of Lionel Marchetti's music, whose charm leads us, through each successive listening, to become voluntary captives so as to better liberate ourselves.

François Bonnet, Paris, 2020

Just in time for the holidays comes a brand new Christmas classic from Academy Award-winning composer Michael Giacchino (Up, Ratatouille & Lost) and if the world ever needed a shot of positivity right now then this is it!

The idea of writing a Christmas single happened whilst hosting a Christmas party with Richard Kind at the Royal Albert Hall in 2019. During that party, they heard a radio announcement regarding a Christmas song competition, and they immediately began trying to

write a song and find someone to sing it! Throughout the party, guests turned up, but no one wanted to sing the song, that is until Himesh Patel and UK band Itchy Teeth knocked on the door and took up the challenge. Himesh was fresh from starring in Danny Boyle’s film Yesterday, and Itchy Teeth were the band that performed with him throughout the movie.

Recalling classic Christmas earworms such as Wings ‘Wonderful Christmastime,” the single is written by Michael Giacchino, Elyssa Samsel and Kate Anderson and performed by Itchy Teeth. The B-side is a beautiful smokey lounge version of Christmas Number One performed by the John Robert Wood Yule Sextet.

The LTD 7’ comes complete with a digital download card and is presented in gatefold Christmas card cover, ready and waiting to be given as a gift and inscribed with your very own holiday greeting.

Let us see 2020 out in a flurry of positivity, optimism and fun, so get ready to be singing this song around the christmas tree this year with all your family (even if that mean doing so on Zoom)

Happy Holidays!!!

This New Collection Is Released To Celebrate The Electronic Music Pioneer Being At The Forefront Of His Genre For Over 50 Years. This Extensive Double Album Comprises 41 Tracks That Has Jmj Hand Picked Himself. All Songs Have Been Digitally Remastered. Formats Include A Limited Quadruple Deluxe Lp Set, Deluxe Double Cd And A Super Deluxe Limited Fan Box Set. Press Ads, Features And Reviews. Online/social Media Activity. Poster Campaign And Database Mailout.

One of Dead Moons all time classics, filled with some of their catchiest & most rousing songs.
Rockers of the highest caliber such as ‘Destination X’, ‘Fire in the Western World’ & ‘Don’t look back’ as well as perfect ballads such as ‘You can’t do that’ & Out in the blues’.
An utter masterpiece of psychedelic rock straight from the heart. The most requested Dead Moon LP by Mississippi Records store customers!

Autopsia is a cult art project dealing with music and visual production.
Its art practice began in London in the late 1970s and continued during the 1980s in the art centers of the former Yugoslavia.
Since 1990, Autopsia has acted from Prague, Czech Republic.
Above all Autopsia is not concerned with music. What is Autopsia? Art? Theory? Framing? Projection? Gaze? Autopsia is
language is image is sound. Autopsia is a tombstone on the grave of time. Autopsia is archaeology. The discourse of the
beginning and about the beginning. At the beginning is Death and the pity of Death. The music is in the pity.
The music of Autopsia oscillates from romanticism to avantgarde, from industrial rhythms and dark ambient drones to relentless
choral swells and academic minimalism.
Autopsia Archive 1982-1995
Engineered & Mastered at Mustakillah Studio Prague, 2017
Released by Other Voices Records VOX 35 LP
Marketed and distributed by Kontakt Audio

"Essential techno, essentially militant. A collection of pioneering electronic club hits and classic tech funk cuts with highly eco-political lyrics, produced by Michelle Grinser, DJ Naughty and featuring by Chicks On Speed. Chris Korda, is a transgender artist and tireless environmental activist who denounced 21 years ago the excess of capitalism and consumerism ("Buy", "Buy More"), exposed social inequalities and warned of the dangers of climate change".

After a 7-year hiatus, funk legend Steve Arrington returns with his uplifting and soulful new album ‘Down To The Lowest Terms: The Soul Sessions’, with artists including Mndsgn, Knxwledge and Jerry Paper on production. The album portrays his diversity of influences, which sees Arrington drawing on funk, soul, jazz, electronic and R&B.
Steve Arrington is known for his innovative vocals on classics including ‘Watching You’ and ‘Just A Touch of Love’, with Slave, as well as his solo work with tracks including ‘Dancin’ in the Key of Life’, ‘Weak at the Knees’ and ‘Nobody Can Be You’. His music has greatly influenced the hip hop generation, having been sampled by Jay-Z, A
Tribe Called Quest, Pharrell, 50 Cent, 2Pac, De La Soul, Snoop Dogg and many more. ‘Down To The Lowest Terms: The Soul Sessions’ is Steve Arrington’s first solo album since 2009’s ‘Pure Thang’.

Following the reissue of Marta Ren "Stop Look Listen" album, Record Kicks is proud to present the reissue of another mega rare and super in-demand vinyl from its vaults: Sydney soul/funk outfit DOJO CUTS' second legendary album "Take From Me". The second studio album from the Aussie band will be finally back available on vinyl on a classy limited edition clear LP on March 12th.

"Take From Me" was originally released in 2012 and once again features the sizzling, smoky vocals of Miss Roxie Ray. This much anticipated follow-up to their 2009 debut on Record Kicks, has rapidly became a "classic" in the deep funk and soul scene with millions of streamings on the digital platforms. The originally LP has never been repressed and the few available copies change hands for crazy money on Discogs.


This is the album where all of Dojo Cuts' experience and hard work reaches its deeply soulful zenith, with tracks such as in "Easy to come home", "Sometimes it hurts" and title track "Take From Me". With the liner notes written by dj and collector Russ Dewbury (Jazz Rooms) and the support of the entire Daptone Records family aka Gabriel Roth, Neal Sugarman and Homer Steinwess, this is a must have for all the funk & soul lovers. Watch out the repress is limited to 500 copies worldwide.

Back in print for the first time in years, Dawn Metropolis is Anamanaguchi's debut album, and the first with the complete band lineup. The core is an NES sound chip programmed to the brim with hyperactive 8-bit melody, as the band shreds along with a real punk sensibility. "Blackout City" appeared in the game Bit Trip Runner, and "Jetpack Blues, Sunset Hues" was featured as the theme song to the Nerdist podcast

Anamanaguchi's driving & dynamic debut EP, recorded while the band was still in high school. First released on the legendary chip music netlabel, 8bitpeoples, these are the seeds of the band's hyper-melodic, digital powerpop flavor - "It is recommended that you sing along with the squarewaves."

Galcid - Hope and Fear is the long awaited sophomore album of Japanese techno-artist galcid. Although completed in 2019, the release date of the album was delayed by COVID-19. This was due to both practical and artistic reasons—the titles and identity of each composition reflect various ways in which galcid reflected upon the pandemic.

Music is by galcid
Produced by Hisashi Saito

In the 4 years that have passed since galcid’s debut album hertz (2016), galcid worked on various EPs and albums as SAITO. Juxtaposed to the black and white minimalism of hertz, the palate of Hope and Fear is decidedly more colourful, laden with emotional undertones. The depth of the sound created by galcid’s exclusive reliance on analogue machines invites the listener to follow their own journey along the resulting soundscape

First drop of 2021 from AE Productions is from New York legend Emskee. From solo releases to group projects with The Good People alongside Saint, plus a slew of guest features far and wide his catalogue is staggering! Emskee previously appeared on guest spots with AE Productions for the Cut Beetlez ‘What Beetlez?’ album in 2020 and Oxygen’s ‘Age Appropriate’ album from 2019 but AE and Emskee go way back to 2012 thanks to an introduction via mutual friends Diggers With Gratitude at their Marisco event.

Both tracks here are produced by AE boss Mr Fantastic but for this one turntable duties were shared between Emskee who is one of those rare creatures – a highly skilled MC and DJ, and supplied the timeless scratched in vocal chorus feel from a legendary old school gem for 'Wall To Wall', and Mr Fantastic who supplies the question and answer style cuts for ‘Supernatural Force’ utilizing a couple of Emskee's prior releases as the source.

This is a heavyweight release - 12" black vinyl complete with Main Version, Instrumental and Radio Edit of both tracks - just how Hip Hop singles should be. We all love 45's but a big 12" with space for longer tracks and extra versions is historically where it's at for DJ's and with precious few released now it is a shame so we aim to remedy that here with at least one more new 12” release.

The full sleeve artwork adds to the class of this release with a huge nod back to the style of Blue Note Records’ heyday of the 50’s and 60’s thanks to Nick at Fine Print who has perfectly recreated the feel of those classic sleeve designs.

Es ist das größte klassische Musikereignis der Welt, wird in mehr als 90 Länder übertragen und in Deutschland von mehr als 4 Millionen Menschen im Fernsehen und im Rundfunk verfolgt.Die Wiener Philharmoniker, für dieses Repertoire unstrittig das beste Orchester der Welt, präsentieren zum Jahreswechsel wieder ein heiteres und zugleich besinnliches Programm mit Walzern, Tänzen und Polkas aus dem reichen Repertoire der Johann Strauss-Dynastie und deren Zeitgenossen. Das Orchester möchte mit diesem Konzert allen Menschen einen Gruß im Geiste von Hoffnung, Freundschaft und Frieden übermitteln.Im Herzen von Wien, in einem der klangbesten und schönsten Klassik-Säle der Welt interpretiert, werden die Wiener Philharmoniker das Klassik-Jahr eröffnen, dieses Mal unter der Leitung des berühmten und exzellenten italienischen Dirigenten Riccardo Muti, dessen enge musikalische Zusammenarbeit mit dem Orchester bereits Jahrzehnte umspannt. Muti hat im Verlaufe seiner außerordentlichen Karriere die prominentesten Orchester der Welt, wie die Berliner Philharmoniker, das Symphonieorchester des Bayerischen Rundfunks, die New Yorker Philharmoniker und das Orchestre National de France dirigiert, hat aber zu den Wiener Philharmonikern ein besonders inniges Verhältnis. Er wird das interessante Programm des Neujahrskonzertes 2021 sicherlich mit italienischer "Grandezza" bereichern. Neben unsterblichen Hits wie dem "Frühlingsstimmen-Walzer" von Johann Strauss, dem "Kaiserwalzer", "An der schönen blauen Donau" und dem "Radetzky-Marsch", gibt es 2021 auch wieder zahlreiche Premieren beim Neujahrskonzert von entdeckenswerten Walzern und Polkas u.a. von Franz von Suppé, Carl Zeller, Carl Millöcker, Karl Komzák, Josef Strauss und Johann Strauss Vater.Ein eleganter, beschwingter Gute-Laune-Auftakt 2021 mit Klassik der Extraklasse!

Nach Dear Esther und So Let Us Melt, veröffentlicht Black Screen Records im Januar 2021 nun den nächsten Soundtrack von Jessica Curry auf Vinyl. Diesmal ist der Soundtrack in Zusammenarbeit mit Blood & Truth-Komponist Jim Fowler entstanden und erinnert an einen wunderschönen Mix aus Disney-Musik und einem Ballet von Tschaikowski. Der Soundtrack erscheint als limitierte Doppel-LP auf audiophilem schwarzem 180g Vinyl (45RPM) und wurde von John Webber in Londons Air Studios gemastert. Das Artwork stammt vom Zeichner Nathan Anderson und ist inspiriert von sowjetischen Raumfahrt-Plakaten. Natürlich kommt auch dieser Soundtrack mit einem gratis Download Code und Liner Notes der Entwickler.

The TDK maestros plays an oldschool 4 hands Live set... Invited at the first Acid Night party in paris to play, and releaseing the very first Acid Night plate here they come again for a raw acid banger 2 titles. 13/14 minutes each... 2 differents story telling, one pumpin and sweet and one raw and hard !

The MUSHROOM HOUSE compilation is a collection of balearic, afro and cosmic tracks that have been released on Toy Tonics EPs over the last 5 years. Original tracks and remixes by friends of the label: Auntie Flo, Rebolledo, Hyenah, Daniel Avery, WhoMadeWho & DJ Koze, Munk … and there is also legendary italian cosmic DJ Baldelli featured.
All these tracks are exclusively produced for Toy Tonics. A few had been already released before on Gomma records. The now sleeping indie-electronica label that was the „mother“ of Toy Tonics. It’s fun to see that these tracks seem not to get old. They sound still fresh and ace. Like the DJ Koze remix of WhoMadeWho or Munk’s Nigerian Jam. Now they all come together on double vinyl. Vinyl comes Including the new 60 page TOY TONICS MAGAZINE no 1.

After having released their debut EP „Fading Pictures“ in 2019, we are proud to present Aksel & Aino’s first full length titled “Lullabies for Submarines”.
The album is light & dark, mysterious & emotional and above all it is a grand tale of companionship. While celebrating the uncountable facets of human relationships with all the sadness that comes along naturally, the duet of Aksel’s instrumentations and Aino’s poetry always remains upbeat (positive) looking into a bright future, leaving us with the simplest, most sincere and best wish of them all: “I hope we grow old together somewhere inside this great adventure we use to call life.”

Thaba is a collaboration between South African singer/
songwriter Khusi Seremane and American producer/musician
Gabriel Cyr. Tragically in July 2020, while the two were
working with Soundway to prepare the release of their first
record, Seremane died a few days past his 41st birthday, after
battling health issues for several years.
The particular Thaba sound reflects a sonic duality drawing
on a double pop heritage of Mbaqanga and Bubblegum artists
like The Soul Brothers, Paul Ndlovu and Pat Shange alongside
traces of Roxy Music, Grace Jones, Sade, and Talk Talk that’s
wrapped up in a modern, electronic, layered, introspective
and at times jazz-tinged production style.
Brought together by a shared love of kwaito, 90’s R&B and
classic downtempo, Seremane and Cyr collaborated for a
decade after meeting online in the halcyon days of Myspace
Music. While the pair initially planned for Seremane to guest
on a Teleseen track, their ideas eventually evolved into an
entire record. Their debut, Eyes Rest Their Feet, was created
remotely over the course of several years, with the core
recorded during a 2016 studio session in Cape Town.
After returning to New York, Cyr honed these recordings with
several Brooklyn-based musicians, calling upon members
of Antibalas, Underground System, Midnight Magic, Loboko
and others. Eyes Rest Their Feet spans genres as well as
geography, touching on elements of soul, reggae, synth-pop
and beyond, with lyrical themes that explore loneliness and
the challenges of human relationships.
Eyes Rest Their Feet not only represents the apex of
Seremane’s work as an artist but also a meditation on the
transformative power of love and the impermanence of all
things.

Repress

Carthago: Rare Tunisian Disco Including Unreleased Instrumentals And Eight Page Booklet When we first decided to start Habibi Funk, a label dedicated to re-releasing "funky" Arabic music from the 1960s to 1980s, a band called Dalton was the first release we worked on. Dalton was a band from the Tunisian capital of Tunis and they played a unique mix of soul & funk with an Arabic DNA. We licensed the release from the band's composer Fawzi Chekili, and when we spoke to him on the phone in preparation of the release he mentioned another band he was part of, called Carthago. Our work with Habibi Funk is like a big treasure hunt. There are too many great bands that fully vanished into obscurity and didn't leave any traces in the digital sphere yet. We are so used to the internet providing all informations we might be looking for, but Carthago was one of those bands where the internet largely failed to provide any infos despite the fact that Carthago created some incredible music in the form of an highly infectious Tunisian take on disco music. Luckily most of the members of the 1970s musical scene of Tunis are still around to tell their story.

Carthago was founded in the late 1970s as a fusion of Dalton and a second band called Marhaba Band. Both bands frequently played at hotels and night clubs in Tunis and Sousse. They had similar musical influences and despite the fact that they were competition for the most part, they came up with the idea to join forces for a new band. Musically Carthago kept on walking on the musical path of Dalton and Marhaba but incorporated disco music, a new style that was making its way to North Africa from Europe and North America. The band had quite some success on local radio and played a number of big shows with thousands of people showing up. The band's concerts were a mixture of their own compositions as well as cover versions of the hits of the time from Stevie Wonder to Chicago. At the end of the 70s they went to Paris to record their only, self titled album. For our reissue we picked out two of our favorite tracks: "Hanen" and the outstanding disco version of the Dalton track "Alech" which has proved to work on every dance floor we played over the last two years.

When I came to Tunis for the first time after the Dalton reissue I met Fawzi in person. He still lives in Tunis and still works as a full time musician though his focus has shifted more towards Jazz over the years. Luckily he did not only keep a spotless copy of the Carthago album but he also kept the master tape of the instrumental versions of the album which to this day were unreleased. Being able to add exclusive content to a reissue is something that is rare and we feel highly privileged to be able to do so. Futher more we are so happy that we will be able to add something new to the bands legacy not only musically but also visually: One day I realized that most of the releases from Tunisia I liked, be it from Dalton, Carthago or Marhaba Band had the same photographer credit.Hassen Turki started taking photos at a young age and when he was 18 he started going to the gigs of the bands of the time that were playing in the Marhaba Hotel which was managed by his father at the time. He became friends with the bands and ended up being the person to be asked when it came to shooting the photos for the covers of the records. After some research I managed to get in touch with Hassen and met him in his hometown Sousse. Luckily he kept most of the negatives of the photos he took so we're more than happy to be able to share these unseen photos with whoever is interested.

RICO PUESTEL debuts on his TIME IN THE SPECIAL PRACTICE OF RELATIVITY label with a mind-boggling journey of 41 minutes — split in two parts to fit on vinyl! HEPTAKAIDEKA is what it won't be and will be what it never was: Something from in-between worlds, a place beyond far beyond, where time dissolves into relativity...

Every modern electronic music presenter should be able to find joyful, elevated, convulsing or simply useful moments within the extent of this track that is designed to have its inherent connecting factors and starting points in place for every DJ set — letting it be just a few minutes, well-placed groove looping or bigger amounts of its entirety for diving into a long night, bringing it to an end or making it standing out in-between.

Starting off with a hazy half-grasp hint of what's to come, a mysteriously pervasive bionic loop emerges, slowly coalescing with a bone-dry groove on the rise. Taking up a first quadrant of the track, already gnawing into the long-term memory, it manages to gradually establish itself along the pathway while the "rhythmatics" endure some subtle layer-shifting with occult-like strings come sliding in from somewhere unknown like an admonitory subtext.

Being halfway through (and all the way in), everything smoothly crumbles down to its basic framework, still shaking off its own reminiscences while foregone vestiges almost perilously try to reassemble themselves. All of that leading to a clearly unforeseen yet fortunate drift into a 1980's-like synth peak time section after about 27 minutes being in that track, finally cherishing an evolving emotional felicity and the climax of its own being that tends to feel like an overarching salvation.

As everything being eventually finite, the track starts to bring to mind where it came from by assuredly falling back into a story told before with the well-established bionic loop that once used to run free, sounding somehow different and more tamed now. Ending with dignity, the consistently resurfaced admonitory strings lead the way to its conclusion and possibly new beginnings, solely leaving behind the heartbeat-like booming that carried it all, now fading away...

Coming into existence during a series of multiple productions of exuberant proportions with Rico making the studio his citadel-like stronghold, this is an extensive story of desires, instincts, pride, fall, mirth, solicitude, tension, détente and basically life itself while subtly yet versatilely entertaining on a dodgy yet accessible level throughout the wingspread of Techno, House, Minimal, Dub, Electronica and Ambient influences.

The CD version not only brings you the title track in the guise of its non-split completeness but eminently churns out the extra drumming dub treat DEKAEPTA for a pleasurable groove-delight as well as the trippy bonus beauty VOSEM' that transits as a precious component of infinity.

Every so often Public Release takes a snapshot along their discography timeline, to pause and recognize the various artists that represent the past, present and future of where the label sits. The last such release was in 2016, and four years, twelve releases later it’s time for another marker. This EP pools together six exclusive tracks from their global family, some on the PR roster for the very first time. From the beautifully addictive melodies by Tendts and Metropolitan Soul Museum, brooding baselines and synths from Richard Sen and Tim Sweeney, to the ecstatic floor energy produced by Fran-key and Earth Boys, the range presented here is impressive. Equally enjoyable as an abbreviated album, or as singular tracks at your service.

Motus is more (to me) than just music made with analogue synthesizers, it is about attitude, a way of relating to sound and the (e)motion it affects. A lifestyle, where movement, being moved and moving become one. My practice is vibrational, about the skin, touch and surfaces and the gaseous medium in between. I dream of a dance floor where Motus would be enjoyed. What kind of world, or rather, what kind of society would allow that? And when? Is this futuristic? A situation-to-come, where the understanding of music expands greatly, when blissful moments are independent of simple melodies, where harmony appears beyond I-V-vi-IV chord progressions, when the techniques of social alienation, which determine the use of all the drugs that accompany recreational music, are reversed into creative tools of exploration. ‘Motus’ is part of this exploration: to find dance, free of clock, and groove, free of rhythm. There is pulsation, and the downbeat connects to the downward beings as in stones and minerals, the upbeat connects to the upward beings as in grasses, flowers, trees and stars. Binding both together, connecting sky and earth, is the dancer. The moves / the movement is pure. It is the kiss of spirit and matter.” (Thomas Köner)

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

Erik Sumo is one of the most established Hungarian music producers of the last 20 years.
His various acts gained national and international, underground and mainstream success, he scored movies - think of the now cult 'Liza, The Fox Fairy' soundtrack on one of our early 7"s.
His latest album 'Mount Fuji' came out in November 2019, it contains 'Run Into The Wild', an odd yet catchy leftfield floor-filler with an unmistakable mood built of glamorous disco vibes and sinister imaginings from the woods around Fujisan.

On this EP you can hear the previously unreleased disco dub version of the song and 3 remixes taking the original into completely different directions.
Mytron & Ofofo of Multiculti fame chose to go the tribal way by adding some extra percussion and reconstructing the chorus making the track even more dance floor friendly than it was originally.
Oakland based producer E. Live turned the tune into a contemporary boogie burner, while Budabeats staple M.W.D.'s version has an atmosphere that is impossible to describe.

Limited to 400 copies worldwide.

"Minor Planets completes a trilogy of cosmically themed electro-acoustic albums by UK and Berlin based trio Twinkle3, 15 years in the making. This third installment is once again all about the unique synergies the group discover in combining free group improvisation with studio and musique-concrete techniques. The group's combined love of everything from Lee Perry to Noh Theatre via Karlheinz Stockhausen and King Sunny Ade lead them to respond musically to create a single universe where they all coexist and interact. Aleatoric analogue sequencing, chamber-like acoustic improvisation and dub treatments become distilled into a distinct and emotive narrative that takes us on an exhilarating hyperspace cruise to the outer reaches.

Clive Bell is a virtuoso of the Shakuhachi. His aesthetic takes us on a timbral journey between noise and pitch, expressed and phrased rhythmically by the contour of human breath. This creates a perfect context and focus for a music that moves seamlessly between rhythm, suspension, time modulated analogue states, dissonance and melody. Richard Scott and David Ross share a background in acoustic free improvisation and have pioneered new approaches to rhythm using self-designed analogue systems. On Minor Planets these seemingly paradoxical orthodoxies cross-pollinate in a spirit of wonder and optimism to produce original and experimental music that is both life affirming and uplifting.

Album artwork by Benjmain Kilchhofer captures the feeling of peering through the vacuum of space and catching a rare glimpse of the mysterious alien biomes, fossils, and silhouettes cast by dwarf planets, asteroids, Kuiper belt, and other trans-Neptunian objects."

Walter ‘Junie’ Morrison released his third solo LP, Suzie Super Groupie, in 1976. A slick, smooth and soulful record, it’s a genre-melting tour de force with rich elements of proto-boogie, funk and jazz. In short, this is yet another essential album reissue from Be With.

The sublime “Suzie Thundertussy”, is a favourite of Harvey and Theo, and was brilliantly sampled by Madlib for Kanye West’s “No More Parties In LA”. The track opens with a sinuous synth and combines Junie’s storytelling abilities with an emphatic vocal style and funky arrangements. The powerful bass and sinister chords create an undeniable groove, and the explosive chorus is full of ambition and joy.

“If You Love Him” is a great, mid-tempo soul song. With a swinging jazz-infused middle-eight, it demonstrates Junie was much more than a mercurial funkateer. The laconic groove of “What Am I Gonna Do” recalls “Fresh”-era Sly Stone, whilst the frantic “Super Groupie” showcases his sharp imagination and sense of fun. The lyrics range from humorous to dirty, all fuelled by an infectious groove and tight horn arrangements.

The P-Funk of B-side opener “Surrender” bounces and sparkles, with a strutting Junie backed by great harmony vocals and joyous horns. “Suzie” is a sleek, softer affair albeit with a disco pulse; a beautiful combination of bright, funky horns, fluid basslines and vigorous rhythms. “Stone Face Joe” is another character song, this time one that chugs along on a sweet boogie rhythm.

The winner for us, however, is the closing piece. An extended funk-rock jam, “Spirit” has a heart-rending spoken-word intro and, as a nod to Jimi Hendrix, creates a live concert sound, complete with screaming crowd and fuzzy vocals.

Junie made his name as the lead singer and keyboardist of the Ohio Players. As the mastermind behind “Pain”, “Pleasure”, “Ecstasy”, and the oft-sampled “Funky Worm”, he was beloved by countless musicians, not least Prince. As co-writer of some of Funkadelic’s seminal works - “One Nation Under A Groove”, “(Not Just) Knee Deep” – his standing as one of the structural fathers of funk is undisputed.

In late 2016, Solange’s “A Seat At The Table” featured a track called “Junie”, a tribute to the freedom he created in music. His work continues to be as relavent and inspiring as it was when it was first recorded.

In February 2017, Junie died, aged just 62. With records as mighty as Suzie Super Groupie, his legacy will live forever and Be With is proud to be able to do our bit to make this LP accessible again on vinyl.

Repress!

Wewantsounds presents this reissue of Billy Brooks' much sought-after album 'Windows Of The Mind', released in 1974 on Ray Charles' Crossover Records. It includes one of the most famous samples in hip hop history in the form of 'Fourty Days' which forms the backbone of A Tribe Called Quest's 1990 anthemic "Luck of Lucien". Newly remastered, the reissue comes with original artwork.

in a trio of records by Andrew Wasylyk which unearth and reshape the landscape of Eastern Scotland as shimmering and inventive instrumental music.

Where Themes for Buildings and Spaces (2017) toured the architecture and industry of Dundee, evoking a place caught between decay and regrowth, the Scottish Album of the Year Award shortlisted The Paralian (2019) explored the littoral exchanges between sea and shore on the North Sea coastline.! !

Fugitive Light And Themes Of Consolation carries a trace of this arc on a return upriver, drifting back inland along the River Tay's inner estuary: a record of the low light on winter fields, empty suburban streets at dawn, the deep clear waters of the quarry excavated to build the city.

Ten songs circling landscapes for meaning, channelling half-heard melodies and misremembered memories; caught somewhere between settling down and setting out towards the shining levels of the estuary and beyond.! ! The record is threaded with the influences of people, place and musical lineages – David Axelrod, John Barry, Virginia Astley, Mark Hollis, Alice Coltrane – yet as with all of Andrew's solo work it has a deft, clear voice all of its own. Recorded between Summer 2019 and January 2020, Fugitive Light…

displays his talent as a multi-instrumentalist and composer: all hushed drum grooves, rolling waves of plucked acoustic guitar, cascading upright piano, Bob James-inspired Fender Rhodes, rippling clàrsach harp, and ECM-worthy electric guitar motifs. As on The Paralian, string arrangements are by fellow Tayside musician Pete Harvey, known for his work with King Creosote, Modern Studies and The National Theatre of Scotland.! !

Shine Grooves is a multifaceted artist, and this second record for Kimochi Sound explores two sides of that personality. The delicate, introspective, expressive precision of After All, DPS v55, and Secret move from sublime resignation to summery exuberance to a kind of earnest meditation. On the other side, collaborations with X343 yield a more extroverted approach: spontaneous mutations turn rolling grooves into unpredictable improvisational explorations.

Futuro de Hierro, hailing from Barcelona, is the project by one of the Màgia Roja label/club/community collaborators… mostly known for this work with Dame Area but his solo project Futuro de Hierro is equally (or more?) interesting… the loud repetitive broken beats, noises and powerful delivered Spanish vocals make up for a punk influenced industrial techno sound which borders rhythmic noise at times… like something in between Liaisons Dangereuses, Esplendor Geométrico and Sonar…

This is an uncompromising EP filled with harsh tracks that still work for the dance floor… especially for those fed up with hearing the same beat over and over and over again…

We all go through phases. We don’t always feel the way we felt yesterday. Despite all these phases, we’re always drawn to music. It accompanies, touches and feeds us. This debut album is the story of Austrian Apparel and their journey up to this day. “AAplus” stands for inclusion - it takes paths into the openness of sound. It shows two sides. light and dark. While the light side features tracks outside of the four-to-the-floor realm, the dark side showcases their club oriented material. Never leaving behind their signature sound forged from their expertise on stage and in the studio. In coherence with their previous work, Austrian Apparel continue to explore an unconventional approach with their audio equipment, departing from a habitual studio process and emerging with a carefully condensed sonic episode of their journey.

Swiss jazz bliss! We Release Jazz is very, very, VERY happy to present its sixth release (following Ryo Fukui’s Scenery and Mellow Dream, Le Cercle Rouge’s soundtrack by Eric Demarsan, Stuff Combe 5 + Percussion, and Marc Moulin’s Placebo Live 1971) coming straight from its beloved hometown of Geneva. Boillat Thérace Quintet’s self-titled album is available for the first time since its original limited private pressing in 1974 and comes as a vinyl LP as well as a digipack CD* (with 3 never-heard bonus songs). Full of prolific and inspired local clusters and boosted by the recently launched Montreux Jazz Festival, the Swiss jazz scene was vibrant and inventive in the 1970s, notably in the region surrounding Lake Geneva. This is precisely where jazz activist and brilliant pianist Jean-François Boillat and wind instrument master Raymond Thérace formed their quintet whose dazzling debut album was recorded in 1974. An absolute Lemanic gem of the soul-jazz/modal kind, the self-titled album includes superb covers of Freddie Hubbard’s “Straight Life”, Keith Jarrett’s “In Your Quiet Place”, and Rahsaan Roland Kirk’s “Sweet Fire”, plus groovy original compositions from the Boillat-Thérace crew. Helvetian fun facts: the velvety “1224” is dedicated to Geneva’s public transport line Tram 12, and one exquisitely funky track on the album is named after the famed yet elusive (and locally legendary) Swiss Marmite: “Cenovis”! This is reissued in conjunction with Boillat Thérace Quintet’s My Greatest Love featuring Benny Bailey (1975), also available via We Release Jazz. *The CD version includes 3 bonus tracks (Herbie Hancock, Wayne Shorter, and Claude Engel covers), never released before.

We are extremely happy to introduce you to Møzaika's first full-length record titled "Silver Tide". Its healing music has been a constant companion to us over the past two years. 2020 finally seems to be the right time to share it with the world. It is a wonderful album to be listened to as a whole - a continuous piece of music with many exciting turns showing the artist's close connection to nature as well as a deep knowledge of his musical ancestry.

Classically trained experimentalist Aarp releases his compositionally expansive and pointedly political debut album via InFiné. ‘Propaganda’ is an album that rewards repeat listens and inspires research, pushing listeners to look for the truth beyond the headlines. The title ‘Propaganda’ is inspired in part by the death of a young man in Nantes who drowned following a police altercation at “Fête de la Musique” in 2019. Despite the fact that he was only dancing and there was clear evidence of negligence, the media campaign that followed cleared all involved and disinformation spread, distorting the truth and allowing French authorities to evade any consequence. This blatant and very recent example of press propaganda lead Aarp to explore a multitude of moments in history, each one informing a single track from his new record. Each song title is a direct quote taken from different examples of these moments, from George W. Bush to Margret Thatcher and French philosopher Gilles Deleuze to the infamous Oxycontin commercial by Purdue Pharma.

Limited to 300 units.

Project founded in Mallorca circa 2015 releasing 'Four Seasons' by the end of that year, it was a digital and musical tribute to nature itself.

Then based in Barcelona on december 2017 came out an EP/Anti titled 'Continental', 41 minutes of pure melancholic weird dreams with crunchy beats.

On may 2019 Diürn presents 'Una Història Hologràfica', one hour of experimental electronic music that expands through downtempo, techno and ambient. The album pushes the sound boundaries further by exploring the consciousness of the unknown.

Producer/DJ (and Georgia native) Drew Briggs’ roots in the Atlanta's club scene stretch back over a decade. In that time he’s also notched releases for a number of internationally-recognized labels including CGI, Harsh Riddims, and Two Circles while receiving nods from Resident Advisor and XLR8R. Briggs’ second release as Divine Interface (and first on 2MR) plunges the listener directly into his nightly routine in Atlanta - from club to afterparty to cab ride home.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

2x12"

It’s taken Yotam Avni a little while to get to his debut album; almost a decade, really, since his debut 12”, “That’s What The World Needs”, on California’s Seasons Limited imprint. During that time, the Tel-Aviv based producer has refined his productions, tightening the groove and paring everything back to bare essentials; the power in an Avni cut is its combination of piston-pulse propulsion and a deep, but gently applied, musicality. This combination gives his techno productions added heft on the dance floor, but also a lyrical sensibility that places him squarely in a tradition of techno legends who somehow manage to make the four-to-the-floor a space of poetic intensity, of rigorous joy.

Avni’s been on Kompakt’s radar for a while, first appearing on the label last year, with his Speicher contribution, “Mañana Mañana”. (“Track For Agoria”, from that EP, also appeared on Total 19.) The connection immediately made sense – dance music that managed to feel both lush and streamlined across the same great gasp of late-night energy. But with Yotam Avni Was Here, he’s taken a huge leap. After a brief intro, Avni sets his stall with “Beyond The Dance”, which features slow-moving vocal melisma over sculptural, melting tonalities, a tintinnabulating, harpsichord-like two-note phrase pacing out the track. Then “It Was What It Was” comes into view, its strip-light textures suddenly placed into sharp relief by a muted trumpet figure that hangs in the air, melancholy and pensive.

It’s no surprise, at this point, to discover that Avni’s inspirations for Was Here took in the histories of both techno and jazz. “I wanted to try something more around Detroit Techno meets ECM,” he reflects, when explaining the motivating forces behind the album. “Carl Craig’s Just Another Day EP and Kenny Larkin’s Keys, Strings, Tambourines came out during my high school years and had huge impact on me.” Avni’s also appeared on Transmat compilations, and remixed artists like the Midwest’s Titonton Duvanté, and Orlando Voorn – the latter particularly important for the way he connected the Detroit and Amsterdam techno scenes – his career path is marked by ongoing connections, direct and indirect, to Detroit’s storied history.

“I always wanted to go back to those hi-tek soul roots on a full album,” he continues, and he’s definitely exploring that terrain here, with the sky-strafing brass on “Free Darius Now”, morse-code keys on “Vortex” and glitchy, microhouse tickles of “Know Hope” all contributing to an oblique narrative that seems to arc across Was Here – one fleshed out by guest musicians, who include dop and Gerog Levin on vocals, and trumpets by Greg Paulus (of Beirut and No Regular Play). The cover art makes the jazz connection explicit, riffing on the text-based, minimal design of The Modern Jazz Quartet’s 1955 album for Prestige, Concorde. But the way Avni has gathered around him both inspiring musicians and intriguing reference points makes me think of his broader career as well, the collectivism behind his AVADON nights in Tel-Aviv, his many and wide-ranging releases on labels like Innervisions, Hotflush and Stroboscopic Artefacts, and the openness of his productions, which seem to be all about the multiple, the possibilities of cross-pollination, of fusing this with that, of adding and subtracting, all under the pulsating thumbprint of techno.

Good things, after all, are worth waiting for.

This record on Kvitnu presents live recordings be PAN SONIC played in Kyiv, Ukraine on June 6th, 2009.
Oksastus – is a Finnish word for process of grafting or cultivating of plants.

"Pan Sonic, the Finnish noise duo who split in 2010, recorded this meticulous live effort in 2009 in Kyiv in the Ukraine. It's impossible to frame it without thinking about the impending meltdown of both band and country, cloaking Oksastus in an apocalyptic backdrop." Pitchfork, 2014 (7.1 rating)

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

Planetary Notions boss Joe Rolét debuts on Infuse to open April with his ‘Maximum Width’ EP, backed by a remix from Rich NxT.

A rising name within his home city of London, Joe Rolét is a DJ and producer whose passion for subbed out club music with a cosmic twist has seen him become one of the scenes hotly tipped talents – a sound that’s also reflected in full via his bubbling label, Planetary Notions. Releasing music from artists such as Per Hammar, Lopaski, stevn.aint.leavn and Desert Sound Colony whilst welcoming the likes of Vlad Caia and more to join as guests on the imprint’s Rinse FM show, 2020 now sees Rolét follow up releases via Beeyou, Courtesy Of Balance and his own Planetary Notions imprint as he makes a debut label appearance on Infuse with ‘Maximum Width’ EP this April, accompanied by a remix of the title cut provided from FUSE resident Rich NxT.

Lead cut ‘Maximum Width’ sees Rolét introduce his blend of slinking, reduced grooves atop of bumping low-ends whilst working an infectious vocal throughout, whilst ‘Rounding’ sees warped synths, off-kilter melodies and further tripped out vocal snippets come to the fore. On the flip, FUSE favourite Rich NxT puts his stamp on the title track in impressive fashion as he raises the tempo and introduces sizzling bass stabs and rolling hats, before rounding out proceedings with the hypnotic ‘Amber Road’ – a paired back cut that harnesses soaring sci-fi leads and wriggling percussion arrangements to great effect to shape up an impressive debut offering.

It's with great pleasure that we announce the return of New York's synth wizard Steve Moore to KOMPAKT - pretty much exactly 10 years after his much lauded first appearance 'Bayern Kurve' on our SPEICHER series.

Steve Moore is widely recognized as one half of Italo Disco-tinged horror-prog project ZOMBI, his numerous thriller movie soundtrack works (The Guest, VFW, Mayhem, Bliss, The Mind's Eye) as well has his clubbier output on Ron Morelli's L.I.E.S. imprint.

The title track of this 4 track EP, "Frame Dragging" sees Moore in full spine tingling mode. In case you've ever stepped into a hot bath on a cold day (in case you haven't you should try it) you should be well familiar with the phenomenon of being incredibly cold and hot at once. That's exactly what 'Frame Digging' does to the dance floor. Goosebump massacre.

"Gamma Quadrant" combines emotive balearic elements with a rolling minimal house track that reminds us of early Playhouse glory. Or is it early Kompakt?

'Gravity Well' and 'Protostar' are both taking a more chilled out route. They perfectly bookend both sides of the record and showcase Moore's stunning ability of creating suspenseful, spaced out beauty.

The first Be With foray into the archives of revered German library institution Selected Sound is one of our favourites on the label - the super in-demand Japan from Victor Cavini, originally released in 1983.

Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness!

Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is
his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occassional contemporary twist. Contemporary for 1983, of course.

These “Pictures of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures of Japan XII” is just drums.

And then “Pictures of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures of Japan XIV”.

This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Whatever it is, it sounds awesome.

Recalling both Rino de Filippi’s Oriente Oggi and Giancarlo Barigozzi’s Oriente, the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late 70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983.

The audio for Japan has been sensitively remastered for vinyl by Be With regular Simon Francis to keep all the character of the original recordings. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve. Essential.

From the moment of its release, Iñigo Vontier’s El Hijo del Maiz has become one of the most gripping albums of the moment. With South American and Middle Eastern sounds and his conception of music as ritual, the Mexican DJ keeps electronica in check as a valid mix of influences. The EP El Hijo Del Maiz (Remixes) marks the end of an episode which started, in good company, last autumn on the Lumière Noire label. The second track of his album, Bo Ni Ke, is distinguished by its original - almost implausible - universe, with a Japanese-inflected vocal filter and oriental flutes taking the beats into a crazy trance. Leaning on the 4/4 rhythm, Simple Symmetry’s remix of the track is also very playful (Iñigo Vontier recently remixed Nar for Simple Symmetry). The Moscow duo, noted in particular for the brilliant EP Plane Goes East released on Disco Halal (the Moscoman label which makes the link between east and west), pulls the track over to another - less terrestrial more psychedelic - universe, in their well identified ethno-underground style.

The remix of Bo Ni Ke by Nicola Cruz, French-born Ecuadorian producer, enlivens the track by playing on the sounds of voices and South American percussion. Also present in his fascinating album Siku released a year ago on the ZZK Records label, they overlap with the demonological whims of Iñigo Vontier but also those of Nicolas Jaar, who was revealed to him as he was starting out.

The inaugural track of the album Xu Xu (subject of the previous EP, only released as a digital version) has been remixed by Roman Flügel, allowing a vinyl release of this incredible track. You could pick out the science of this headliner in a million. Flügel has been on the electronic scene since the early days, learning the ropes under the aegis of prestigious labels Playhouse, Dial and Klang.
He has recently enhanced some emblematic tracks signed Daniel Avery, Koze, Âme, Radio Slave and C.A.R. and here once again the pioneer of techno is working miracles to create a more cerebral version of this track.

Concluding the EP with Thomass Jackson, his co-founder of the label Calypso Records, who we will soon be able to find on the compilation / family portrait of the label Lumière Noire From Above Vol. 2, Iñigo Vontier offers up a genre-busting version of the title Marijuana, like an ataxic play time, deliberately smoky for an explicitly licentious title.

Sotomayor is the electronic music project with afro latin influence by siblings Raul (music production) and Paulina (vocals). It is a dance music project that fuses rhythms like cumbia, afro beat, dancehall, Peruvian "chicha" and merengue with futuristic electronic beats.

The band debuted in 2015 with "Salvaje," an album that allowed them to perform in several festivals around the globe in countries like England, US, Mexico and Colombia.

The album received excellent reviews from foreign media in countries like Japan, Australia, United Kingdom, Chile, United States and Colombia. They also appeared in more than 25 lists of the best of the year from medias from all around the world. 2020 will see the release of "Orígenes" their 3rd studio album trough the NY based label Wonderwheel Recordings.

This album was recorded between Mexico and Puerto Rico, and was produced by the 28 times Grammy Winner Eduardo Cabra aka "Visitante" from the legendary band "Calle 13." In this production Sotomayor explores a new Afro Caribbean vision in the music, much more dance floor focused, and highly influenced by percussion

John Power is the singer, songwriter and guitarist known as the frontman of Cast and previously from the La’s. Following the split from Cast, Power released three solo albums. The third and final (to date) studio album is Stormbreaker (2008). Featuring Powers unmistakable vocals, highlights from this blues-rock album include; ‘Good Life’, ‘Ain’t No Woman’, American Dream’ and ‘Stormbreaker’.

John Power is the singer, songwriter and guitarist known as the frontman of Cast and previously from the La’s. Following the split from Cast, Power released three solo albums. Willow She Weeps (2006) is his second solo studio album. The album embraces a powerful acoustic, folk, blues sound, harking to Power’s classic singer-songwriter roots. Highlights include; ‘Jumpin’ Bean’, ‘Willow Weep’, ‘Give It To Me’ and ‘Old Red Sea’.

John Power is the singer, songwriter and guitarist known as the frontman of Cast and previousle from the La’s. Following the split from Cast, Power released three solo albums, his first solo album is
Happening For Love (2003). Highlights include; ‘Small Farm’, ‘Mariner’, ‘Happening for Love’, ‘Paradise’ and ‘Electrify’.

Andras’Joyful is a cornucopic vision rooted in the decay of dance music from one of Australia’s most distinct yet understated voices. Cutting a path through an overgrowth of nostalgia around 70's acid folk and 90's acid house, Joyful is an invitation to till a n old garden in a glistening new light.

A thirteen year old Andrew Wilson sits in the back of his parents’ sedan, driving down the coast from Melbourne. Headphones covering his awkwardly aged ears and connected to a jam-packed mp3 player, he experiences an intense synchronicity when the car careens over a mountain crest in the Otway Ranges right as the track in his ears peaks. A momentary vision of a “first rave rush,” in which Australia’s lauded party history dances tellingly with this dreamer’s destiny.

Not so much later but perhaps more worldly and certainly more aware, Wilson returns home from touring, now a “veteran” of the dance world, to realize a different synchronicity in his record collection. Finding Ian Van Dahl nestled next to John Fahey, William Orbit spine-to-spine with Shira Small, the harmony between folk music of the early 70's and dance music from the 90s becomes perfectly audible in unimaginable ways.

Through an afterglow from both summers of love seeped in shared sonic soil, on Joyful, Wilson cultivates melodic drama and tenderness, memorable hooks and rapturous arpeggios; sentimental strings summon both joyful aspirations and the shadows of faded dreams. Using folk songs as fodder—lyrics, samples, note progressions—each entry of Wilson’s debut album under his Andras moniker is a return to a different springtime of the mind.

Many artists working in Australia can relate to the feeling of “not quite being there,” as Wilson describes it. Always a couple years behind trend. Turning up at the party as it’s winding down. Fearing that in many ways the culture is looking backwards, confirming the narrow outlook of a parochialism that many have worked tirelessly to disprove. Using this disconnect as an invitation to dream another dream, Joyful becomes the soundtrack of early teen Andrew’s fantasy of Utopic parties past, specifically the late discovery of a bygone warehouse rave scene, as well as a return to a guileless chapter of personal history as heard through plain, sane, and simple folk melodies. Joyful is a homecoming, a testament to the evolving euphoria of a flower garden rooted in earth’s tender rot, of birds and bees flying free but not without a changing landscape in sight.

Andras’Joyful is available on LP and digital formats on January 31, 2020 via Beats In Space. On behalf of Andras, a portion of proceeds from this release will benefit the Invasive Species Council on the recommendation of Tim Low, author of the book Feral Future and Where Song Began.

Gary’s Gang are the New York group of musicians best know for their US hit ‘Keep On Dancin’’, which reached #41 on the Billboard Hot 100 and UK #8 in 1978. The single sold over half a million copies around the world. The follow-up was ‘Let’s Love Dance Tonight’ (UK top 49 in 1979) and ‘Do It At The Disco’ and these three tracks have been sampled numerous times.

Influential UK artist Man Power makes his Skint Records debut this December with a thrilling new offering featuring Berlin’s Private Agenda.

Man Power is a true electronic virtuoso who has proven he can do searing acid, raw techno and expressive disco with equal elan.
As well as running his own Me Me Me labels, he has appeared on top outlets like ESP Institute and Correspondent and now impresses once again with the help of Berlin’s Private Agenda.

The electric original version of ‘Do It Thin’ is an intense and steamy affair with Eurobeat synths and Italo piano chords that are sure to make a huge impression on the crowd. Vocals that Bronski Beat would be proud of soar to the heavens and get hands in the air whilst the hard hitting drums drive things forward.

Dramatic chords build the suspense, leading you towards an epic, guitar laden breakdown with well sequenced synths adding weight and colour. Edgy and expressive, it is a real stomper with a fusion of myriad different styles.
An instrumental version is also supplied that removes the vocal and allows the studio skills and musicianship to really shine, this was a showstopper in Man Power’s recent Boiler Room set and it not to be missed.

Man Power marks his Skint debut here with the same sense of timelessness and quality that has defined his career to date.

They Say: “Descriptive scores for scenes of visual impact”.

We say: Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless and Johnny Pearson.

For our immense pleasure, Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know - the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”.

The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense "Rock Climb" and the sheer heft of "Heavy Load". Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York”.

Originally released in 1976 but wonderfully timeless, Visual Impact is a rare example of a library record that’s genuinely great listen from start to finish. Just too good…

As with all of our KPM re-issues, the audio for Visual Impact comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

Breath Of Danger was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.