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A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

Unglued’s reputation for producing serious bassweight across the D+B spectrum continues in 2020 with his ‘Zen’ EP. He spans through silky smooth sounds on ‘Zen’ ft. Cimone, bouncy funk on ‘Mic Strangler’ with the legendary MC GQ, sharp-edged grizzle on GLXY collaboration ‘Algorithm’, and tearout heat on the soundsystem slayer ‘Datafile’. Setting things in motion is the lyrical weapon ‘Mic Strangler’, with OG host and MC extraordinaire GQ, who’s spent three decades leading the game. Unglued deals out damage on the beat with MC GQ’s playful twists, wrapped up in a big bruiser of a bassline.

Title track ‘Zen’ is a mesmeric stream of atmospherics, rolled out in perfect tandem with the angelic vocals of rising singer/songwriter, Cimone. GLXY joins the fold for ‘Algorithm’ - a techy rattler that’s stripped back in design but packs a punch. Rounding off the EP is the darkest addition, ‘Datafile’, Unglued takes no prisoners as he unleashes this lethal stepper. Unglued has had a steep and steady rise in drum & bass after signing to Hospital Records and releasing his sought after solo material, as well as his iconic remix of High Contrast’s anthem ‘If We Ever’.

This infamous rewiring caught the attention of major players, from Andy C to Annie Mac - who also selected his track ‘Born In ‘94’ as her Hottest Record in 2019 on BBC Radio 1. Unglued’s jungle knowledge has him in regular international demand, in 2019 alone he tore up sets at Glastonbury, Rampage, Boomtown, Let It Roll, ADE and on Med School’s final tour across Australia and New Zealand. He’s showing no signs of slowing down in 2020 with back-to-back bookings, including support at Wilkinson’s London headline show, Kings Of The Rollers’ Printworks Royal Rumble showdown and Hospitality On The Beach 2020.

When the world slipped into madness last month, the ESP Institute put most releases on the back-burner to await brighter days, but then we thought again; why not approach these odd circumstances the way we do most realities, positively and head-on? We’re committed to a community that builds new worlds — this is fundamental to our creative and spiritual relationship with Osaka-born, cosmos-straggling artist, Ground — and while temporarily we can’t physically congregate to uplift each other, its our responsibility as an institution to maintain a platform for prolific creative pioneers, our cherished cartographers of cognitive escape. 'Wakusei' is wonderfully confusing and disorienting music, a follow-up EP to 2018’s critically acclaimed album 'Sunizm', not created specifically for life under lockdown, but nonetheless aptly suited to help release angst, guide meditation, and assist in making this moment in history more interesting if not transcendental. Whereas 'Sunizm' relied on field recordings gathered from rainforests, percussions learned from imaginary ancient civilizations, and the somehow organic freneticism of a mission control meltdown, the aesthetic of 'Wakusei' reduces this abstract instrumentation one step further to a more base-level array of gurgling synth scraps, accelerating engine friction and static-bound phonetic mistakes, all scrubbed into dust by a Brillo pad of white noise. The cliché of “great art is born out of hard times” is not lost upon us — of course the world will look back to this turmoil and its residual contributions to culture — but we see today's art as an immediate coping mechanism, and artists like Ground helping to unlock and navigate internal utopias. We’re already indoors, let’s delve inside.

Returning to the label's dance floor roots, BODYCLOCK is a natural extension of Darker Than Wax's DNA - a foray into the late night club sounds that defined their sound. The freshly minted series represents the Singaporean label's primary outlet for dance floor burners and machine soul, shedding light on a new school of producers from around the globe and at the same time paying homage to the pioneers who laid the foundations for us. A celebration of afro-futurism that is ever-present in the consciousness of dance, BODYCLOCK is built for the nocturnal beings and discerning selectors that push this timeless tradition forward. This first volume brings together five producers across four continents - Teymori from Australia, NYC's Malik Hendricks, label mainstay Ricky Razu from Belgium, as well as Darker Than Wax co-founder Kaye and up-and-comer Halal Sol from Singapore. Establishing both facets of the BODYCLOCK sound, Side A features two vocal-led soulful excursions, while the flip brings three unabashedly jacking cuts to light the floor on fire. This is only the beginning - BODYCLOCK is coming with an onslaught of twelve inches and EPs, distilling our sonic outlook and looking to the future.

Bunny Wailer’s album Sings the Wailers successfully reworks many of The Wailers songs with the backing of top Jamaican musicians, Sly and Robbie. The way he edited the songs for the modern age is impressive. At some moments he’s harmonizing with himself, to keep the spirit of The Wailers alive. Dubby overtones and well produced arrangements are all part of the wonderful sound created by Bunny and Sly and Robbie.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDES “MELLOW MOOD”, “HYPOCRITE”, “RULE THIS LAND”, “I’M THE TOUGHEST” AND MORE REGGAE SONGS
• REGGAE SERIES WITH SELECTED REGGAE CLASSICS STICKER ON SEAL

On his new record "Companionship", London-based Soft-Rock, Soul and Disco artist Joel Sarakula keeps the mood easy and the grooves deep. Ten new songs see Sarakula develop a deeper, more introspective lyrical style from his previous works as he celebrates and laments friendships, love and loneliness. Interspersed with a few standout up-tempo tracks to keep the ship sailing, "Companionship" is a chill-out album and listening experience of the highest order.

"Companionship" opens with "Midnight Driver", a driving soft-rock fantasy where the narrator laments his partner's nocturnal habits: 'When she's coming up, it gets me down'. The Californian sun-kissed guitars, vocal stylings and percussion all help to set a cinematic mood which unsurprisingly also makes it a great driving song. On the introspective "King Of Clowns", Sarakula creates a pop song that calls to mind the craftmanship of Hall & Oates and Elvis Costello. Both an admission of guilt and an unapologetic statement of intent, his low vocal careens in the dangerous divide between self-pity and self-parody: "My bad decisions worked out for a while, I'd do my dance tried to make you smile, I'll never wise up it's just the way I am". These confessions all occur over a down-tempo funk groove complete with some vintage synthesizer musings that makes the track ready to be sampled for a hip-hop record.

"Sunshine Makes Me" steps straight out of its mid-1970s swimming pool, heavily dripping in jazz fusion to dry off in the cold light of today's sunshine. The chorus is a mantra of desire, needs and reality that sees Sarakula sing 'Sunshine makes me lose my mind, thirty degrees and my eyes get so wide. Dreaming big and living slow, don't you know that time is on our side". On "Companionship", Joel Sarakula, prolific writer, producer, performer and multi-instrumentalist finally unleashes his chill-out pretensions. In this follow up to the critically acclaimed "Love Club" (2018) he develops a deeper and more mature compositions and production style. His love of all things vintage extends to a devotion to analog synthesizers and on "Companionship" you can hear a genuine love of synthesis that at moments is reminiscent of 70s synth production pioneers Todd Rundgren and George Duke.

Joel Sarakula will tour "Companionship" through Europe and the UK this Spring and Summer 2020 with his musical companions. Born in Sydney, based in London and a true internationalist, Sarakula tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is a sly nod to the golden era of the 1960s and 1970s when travelling US pop, soul and blues artists would do the same.

On a collision course with earth from the furthest reaches of the universe, The Colours That Rise announce their debut album “Grey Doubt’ on the inimitable Rhythm Section International. Comprised of producer duo Simeon Jones and Nathanael Williams, The Colours That Rise have previously turned heads with 2017’s “2020” EP released on Breaker Breaker (the label credited with breaking Ross From Friends).
Returning with their most accomplished offering to date, “Grey Doubt” features acclaimed guests such as Yazmin Lacey, Yussef Dayes and Andrew Ashong, each respectively complementing the incredible musicianship on display here, capturing the true zeitgeist of present day UK. Combining live instrumentation and analogue synths, intricate, intertwining textures and melodies run deep throughout this beautifully crafted afrofuturist voyage, exploring the darkest recesses of the galaxy, through weatherbeaten and asteroid damaged synth waves and broken drum patterns reverberating out into the vastness of space.
Pre-announcement single ‘Home Time’ has picked up steam with support across BBC 6 Music and 1Xtra through the likes of Benji B, Tom Ravenscroft, Jamz Supernova and Mary Anne Hobbs, who awarded it as her ‘Near Future’ track. The duo are also set for a live performance at Rhythm Section’s showcase at SXSW 2020.

Nicola Altieri aka The Mechanical Man delivers here a 2 tracks mini EP on, where Casio sounds, Yamaha FM synths and Akai samplers are the main ingredients to give birth to his own compositions. Sounding like a constipated and forced music between slow deep house and minimalistic electro-funk created in a small bedroom environment, warm, dirty and slowed down like from an old tape cassette but full bodied. Mechanical soul for you ears.

After appearing on the well received Chicago Bee Various artists EP Nill Minogue AKA Postelektrik delivers his debut EP on the same label.

This well crafted EP has a mature sound that crosses the boundaries from traditional acid and leans towards deep house and electronica.

Side A delivers what has been to be expected from Chicago Bee. But its the the flip side where Nill Minogue comes into his own. This side blends a shift towards a home listening vibe as well as being suited to a more discerning dance floor. The tracks The Green Strobe and Not Them are slow drifting builders and full of lush pads that float along endlessly. This combined with moody baselines and trademark Roland drums you surely have a well rounded winner.

Many supporting this EP so far including DeepChord, Placid (I Love Acid) , Damo B (Outer Limits radio show) Colin Dale, Jerome Hill , Rennie Foster and Type 303.

Seminal acid house from 1986! Marshall Jefferson's seminal release has been re mastered from original DAT's and released in original Trax Red labels. Released in conjunction with Trax / Harmless. LIMITED EDITION RED VINYL REPRESS.

Dancefloor pityless zones my friends !! Da oldschool brings some fresh tunes !! SERIOUS SOUND !

Who put the dance into Factory Records?”

Be With would like to refer you to FAC 59.

Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12" is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul.

Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester. Rob Gretton had just signed the band to Factory, snatching them from under the noses of RCA and WEA Records who had been sniffing around and seemingly ignoring Tony Wilson’s concerns that Factory might not be the right home for a black soul act. Rob clearly thought different.

The band of Tony Henry on guitar and vocals, bass player Derek Johnson, drummer Tony Thompson, lead vocalist Beverley McDonald and John Dennison on keyboards were put in the studio with A Certain Ratio’s drummer Donald Johnson producing the sessions. The band also found themselves with an interesting new member.

The back cover of the finished record credits synth F/X to a mysterious “Be Music”. Turns out that’s Bernard Sumner. Yes, that one. Tony Henry explains that bringing Bernard in was another part of Rob Gretton’s plan, “Barney was a real soul boy at heart and had always wanted to produce and work with black artists… with 52nd Street, he was an honorary member”. The results suggest he fit right in.

“Look Into My Eyes” squeezes so much aural pleasure into one side of a 12" single. A strutting, rich, soul-gliding funk with bass and guitar high in the mix above twisted, bubbling synths. Like Nile and Barney drenched outside the Haçienda that first summer. How can something be this liquid loose whilst sounding so, so tight? The hypnotic, naïve-cum-insouciant vocals from McDonald, backed by her fellas, only add to the track’s charm. Put simply, it sounds like nothing else.

On the flip, “Express” is sheer drama on wax. Tony’s opening lesson in good manners (“Excuse me miss, is this seat taken?”) sees us strapped in for a wild, chaotic, rhythmic ride. All bold keys, synth brass blasts, insistent bells and a galloping groove giving *that rush* atop a bassline to die for. No surprise it was a Frankie Knuckles favourite. Blistering heat.

The 12" was Paul Morley’s single of the week in the NME but his approval did little to get daytime radio play or to sell the record when it was released. It probably didn’t help that, in Tony Henry’s words, Factory were a label “notorious for not promoting their bands, not wanting any communications with the written press and not answering their office phones.” It came and went with none of the fuss that music this good deserved.

But in the near-40 years since they were released, these two tracks have gone on to become cult underground hits for those in the know. Of course that means those original 12"s have gotten rare and pricey. So here’s your chance to own this particular piece of post punk Factory Records funk.

But this record isn’t just a vital slice of Manchester soul history. Tony’s not shy about just how important he thinks the collaboration between 52nd Street and Bernard Sumner was: “this worked out quite well for us in the band but even better for New Order and Factory Records as Sumner studied grooves, rhythms and how to write and construct funk and dance music from 52nd Street and producer Donald Johnson”. You just have to listen to Blue Monday to hear what Bernard did when he started putting what he’d learnt into practice.

“Look Into My Eyes” and “Express” come from a chapter of the history of Factory Records that no-one seems to have gotten around to writing. Working with Tony to reissue the original 12" is the start of putting that right. The story of 52nd Street is more than just a footnote.

UNCAGE’s label owner Marco Faraone drops his second album on Rekids, focusing on an unrestricted, unfiltered soundscape inspired by childhood, entitled ‘No Filter’.

Since his initial appearance on Radio Slave’s esteemed imprint in 2018, Italian artist and label boss Marco Faraone has continued to enthuse techno communities across the globe, playing at the likes of Awakenings, Caprices, Tomorrowland and Kappa FuturFestival. With previous releases on Ovum, Drumcode and Be As One, the Tuscany-born artist has garnered the support of Len Faki, Rodhad, Laurent Garnier and many more.

‘Force Deep’ and ‘Iconic’ give the senses a relaxed flush of ecstasy and lofi-esque rhythm, while tracks like ‘Night Ride’, ‘Addiction’ and ‘No Filter’ lean more on a stripped back, beat focused dub techno tip. ‘Frogface’, and ‘Time Equals Eternity’ then flurry with signature drum programming, and otherworldly synth stabs. Finally, ’Trust Me’, propel forward with after dark atmospheres, giving this versatile and luscious album that mainstay place amongst any unique techno set.

Inspired by the otherworldly Sounds of Horror Sci-fi Soundtracks, Filippo Diana is able to merge vintage, experimental- and library music into sth. contemporary & soul-shifting.
After his debut Release Nemesi, he's now joins Slow Motion for his first Mini-Album Musica per "Commenti Sonori". Slow, earthly rhythms churn from the inside, expelling a complex, abstract sound that is still very tangible to a dancers ear.

Played by Francois X, Marcel Dettmann, Norman Nodge, Charlotte De Witte, Regal, Dax J, Slam, Arnaud Le Texier, Luke Slater, Ben Sims, Raffaele Attanasio...

The assembly line was a game-changing invention and introduced the monoton rhythm of machines. Its influence on Techno music is more than obvious and gave the opening track of this record its name.

Transistor was recorded during a LIVE show of Florian Meindl in Hannover Germany 2019.

The B-side features the epic track "Incal" named after a comic of Moebius.

UPSIDE DOWN SMILE WAS RECORDED AND PRODUCED BY EWA JUSTKA AND BY SELF-DESIGNED, SELF-MADE, SELFSELFSELF, ODD LOOKING SLIGHTLY DYSFUNCTIONAL SYNTHESISERS AND BY A TRANCE PURPLE KILLER ROLAND JP8080 AND BY HIS BROTHER VIRUS AND SOME OTHER ROLAND BROTHERS NO SISTERS INCLUDED DURING THE TIME WHEN EWA JUSTKA WHO CURRENTLY LIVES IN GLASGOW, GOVANHILL, ALLISON STREET, WHERE RECENTLY HER PASSPORT WAS STOLEN DUE TO THE BURGLARY, WHERE SHE LIVES IN JOY, ALTHOUGH SOMETIMES THE FLOOR GETS WET DUE TO THE LEAKING WINDOWS AND SOMETIMES ONE CAN FIND DEAD PIGEONS LAYING ON THE STAIRCASE BUT IT'S NICE AND COSY AND EWA JUSTKA HIGHLY INFLUENTIAL PERSON IN THE DEEP DARK TRANSISTOR LADDER CIRCUITS LIVES SINCE SHE IS STUDYING PHD AT EDINBURGH COLLEGE OF ART WHERE SHE THINKS A LOT ABOUT IMITATION IN SYNTHESISER DESIGN AND FILTERS AND VCOS AND FORMANTS AND ACID AND HARDCORE MUSIC AND TWIN T FILTERS AND OPERATIONAL AMPLIFIERS AND SHE TURNS KNOBS AND THINKS AND THE UPSIDE DOWN SMILE ALBUM WAS MADE IN THE DEPTH OF THOSE THOUGHTS QUITE OFTEN SAD THOUGHTS UPSIDE DOWN SMILE IS A BIT OF A CYNICAL SMILE BUT AN HONEST SMILE CYNICAL BUT HONEST UPSIDE DOWN SMILE IS A SMILE THROUGH TEARS BUT TEARS OF JOY SCOTTISH JOY UPSIDE DOWN SMILE IS UPSIDE DOWN ACID ONE COULD SAY UPSIDE DOWN SMILE COULD BE INTERPRETED AS A SAD SMILE BUT IT IS A SMILE IN THE END OF THE DAY

It was 50 years ago that a talented local musician named Lamont Butler started to create an album that would combine love, happiness and joy. Lamont’s only official album release It’s Time For A Change has been very popular for record collectors around the world but never saw the wider success it truly deserved.

Born 1949 in Louisville, Kentucky; Lamont Butler was drawn to music and dance from the very beginning. He was the son of a well-known gospel, blues and R&B singer and pianist Clifford Butler Sr, receiving an early education in what’s required to be a touring musician.

It quickly became apparent that Lamont had a wonderful voice and was pushed to the front despite no being fully confident yet of his singing ability. Lamont performed on the gospel circuit for a number of years cutting his teeth with groups such as The Enterprise, The Dynamics and The New Beginnings eventually going solo with Lamont Butler and The Spirit of Truth.

It was whilst he was singing and performing during this period that he started to write his own songs and think about putting together an album bringing together all of his influences from R&B, jazz, soul and of course gospel. The result is very raw, almost low-fi sound of It’s Time For A Change, released nearly 10 years after Lamont started to pen the first tracks and it gained relative success. He toured the album around churches in Louisville with tracks such as Love One Another, Time For A Change and Ungodly War quickly becoming firm favourites within the churches of Louisville.

Miles Away Records are pleased to working with Lamont and to be issuing a long overdue album reissue of It’s Time For A Change on LP and CD. Remastered with care by Nick Robbins at Sound Mastering and complete with in-depth sleeve notes.

“Desire” was Toyah’s first album for the EG label, and features her hit single cover version of “Echo Beach” as well as a cover of Donna Summer’s “Love’s Unkind”. Produced by Mike Hedges, the album features Robert Fripp (who co-wrote the title track) and Ronnie Wood.
The LP is pressed on 180 gram white vinyl and the inner sleeve features the lyrics.

Freda Payne is the high class soul hit maker who brought us the blockbuster track ‘Band Of Gold’. This album is the follow-up to the huge success of ‘Band of Gold’ and her second album for Invictus/Hotwax Records, for the legendary Holland- Dozier- Hollands then newly launched record label after they left Mowtown.

Seen as a pinnacle in 70's production style by the legendary producers, highlights include the anti-war protest song ‘Bring The Boys Home’ and the singles ‘Cherish What Is Dear to You (While It’s Near to You)’, ‘You Brought the Joy’ and ‘ The Road We Didn’t Take’. 1971 album is reissued on 140g classic black vinyl with original artwork and printed inner sleeve.

The man behind The Girls of the Internet returns to his techno-leaning alias with five resounding cuts entitled ‘My Dreams Are Slowly Dying’.

Following Tableland’s debut release at the end of the decade that picked up support from the likes of DJ Bone, Laurent Garnier, Jon Hester and Nemone on BBC 6 Music, the Girls of the Internet producer re-joins his self-titled imprint in 2020. The Girls Of The Internet continue to feed their superb reputation of delivering funk-fuelled electronics that draws inspiration from a variety of electronic music styles from the last 40 years.

‘My Dreams Are Slowly Dying’ kicks things off with pulsating kicks, undulant euphoria in the form of dreamy leads and stabbing melodies that fluctuate throughout. ‘Pyramid Scheme’ surges into squeaky modulations, jazzy tones and funky atmospherics that rolls with vibrant energy while ‘Charlie + Suzie’ offers up shuffling rhythms, subdued yet emotive synths underneath clattering highs and snares that get introduced in the latter stages, before ‘Wormwood’ rounds off the enchanting EP with a calming house cut harmonising together exquisite keys, deep bass vibrations and uplifting oscillations which carry you away until the end.

DJ support from Laurent Garnier, DJ Bone, Namone (BBC 6 Music), rRoxymore, Shy One, Ooft, Young Male, Brendon Moeller, Severino (Horse Meat Disco), David Martin (Dimensions Soundsystem), Massimiliano Pagiara, Dan Curtain

Limited to 800 copies Colour Vinyl

Originally released in 1985 on Creation Records and arguably one of the best from that era. This version is backed with Your Door Shines Like Gold which appeared on the 12” but not the 7''

Limited to 800 copies Green Vinyl
Includes postcard and poster
Their one and only single was originally released in 1985 on Creation and spent 19 weeks in the independent chart. From East Kilbride in Scotland, they morphed into Motorcycle Boy

Thembisa’s Hot Soul Singers were formed in 1975 by promoter and producer Sam “Jiza Jiza” Mthembu. In the early years the trio was called the Thembisa Happy Queens and consisted of sisters Ntombifuthi and Nombuso Mabaso and Lindiwe Ndlovu. The trio would start out playing Jive, Zulu Disco and other popular sounds of the 70s . In 1979 they became the Hot Soul Singers and would begin a career in the emerging Disco scene which their group name was now more fitting for.

Their first single under the new name was a tribute to their producer Sam, and their first album “Together” would come 2 years later in 1981. It contained their Lamont Dozier rip off from a year earlier, and biggest hit to date “ Give Me My Love Back” which was playing in jukeboxes across the country. At this time the Hot Soul Singers were also gaining popularity due to their demand as an opening act for American groups. Sam’s ongoing pursuit to be a successful promoter also helped to ensure they were always in the headlines and playing shows. It would be in 1983 that the group would temporarily step away from a major label and go onto record their first Maxi single with the independent Raintree Records new Lyncell Imprint.

Like most places in the world the early 80s was a fast changing time in music for South Africa. Although the Maxi had a disco standard for years in other parts of the world it had only recently been popularized in South Africa. Thanks to the Brenda and the Big Dudes smash, Weekend Special, the maxi took over as the preferred format for pop music, replacing the cheaper but time restricting 7” single. Singles were being pushed to the limits in the early 80’s with running times of 4+ minutes a sides by some labels. The Maxi allowed for groups to extend their grooves onto a full side and later album art containing smiling musicians infant of cheesy backdrops became the norm. Synthesizers had been used in pop music for years already but the DX7 wouldn’t land in the country for another year. Drum machines were being used but had yet to fully replace live drummers like would happen in the years to come. The recording of this new single would require a full band resulting in it being one of the gems of the crossover period before the complete midi takeover. Durban’s Graham Handley was recording some of the best upcoming Disco sounds for labels like Heads Music and groups like Kabasa and Masike Mohapi and was tasked as engineer. Other known musicians in the session would be Jimmy Mgwandi from the group Image, who’s signature bass playing can be heard on both songs. A young Daniel Phakoe aka “sox” was also present and took care of the male parts of the vocal line. Both musicians have writing credits along with lead singer Nombuso. Other possibilities of musicians would be Thami Mduli aka Professor Rhythm who had been with the group since their early days as well as a young Chicco who was best friends with Jimmy at the time.

The single, which was packaged in a customized but simple company disco sleeve, went on to do quite well. Less than a year later they would feature on a track with Sunset which would lead to them singing with Sounds of Soweto records label. The group would enjoy the growing fame when tragedy struck in 1984. On their way to a show in Mpumalanga they were involved in a car accident which took the life of Nombuso and left her husband Sam with a leg injury he limps with to this day. Upon recovering Sam would organize a tribute concert at Soweto’s Jabulani Amphitheatre. Even though the tragedy left the group broken and without a member the band went back to work to record their second full length album. They worked with Mac Mathunjwa who had written Nombuso’s favourite song “Going Crazy”. This album would be released with two different names and covers. One took the former singer’s favourite song as the album name and used a photo consisting of all three girls where the other released under the name “ A Tribute” and would only have the remaining members on the cover.

Although the tragedy never halted the group, moving forward the trio of singers would see a few members change. Lindiwe would leave to join Freeway and then become Linda “Babe” Majika so by the time they were ready to record in1986, now with Teal records, the only original member was Ntombifuthi. She would also shortly leave the group and provide backing vocals to other artists including her old band mate Linda. The Hot Soul Singers would be kept alive by Jiza Jiza and go on to record 5 more albums before calling it quits in 1990 after a successful 15 year career. Today the only core member left is Sam Mthembu who still lives in Thembisa and is occasionally promoting live events. Even though he did produce a handful of artists back in the 70s, his most significant additions to the music industry were the Hot Soul Singers and his event promotions, which is what he is best known for and will most likely be the legacy of his career.

• 180g Picture Disc in Die-Cut Sleeve • Best of Bowie’s legendary performance from the Universal Amphitheater, Los Angeles • Broadcast on KMET-FM • Digitally remastered for greatly enhanced sound quality • Background liners

“Come out of the garden, baby”, and revel in the sounds of David Bowie’s spectacular Diamond Dogs Tour. Protus very proudly brings together the best of Bowie’s gig at the Universal Amphitheatre in Los Angeles, 5 September 1974, broadcast live by 'KMET' radio station, which featured an extraordinary set list showcasing work from several key Bowie albums including Ziggy Stardust and the Spiders from Mars, Aladdin Sane, Hunky Dory, and of course, Diamond Dogs.

One of the most expensive tours in popular music history, the tour and the album helped the star to crack the North American market.

David Bowie – Vocals
Michael Kamen – Electric Piano, Moog Synthesizer, Oboe
Mike Garson – Piano, Mellotron
Earl Slick – Guitar
Carlos Alomar – Rhythm Guitar
David Sanborn – Alto Saxophone, Flute
Richard Grando – Baritone Saxophone, Flute
Doug Rauch – Bass
Greg Errico – Drums
Pablo Rosario – Percussion
Gui Andrisano – Backing Vocals
Warren Peace – Backing Vocals
Ava Cherry – Backing Vocals
Robin Clark – Backing Vocals
Anthony Hinton – Backing Vocals
Diane Sumler – Backing Vocals
Luther Vandross – Backing Vocals

DJ Die Soon is a local legend and ongoing inspiration in the Berlin underground electronic music scene. Remaining largely unknown outside the city, with only a handful of releases and appearances to date, the man behind the mask delivers truly freakish beats built from chaos driven crushed drums and eerie horror style basslines.

KAPPA SLAP wrenches the Morphine catalog by the neck, takes it off it’s feet and slams it back unsteadily in front of the fans who loved the Container, Metasplice and Hieroglyphic Being output of the label. DJ Die Soon delivers extreme work here. The album is a mixture of instrumental pieces and vocal tracks featuring the talents of five contrasting MC's. Three Ugandan lyricists feature: there’s MC Yallah, with whom he worked during a residency for the Nyege Nyege Festival , Lord Spikeheart from the Duma hardcore pressure band, and the mighty ECKO BAZZ. Long time friend and collaborator Infinite Livez (Ninja Tunes) appears on the cosmic & eccentric Ranthworth, and finally there’s Japan’s MA, who recently dropped the incredible AMA album on the label. Incidentally, the pair (both Japanese) decided to collaborate after acclaimed performance at the Morphine Showcase Berlin’s Berghain in 2019.

KAPPA SLAP contains a lot of our favorite sounds all in one album. Stunningly, DJ Die Soon manages to paint the Morphine picture in one hard stroke.

Artwork courtesy of Lorenzo Mason Studio

Frustrated with UK club music's current fixation with tempo, London based artist Kouslin's '2020 Vision' EP delivers four cutting edge, high energy clubs tracks that hover around the 100bpm mark. Drawing on both dancehall influences and the productions of artists such as Harmonic 313 / Mark Pritchard and The Bug, Kouslin carves his own vision for a new decade in UK club music where fine tuned low frequencies and a slower pace can deliver maximum impact.

When he's not working at London's Phonica Records, Kouslin runs the Le Chatroom record label and has a regular slot on London's Balamii radio.

This 12” vinyl release comes with full colour artwork reverse board sleeve with artwork from Tess Redburn.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

'Banoffee Pies Records' drop their 12th release in the original series with a solo EP from New York based Tristan Arp. With a string of intricate music on the likes of Human Pitch and a recent LP entitled "Suggested Forms", which offers a wider exploration into his work, Tristan's passion for sound design echoes in this record.

All four tracks offer an environment somewhere between a feeling &
a dancefloor with obscure influences in polyrhythmic drum patterns and a clear combination of digital and analogue processing. "Swept Thru" opens proceedings with a spiral of rhythms and heavy percussion leaping in energy throughout, before the spooked out Vox takes control on "Oblique House" with deeper movements in a haunted club tune. The B side opens with the title track "Slip" in a powerful whirlwind arrangement of sub bending sounds before the final colour is added to the palette in "Circling Music'' with emotive jingles in a more retained and patient mood.

You can hear Tristan's other work within the Asa Tone project - a trio group well worth the trip, offering a deep variety of works exploring field recordings taken and formulated in Indonesia beneath a tree canopy deep in the jungle. This same energy and mood spills into this release. Music for feeling. Much love BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.

Founded by ordained bishop Larry H. Jordan and his brother-in-law Frank Tinsley in the early 1980's, Enlightment was among the first groups to fuse modern R&B production with gospel themes.

After providing the group’s ultra-rare debut album Faith Is The Key with a proper release, Nature Sounds is now making another lost classic from Enlightment available to the world. “Agape Love” was
a 1988 promo-only 12” single pressed in anticipation of a second Enlightment album, which unfortunately never came to fruition.

Previously only available in extremely limited promotional quantities, “Agape Love” has been re-pressed off the original vinyl parts and will now be hitting record shelves worldwide. “This is well-deserved reissue,” says famed DJ and record collector Kon, who calls the record “a lost gem that slipped through the cracks of obscurity.”

Back with his third EP for Dave Harvey’s forward thinking Futureboogie label, Kiwi serves up three pulsating jams on ‘Charlie’s New Vision’, backed with a remix from Johnny Aux.

Drawing upon his many influences across the house/disco/funk spectrum, South London based Kiwi has been illuminating the more discerning dancefloors of late with a strong of releases for Cin Cin, Needwant and his own new label venture, Crossbreed.

A low-slung groove is explored on ‘Charlie’s New Vision’, incorporating tripped out film dialogue, bleeps and dubby tones, and a serpentine bass riff, all forging an off kilter yet infectious & hedonistic chugger. Johnny Aux follows up recent appearances on Man Power’s Me Me Me, Party Central, and Multi Culti with his own take on the lead track. Churning over a bleepy and epically transcendental remix of the highest order, this is the stuff of sunrises and enlightening moments!

The sprightly ‘Ghiaccio’ draws together a kaleidoscopic array of opulent synth melodies with an compelling rhythm, whilst ‘Italian Heat’ doffs its cap heartily to the Italo disco choons of yore that always strikes a potent chord to this day.

Impromptu muscovite supergroup Lilipulu turn the needle neon with a quartet of unexpected killers for club cosmonauts, rainforest ravers, anxious insomniacs and giddy punks.

Unplanned, inspired and all the way live – the pin is glowing! Ever wondered why the Growing Bin releases sound so damn good? Well, it has more than a little to do with mastering magician Sergey Luginin, whose eagle-ears and technical know how have been a part of the process since GBR002. For the latest Glowing Pin powerplay, our man in Moscow joins some close friends on the other side of the console, letting the creative juices flow for ‘Four Amazing Tracks’. Luring Simple Symmetry brothers Sasha & Sergey and DJ & photographer Ivan Pustovalov into his studio with the promise of an afternoon stroll through the nearby Elk Forest, Sergey set the circuitry in motion and the quartet got lost in music. What begin with a plan for some simple edits and a woodland walk quickly became a full scale studio throw down, reimagining forgotten favourites amid a multi-instrumental stew of propulsive polyrhythms, low slung bass, cosmic synths and frazzled guitars. There’s techno-tribal hypnosis on the mind bending, brain blending A1, poetic post punk on the angular, janglier A2, outrageous Afro-cosmic on the freaky Floyd-in-Lagos B1 and languid ambience on the lysergic lullaby which closes the set. Recorded as they worked and presented in chronological order, this EP is a triumph of inspiration over perspiration - a snapshot of a moment which will last forever.
Patrick Ryder

Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalogue of the legendary library label KPM.

They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit”. A way to transport the listener away from the everyday without the bother of getting on an aeroplane. Mind travel is space travel after all, and much better for the environment.

Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion and the Seahawks live team of Dan Hillman and Alik Peters-Deacon.

From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Deryshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe.

The spacious “Hot Sand Shuffle” opens the record with some of Seahawks’ familiar “deck-shoegaze”. The slinky digi-dub of “Sky Blue Sky” follows, gently encouraging us to lay back and relax. “Mystic Beach” is a refreshing ocean spray of a synthetic groove that clears the head, priming a pathway to receive “Crystal Forest”, a new age house groove of birds and flutes.

Dense, deep and dreamlike, “Distant Shore” is ambient rainforest house with a 90s vibe, its dense foliage clearing to let us bask in the shimmer and shine of “River Run”. Hang drum, electric gamelan, flute and loon close side A.

Side B bounces into being with “Catch A Wave”, an upbeat beach groover of synthetic guitar, effervescent synth and snappy drums. Equatorial bubbler “Paradise Bird Bath” soon glides in with marimba, crisp beats and fat synth bass. Fender rhodes, space echo and fretless bass make “Smooth Runnings” a laid-back poolside groove.

“Spirits Have Flown” conjures a hazy vibe with marimba, sax, synth funk bass and chilled beats before “Rolling Deep” serves up a light cocktail of sultry rhythms, refreshing textures, cooling sax and fretless bass. Almost-title track “Island Blues” brings the horizontal poolside feels with melodic chimes, oboe and more fretless bass for maximum vibrations. The marina drone of modular electronics, celestial trumpet and jungle ambience pay the album’s final respects to the cosmos on “Sun Salute”.

Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams.

Pete’s front cover for the LP is part map, part postcard: “the record has five different sections and I wanted to reference those in the worlds they created, musically and physically. From beach campfire, to poolside hanging and nighttime dancing. A kind of portal to those places and the pictures they inspired in my mind. All places we’d like to be in this turbulent year”. The track descriptions on the back help guide the way.

2020 marks 10 years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures and moods that Jon and Pete have been exploring over the last decade. Sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here.

This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and we worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Of course we were going to put this out on vinyl.

Mastered by balearic engineer of choice (and Be With’s regular audio co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum travelling conditions. Take the trip.

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.

We’ve worked with Ian Willson to reissue his insanely good, self-released West Coast classic “Straight From The Heart”. Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours.

You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.

Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk).

The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.

Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record.

Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982.

A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together.

Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears.

And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.

When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP.

The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.

The second release of the label Dedicate is created by Kollege Schnürschuh. The producer collective, consisting of Phonk D, Clav Split, Iron and Jogging Jones, presents a cross-section of the past few years on the 12 instrumental tracks.
Shoe School represents true hip hop without too much bling and flashy ice, somewhere between Old and New School.

2019 has sparked a new evolution for the transient broken beats of London’s Itinerant Dubs.
The enigmatic imprint has been running in silo since 2013, providing the final strongholds of the underground with innovative bass aesthetics and an intoxicating electro swarm. In fact, “It’s Magic” opens the A-side with a cold, bruising cut of metallic percussion wrapped around lonesome, dystopian bleeps and form-shifting synths. Minimised and stripped-back to its core functions, guided by bold infusions of breaks. “Oh She Dance” is the duo’s most playful construction yet, mashing up a loose jungle flow with more rigid breakbeat science to form a deathly machine-gun of sonics. Bullets keep spraying across “Salsa On Mars” - a raucous, percussion-heavy slice of dubbed-out house - albeit with a moodier, more introspective groove that takes its ammunition from London’s inimitable jazz arsenal.

We left them to take over,
to brake hopes,
to snatch any desire.

As distorted images on a screen,
They changed the balances of our lives.

They imposed false myths in our believes,
In our most intimate thoughts,
In the semantics of our meditations.

They chose the path of everyone,
As androids, they conducted us to the implosion,
Of souls, of rigid sentiments,
Of vitreous look.

They took the control of each decision,
Changing the order of priorities,
Changing the given meaning,
The significant and the significance.

They left us weak
In the bodies, in the spirits
On a slimy ground,
Sliding towards the loss of consciousness
Towards the end of our existences.

We pass away in our silent souls,
In a hibernation without return

- UTOPIAN SOUL -

Flat White Records launch into 2020 with Meowsn’s, “Stages EP”.

This 7 track slice of genius showcases the Russians trademark style, with every twist and turn more wobbly and pleasing to the ears than the last.

The mysterious talent out of Russia is the second producer from his country to feature on Flat White Records, proving that they have a really good thing going on there.

“Miss Honey” by Moi Rene was an underground New York anthem during the early 90’s. While the artist and the song never fully got the acclaim it deserved, it’s originality and authenticity was strong enough to sustain its reputation as a must have track for any DJ who wanted to inject some raw and real NYC underground vibes into their set.

Through a series of memorable releases, the production team known as SRVD has emerged as one of the worldwide DJ community’s most original and innovative talents. Consisting of renowned producer Radio Slave and Performance arsist Partrick Mason, SRVD has done a remix that retains the New York-in-the-90’s edge of the vocal, while adding a techno – laced rocket fueled beat and synth that have made the track an immediate favorite of headlining DJ’s worldwide. Entitled Moi Honey, the SRVD remix package consists of a vocal and instrumental version.