Cerca:aficionados

Originally released in 1979 on Mistlur Records in Sweden, Nyanser is widely considered Thomas Almvqvist’s masterpiece.

It's almost unspeakably beautiful.

With his adventurous, virtuoso guitar technique to the fore, the album explores a unique path through world music, folk, jazz and acoustic experimentation, whilst retaining a very personal vision.

It’s aged very, very well indeed and is now rare and immensely sought-after, coveted for many years by collectors of all musical genres. This Be With re-issue, remastered from the original analogue tapes, shows off just why this deserves to be back in press.

The majority of the album is a solo exercise with Thomas playing Rhodes, flute, synthesizer and percussion as well as his idiosyncratic guitar on all tracks. Alongside Thomas in the studio were an array of young, experimental Swedish musicians in the nascent stages of their careers including the much lauded Swedish composer Ann-Sofi Söderqvist, vocalist Turid Lundqvist and perhaps the key contributor to the album, Hans Peter Andersson, whose alto, tenor and baritone saxophone contributions shift the album from into the realms of jazz, most notably on “Horisont” and “E.M.”

The whole ensemble comes together on the centrepiece of the album, the joyous aquatic harmony of “Coral Reef”, one we've been playing out for the past 5 years to dropped jaws. The album presents a very visual aesthetic, each track evoking images of landscapes and far-flung corners of the earth. Almvqvist himself considered the visual aspect of his sound very important, describing his approach as “picture music.”

Nyanser is considered one of the earliest examples of a fusion of world music, jazz and folk traditions, certainly from a Scandinavian artist. Despite its impact on release being minimal outside of those aficionados tuned into such sounds, over the years the album has become something of a "lost" cult classic and a fine example of the experimentalism going on in Scandinavian music at the time. The English translation of nyanser - ‘shades’ - is a particularly apt description of the sounds contained within.

Thomas very sadly passed away in 2008 at the age of 55. We hope this reissue will go some way to bringing his unique output to a wider audience and secure the legacy he deserves as one of Sweden’s great guitarists and musical visionaries. It sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost whilst the beautiful artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every record collection.

2023 Repress

Shpongle came to light 20 years ago, emerging from the burgeoning Trance music scene. Simon Posford aka Hallucinogen and Raja Ram aka The Infinity Project were already leading lights on the pioneering new sonic realms of Trance music.

The Shpongle sound was formed out of the desire to share another side of the psychedelic spectrum of music and in doing so established themselves as important innovators and arguably, inventors of genres we now know as PsyChill, Psybient, Psydub or Psybreaks.

Are you Shpongled? contains 7 tracks of epic audio adventure. Each one taking the listener on a journey, with sensurround sounds emerging from the caves of tribal reality. Across the globe, both seasoned aficionados and new sonic surfers alike take delight in the original worlds of sound explored by these visionary pioneers on their debut album which still takes pride of place in many collections.

The Shpongle sound planted sonic seeds in fertile imaginations across the world and over the past 2 decades their fanbase has grown exponentially, creating an unforgettable impression on the minds ear of all who listen. With a full live band to compliment their studio origins, Shpongle have been headlining large scale concerts and festivals across the globe, most notably two sell out shows at The Roundhouse London in 2009 and more recently their legendary performance at Red Rocks in Colorado where Shpongle performed to a sell out crowd of 1000. They have also completed numerous tours of the USA with stateside crowds showing huge love for the band and establishing a loyal following. 

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

Behold! Yes, Blue Butterfly, one of the absolute stunners on the revered Selected Sound, is finally available for all the beat-heads. Heavyweight library funk with a psychedelic touch, the super in-demand Blue Butterfly from *deep breath* Hardy's Jet Band, Orchestra Klaus Wuesthoff, Jan Troysen Band and Orchestra Gary Pacific - was originally released in 1971. Incredibly ahead of its time, it's been rare and sought-after for decades.

For many aficionados, this is the best Selected Sound release. Loaded with fuzzy wah-wah guitar, deep flute-lines atop soulful psych-rock breakbeats and huge organ action, its uncompromising funk will blow you away. Sampled for many hip hop beats and dropped by well known rare groove DJs around the world, one jewel in particular from this glorious German vault needs little introduction. The intro to Orchestra Gary Pacific's mesmeric "Soft Wind" rides the illest, crispest drum break you've perhaps never heard - like, the drum break to end them all - alongside a smooth, deep bass line from the heavens. It featured notoriously on the beloved Dusty Fingers comps of the 90s and was brilliantly sampled by Pacewon for his eternal "Sunroof Top". Just listen and be dazzled.

Beyond this mini-masterpiece, the other killer tracks offer brilliance in abundance. Hardy's Jet Band take control of the full A side, and it's full of dynamic psych-funk bombs. Hard, "big city" industrial groovers. In particular, the initial one-two of "Sorry, Doc!" and "Wind It Up" provide thrilling funky-blues rock instrumentals showcasing relentless guitars, flutes, sax and organ, the latter containing gorgeous, hypnotic breakdowns; these tracks just slay. The title track, "Blue Butterfly" is a real deep strut of a track with fantastic soloing from guitar and flute over crisp drums whilst the highway banger "What You Call To Be Free" certainly sounds a lot like unbridled, rhythmical liberty.

On the flip, the ghost-riding "Lady In Space" is a string-drenched acid-western foxtrot. Yep. “Pop Happening” by Jan Troysen Band is a heavy, druggy psych-fuzz organ groover whilst their slow beat-organ-flute gem "A Blue Message" is a gorgeous psych floater conjuring deeply strange frontier lands. Preceding their monster "Soft Wind", the soulful, uptempo groover “Ghetto Gap” by Orchestra Gary Pacific contains solo piano and flute whilst closing out the set is the free-and-easy samba beat of "So Far".

Founded in the late 60s by German composer and musician Klaus Netzle (who recorded under the alias Claude Larson for Sonoton) Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

The audio for Blue Butterfly has been remastered for vinyl by Be With regular Simon Francis whilst Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.

Back in 2007, three DJs from a mountainous region in Austria called
Vorarlberg teamed up to form Struboskop.
They’ve always been huge Jazz, Funk and Disco lovers, Hip-Hop
heads and House aficionados at the same time –– and after moving
their homebase to the Austrian capital, Vienna, they’ve made
themselves a name for their versatile and eclectic productions and
DJ sets.
They’re also pushing boundaries with their newest side project
Duboskop, merging hypnotic dub sounds with cheesy 80s pop hits.
Be prepared to expect more craziness from them in the future!
ESSENTIAL!!

Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, Buscrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real.

Today, Toronto-based producer Sven Lochenhoer releases his quirky two-track ‘It Knows’ EP, out now via Dirtybird.

Since 2017, Sven Lochenhoer has been a consistent character among the flock, popping up on various Dirtybird compilations and sub labels over the years. Diving into the depths of house music, Sven Lochenhoer’s ‘It Knows’ EP is reminiscent of Dirtybird’s 2005 origins. Thoughtfully produced, the EP consists of its edgy, club-centered title track and experimental downtempo companion ‘Rain Check’. Each layered with gentle piano melodies, warm basslines, and wonky vocal effects, Lochenhoer has crafted an intricate duality through this two-track project.

The rising Canadian producer first appeared on the scene six years ago. Since then, Lochenhoer has gone on to release records with such labels as Dirtybird, Trippy Ass Technologies, and Dumb Fat. Through his original productions and Splice sample packs, Sven Lochenhoer continues to earn the favorable regard of artists and aural aficionados alike.

Chicago-born composer, producer and arranger Charles Stepney is known to some for his work with Earth, Wind & Fire, Deniece Williams, and Ramsey Lewis, or for his work with Chess Records in the 1960s, where he was an essential creative force behind seminal recordings by Rotary Connection, Minnie Riperton, Marlena Shaw, Muddy Waters, Howlin Wolf, Terry Callier, The Dells, The Emotions, and many many more. In the decades since his untimely death in 1976, the presence of his name in liner notes and on vinyl labels has become a seal of quality for record collectors, music historians, and aficionados, while his sound has been used by countless samplers in the hip-hop world including Kanye West, A Tribe Called Quest, The Fugees, MF Doom, and Madlib. But in comparison to the post-mortem renown of his sound, or the music he created and the artists he supported while he was alive, Stepney is a greatly under-appreciated figure... a genius relegated to the shadows.

2022 Repress
Many Reggae aficionados see the concentrated phase of Rock Steady between 1967 - 1969 as the Carribean's most productive era of all time. Never before had such sweet melodies, inspiring rhythms and beautiful love lyrics come together. Numerous Soul hits by the likes of Curtis Mayfield, The Impressions, The Supremes all got the bass-driven, Jamaican style treatment. "The Bunny Lee Rock Steady Years" collects some of the most essential and rarest songs of that era - in a better sound quality than ever before! It showcases a wealth of soulful singers, ranging from top acts like Slim Smith (also lead-singer in the Techniques and Uniques) or Alton Ellis to the rather unknown Cnythia Richards or Webber Sisters. All songs were produced by Bunny Lee, one of the greatest Jamaican producers, who had one Rock Steady hit after another - finally earning him the nickname "Striker".
This compilation is a valuable slice of history for Reggae and Soul fans alike, for lovers of great voices, for those who do not confuse "cool" with cold and appreciate a good love song when it comes from the heart.

Limited Metallic Silver Vinyl is exclusive to INDIE STORES. "Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, BusCrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real!"

Limited Metallic Silver Vinyl is exclusive to INDIE STORES. "Money Mouse Records moves effortlessly into the neon-hued vibes of 80's boogie culture with their latest 7" offering from Nashville's CA$H BONU$. Made up of some familiar faces from Music City's funk and soul movement, Andrew Muller and Nick DeVan are joined by Amber Woodhouse who lends her powerfully silken vocals to the mix. With the addition of Pittsburgh's synthesist maestro, BusCrates, along with Muller's deftly executed production flourishes; this record goes straight to the sweet spot of post-disco lushness. "Got Me Thinkin Tonight" is designed for the late-nite dancefloor aficionados, taking cues from some of the era's greats and shaking things up into something new and heaving. The synth work and beats weave together with Woodhouse's amorous lyrics to create a dancefloor jam that sounds just as at home in 1982 as it does in 2022. That magic is repeated on the B-side with "Joy & Pain" a straight up hustler of a track, with a driving drums and heady arrangements that, again, are meant to get the dancefloor churning. Woodhouse's vocals deliver a sweet soulful emotion that jives perfectly with a groove that would make Rod Temperton proud. And don't forget the heavy drum break at the end. CA$H BONU$ is bringing the boogie heat to your feet for real!"

We are proud to present "I'm Always Right" by Imagination, an unreleased jazz rock LP from 1977. Comprised of five tracks with a playtime of roughly 30 minutes, you will hear one of the finest German late-70s rock-tinged electric jazz albums of the era. The recording is a delightful stand-out with unique compositions, aspiring solo work, and a soulful spirit throughout. Additionally, the album veritably glows with exceptional sound quality, as it has been remastered from original tapes that were cut more than four decades ago at the WDR Funkhaus, Cologne.

Here is the story of how label founder John Raincoatman became aware of these lost tapes:
"I first got in touch with members of Imagination from Düsseldorf (not to be confused with the UK disco band under the same name) in 2017 for licensing the track "Strawberry Wine" from their collectible "Shake It" album from 1980. A couple of months later, when I was speaking with Willi Hövelmann, the guitarist for Imagination, he told me about some recordings the band had made a couple of years before, when they had been invited to to the studio of the WDR, a major German broadcaster. A couple of weeks later, when Hövelmann finally sent me the files that he had requested from the WDR, I could not believe what I heard - not only that the songs were totally different from what I expected, but that they were also very very good! The music wasn't comparable to any other kind of fusion release that I knew of. These five songs were straight forward, tight and soulful electric jazz rock, a combination rarely heard from Germany from that time period."

How come Imagination - at that time a young newcomer band consisting of musicians between 19 and 22 years of age - was able to record at the well-equipped Funkhaus studio of German radio and television? Hövelmann explains: "The WDR got to know us from a newcomer band competition called "Pop am Rhein" (Pop at the Rhine) which was set up to support local bands and was promoted by several bigger newspapers. Imagination was one of the 5 contestants which were picked from 59 bands by a jury of music journalists and our band was invited to play a concert at the Philipshalle in front of about 3500 guests. Although a band called "Accept" won the contest (yes, the heavy metal band that gained international success in the following years!) and Imagination only made 3rd place, we were invited by music host and journalist Wolfgang Neumann to record in a professional studio."

Neumann's broadcasting show at the WDR was called "Rock Studio", and one of his special goals was to help push newcomer bands by giving them airplay. As a side note, Neumann actually compiled a series of three LPs on the Harvest label from 1979-1982, each of them featuring four bands. However, the earlier recordings of Imagination had only been used for broadcasting reasons, they were aired a couple of times but never made it to a vinyl or CD release.
So, on October 10th, 1977, it was time for the band to show up and prove themselves in the studio. The tracks were all recorded in one afternoon, mainly as one takes. In some cases flute, saxophone were overdubbed, as well as the vocals on "Love is Genesis", as Hövelmann remembers.

The first song, "Jazzgang" can probably be seen as Imagination's most characteristic composition out of their early period: heavy bass, saxophone leads and speedy solos by the band members. A genuine, rough, yet funky uptempo jazz rock tune. But it's "I'm Always Right", the second track on the album, that raises the bar as the key track of the release with its 10-minute length. The song starts with a great piano solo by Mario F. Demonte. In fact, "Demonte" was a pseudonym of Ratko Delorko, a classically trained piano virtuoso who is still active today as conductor, composer and performer. At that time, it was simply impossible for him to officially be part in a band like Imagination and hence the alias was invented. Anyway, the speedy intro leads to a very soulful mid-tempo jazz funk groove that offers space and time for the band members to perform a solo. First off is Uwe Ziss with sax and flute combined. The second solo belongs to Willi "Sultan" Hövelmann on electric guitar. For the furious ending the pace is set back to high speed. Delorko serves us with one of the most brilliant uptempo piano solos you may have heard in a while on a jazz record.

The next song stylistically stands out from the rest. "Biting My Time" incorporates a rhythm and blues feel with a 60s soul jazz attitude. The track was composed by Uwe Ziss who leads through the track with aspiring flute solos which feel like an easy summer breeze after the first two rock tinged tunes.

"Himalaya" sees Imagination move away from jazz quite a bit, rather approaching the psychedelic rock genre with a vibe reminiscent of the sound of the early 70s. Again starting with a piano solo by Ratko Delorko the pace is quickly at 150 bpm with the full band laying down an energetic jazz rock sound. Just after a little over one-and-a-half minutes there is a breakdown to a slower tempo with overdubbed mysterious vocals and psyche-y screams which may remind more of the legendary krautrock band Can than what is typically known as "jazz". The mood continues with tense saxophone and guitar solos, just to speed up again towards the end with furious drumming by Andreas Oelschläger.

"Love Is Genesis" concludes the release. It was composed and sung by former bassist Robert Schlickmann. Though most of the band members didn't really like the song at that time it still is a one-of-a-kind soft rock pop ballad which partly reminds of some of the vocal song tracks later to be found on the "Shake It" LP from 1980. The track manifested that Imagination were never really supposed to be solely an instrumental band.

We are now happy to have cleared the exclusive rights for this recording from the WDR and are proud to re-present this amazing collection of songs. It should appeal to fusion, jazz rock and jazz funk aficionados but also to late krautrock collectors. We are also certain that it will also please fans of the "Shake It" album, simply in terms of being such a bright and soulful debut with great music overall.

Kuedo wird sein neues Album, „Infinite Window“, am 29. Juli 2022 auf Brainfeeder veröffentlichen. Das Ende Juli erscheinende neue Album ist das erste seit „Slow Knife“, das 2016 bei unseren Freund*innen von Planet Mu erschien.

Mit einer Mischung aus Synthesizer-geladenen Avantgarde-Kompositionen und donnerndem Drum-Programming, verdankt das Album modernen R&B-Ikonen wie Frank Ocean und The Weeknd ebenso viel wie legendären Komponist*innen wie David Axelrod, Tangerine Dream und dem jüngst verstorbenen Vangelis oder zeitgenössischen Breakbeat-Aficionados wie Sully und Jlin.
Kuedo (englisch ausgesprochen: Q-dough) ist bekannt für seine Kompositions- und Sounddesign-Arbeiten für Unternehmen wie u.a. Fendi, Bvlgari, Iris Van Herpen oder Nike. Die Veröffentlichung seines kommenden Albums folgt auf eine Zusammenarbeit mit Brainfeeder-Chef Flying Lotus im Jahr 2017 für den Soundtrack von „Blade Runner: Black Out 2022“ (unter der Regie von „Cowboy Bepbop“-Regisseur Shinichiro Watanabe), wobei Kuedo auch die Filme „Eurasia (Questions On Happiness)“ und „The Sprawl (Propaganda About Propaganda)“ von Metahaven vertonte. Die Vorstellung von „Zeit“ - der Blick nach vorn und zurück - zieht sich wie ein roter Faden durch das Album und den Aufnahmeprozess. Die Entstehung von „Infinite Window“ begann Anfang 2021, als Kuedo sich hinsetzte, um ein komplettes Album für Brainfeeder zu komponieren. Die fertige Platte ber ist eine akribisch zusammengestellte Collage aus neuen Kompositionen und verschiedenen Demos und Tonaufnahmen, von denen einige fast zehn Jahre zurückliegen.

Die limitierte Auflage der gelben Vinyl-LP enthält Artwork von den aufstrebenden visuellen Künstler*innen Monja & Vincent und ein Cover-Design von Raf Rennie (Acronym, Prada, Nike).

Within the last ten years the resurgence of sixties Gallic Pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the ‘jerk-beat’ psychsploitation records of the latter day French-Disco had soon found new floor space in some of the most credible nightspots in London and Japan.

Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was “Histoire de Melody Nelson” by one Serge Gainsbourg. An inimitable, 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven sent, 1001 piece orchestral and choral symphony. The album left hip hop producers alongside progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own… or was it?

The seldom-sung musical arranger for Melody Nelson has become one of the most enigmatic names in French-funk; lorded by many as the “French David Axelrod” Jean-Claude Vannier’s name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging ‘en Francais’. Suitably, when rumours amongst French record dealers claiming “the band who played Melody Nelson recorded a follow-up lp” became a legend of psychedelic folk-lore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil…

For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled “L’Enfant Assassin des Mouches” by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began.

So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra-special EVERYTHING. Peruse the following genres: Psychedelic, Classical, Soundtracks, Jazz, Hip Hop, Samples, Avant Garde, Funk. Then place a copy of “L’Enfant Assassin des Mouches” in each section.

History denotes that when ‘our man in Paris’ Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story “The Child Assassin Of The Flies” was to be included as the only information to grace the LPs highly collectible, concertina gatefold sleeve. The story in full is reproduced in its native-tongue on this very special re-release package. The CD also includes the bonus track “Je M’ Appelle Geraldine”, a beat heavy John Barry-esque track taken from Vannier’s super-rare 7? EP “Point D’Interrogation”.

DJs and Producers such as Jim O’Rourke, Stereolab’s Tim Gane and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as ‘One Of The Best’. Recent copies on eBay have commanded ridiculous price-tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community.

From 2008 comes 'Keys, Strings, Tambourines' - Kenny Larkin's fourth full length LP.

Yet another advanced, singular and funked out techno milestone that bears all of Larkin's idiosyncratic stylings and melodic touches. Once more he shows us how it's done, sounding like nothing you've heard from him previously, 'Keys, Strings, Tambourines' is a truly adventurous record that defies categorisation today. Quietly influencing producers and DJs since its release, it points to where techno can go and what it can be and is a truly and criminally overlooked modern Detroit techno classic. This is an essential purchase for all electronic machine-funk aficionados worldwide. This special expanded edition boasts a slightly reshuffled track order and some additional cuts that were only available on singles at the time, now giving the world 3 solid slabs of futurist techno sonics for the believers! Essential music from the motor city.

'Keys, Strings, Tambourines' has been legitimately reissued for 2022 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Artwork redesigned by Atelier Superplus.

Chicago-born composer, producer and arranger Charles Stepney is known to some for his work with Earth, Wind & Fire, Deniece Williams, and Ramsey Lewis, or for his work with Chess Records in the 1960s, where he was an essential creative force behind seminal recordings by Rotary Connection, Minnie Riperton, Marlena Shaw, Muddy Waters, Howlin Wolf, Terry Callier, The Dells, The Emotions, and many many more. In the decades since his untimely death in 1976, the presence of his name in liner notes and on vinyl labels has become a seal of quality for record collectors, music historians, and aficionados, while his sound has been used by countless samplers in the hip-hop world including Kanye West, A Tribe Called Quest, The Fugees, MF Doom, and Madlib. But in comparison to the post-mortem renown of his sound, or the music he created and the artists he supported while he was alive, Stepney is a greatly under-appreciated figure... a genius relegated to the shadows.

Peggy Gou’s Gudu Records steps into 2022 with Brain De Palma’s second EP for the label, Purple Brain.

Although this is only his second release under the Brain De Palma name, Alexei Versino has been honing his sound for the best part of a decade, both solo (as Panama Keys) and as one half of the duo Stump Valley, previously releasing on labels like Dekmantel, Soul Clap and Off Minor. Born in Ukraine but settling as a child in Turin, he’s currently based in Berlin and makes up a key part of the Gudu stable.

Coming straight out the gate with an instantly impactful bassline, opening track ‘IQarus’ sets the tone for the rest of Purple Brain: bold melodies and basslines shot in high-definition, full of detail and idiosyncrasies. As with his last EP for Gudu, cinema is a key reference for Brain de Palma: ‘IQarus’ is a reference to his directorial namesake’s first film, while later in the EP, ‘(O.W.D.) Once Were Dancers’ nods to the 1994 drama Once Were Warriors, “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”

Elsewhere on the EP, ‘Purple Brain’ pairs an unforgettable arpeggio with stargazing stabs and a marching cowbell beat, while the Netherlands’ Deniro takes ‘IQarus’ into the depths of the night with a cosmic remix that grabs hold of a groove and refuses to let go.

When you talk about the origins of jungle music, DJ Dextrous is most definitely cited as a name that helped define the genre. His tracks were always on heavy rotation on the mighty Kool FM and every Jungle/DnB radio station across the country. Dextrous VIP dubplate specials were weapons in the record bags of Micky Finn, DJ Ron, Kenny Ken and his old mate from school DJ Hype!

The 1994 Jungle anthem Charged was released on the ground-breaking Suburban Base Records imprint as part of a ‘King Of The Jungle’ Trilogy. Now updated for 2022 Charged gets a couple of fresh licks from two modern day jungle specialists, backed up with original and VIP exclusive versions, all packaged on a beautiful 12” vinyl picture disc.

First up are the mighty Serial Killaz who’ve taken the original track and applied their trademark, award winning sound which has seen them releasing on Congo Natty, Philly Blunt, Souped Up and their own self-titled Serial Killaz label.

Next up is AKAS who’s recent Old Skool New Skool track on DeVice spend almost 3 months in the Beatport Top 10!! AKAS keeps things jungle for his Charged remix but tweaks the elements and pushes the genre to have the maximum impact on any dancefloor across clubs or festivals.

On the flip is an original unreleased VIP dubplate version, sourced from the archives or Da Kings Of The Jungle studio DAT recordings, which DJ Dextrous was playing in his sets exclusively.
Finally we have the classic original mix of Charged which has been beautifully remastered from the original source recording to make this picture disc release sound as good as it possibly can.
This is an extremely limited pressing & will never be re-issued so we’d advise jungle aficionados, both new & old, to buy on sight!!

Repress

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque ‘Eta, Samba Bom’, replacing Roberta Flack’s hit ‘Feel Like Making Love’, Ana Mazzotti (1977) delivers Mazzotti’s refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl Ana Mazzotti (1977) will be available on vinyl LP, CD and digitally from 13th September.

From 2008 comes 'Keys, Strings, Tambourines' - Kenny Larkin's fourth full length LP.

Yet another advanced, singular and funked out techno milestone that bears all of Larkin's idiosyncratic stylings and melodic touches. Once more he shows us how it's done, sounding like nothing you've heard from him previously, 'Keys, Strings, Tambourines' is a truly adventurous record that defies categorisation today. Quietly influencing producers and DJs since its release, it points to where techno can go and what it can be and is a truly and criminally overlooked modern Detroit techno classic. This is an essential purchase for all electronic machine-funk aficionados worldwide. This special expanded edition boasts a slightly reshuffled track order and some additional cuts that were only available on singles at the time, now giving the world 3 solid slabs of futurist techno sonics for the believers! Essential music from the motor city.

'Keys, Strings, Tambourines' has been legitimately reissued for 2022 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Artwork redesigned by Atelier Superplus.

NEW 45 BY DEEP-FUNK PIONEER LUCKY BROWN RECORDED DURING THE MYSTERY ROAD SESSIONS!

"Funk is a living, breathing, creative and generative entity and The New Lucky Seven celebrate its life with a mysterious and authentic sonic snapshot from the iconic Mystery Road sessions: WOODHEAD!"

Woodhead is a steady medium groover built around an acute chanky guitar part that Joel Ricci aka Lucky Brown composed while living in the "Woodhood" district of Bellingham Washington, USA in the fallout shadow of an industrial area on the outskirts of town. The Woodhood was so named because the streets were all named after different kinds of trees; Cottonwood, Alderwood, Birchwood, etc. Though members of the band had been performing Woodhead since as early as 2004, it had never been officially committed to tape. So during the 2013-2014 span of living room "Magik Carpet" sessions at drummer, Oliver Klomp's house in West Seattle, the combo dubbed by Lucky as "The New Lucky Seven" casually hit the head a couple times before calling it a night as Lucky rolled tape.

Opening with the now world-famous guitar player, Jabrille "Jimmy James" Williams dropping deftly into his rhythmic part, Lucky chants in the background the words "don't stop" as the tension builds up into the moment the whole band comes in. With Bob Heinemann on bass, Marc Hager on Rhodes and Oliver Klomp on drums, the thick but honest groove is instantly palpable. Trombone player Mars Lindgren and Sax player Thomas Deakin, along with Lucky on Trumpet lay down the 'head' to the tune right off the bat with everyone in the band giving that hard hit on the 4 count of the last bar of the repeated figure. This 'hit' returns again to form the breakpoint between soloists Jimmy James, Marc Hager, and on side B, Thomas Deakin, and Lucky Brown on the flute. The horn section microphone was situated on the dining room table and Lucky just had to lean over to reach it with his instrument! Michael Iris of Bell Creek Studio transferred and mixed these two tunes from Lucky Brown's cassette machine.

This tune was left off of the Mystery Road compilation album but comprises one of the last tracks created during those sessions therefore the concept, vibe, style, and intention should resonate and be interchangeable with the rest of the 45s from that epic Box Set TR-9043 released by Tramp Records on May 4, 2015.

As you spin and interact with the Mystery Road recordings, you are invited to allow Woodhead to take its rightful place specifically alongside the other "The New Lucky Seven" recordings and generally as a part of the suite of crude and naive living-room "Magik Carpet" funk of the rest of the Mystery Road.

As illuminated before in Lucky's artist statement regarding the Mystery Road sessions, the music contained therein was always intended to put emotion, vibe, feeling, and spirit before technical, spatial, or even performance constraints and to serve as a gift of discovery to lovers and aficionados of the deep funk idiom and the rare 45rpm format. Funk is a living, breathing, creative and generative entity and The New Lucky Seven celebrate its life with a mysterious and authentic sonic snapshot from the iconic Mystery Road sessions: WOODHEAD!

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

Acid Jazz proudly presents: Orchestre Les Volcans Du Benin - Vol. 1!

Originally released in 1980 on the Albarika label, 'Orchestre Les Volcans Du Benin Vol. 1' has long been a holy-grail LP for Afro-Cuban music aficionados.

It now sees its first official reissue through Acid Jazz and is available for the first time with four infections tracks, including 'Oya Ka Jojo': Latin dancefloor dynamite, and a DJ must-have.

Remastered by Frank Merritt at The Carvery, further igniting these killer recordings.

Available for the first time on 180 Gram 45rpm Double Vinyl! One of Diana's most sought after albums!

The first-ever live concert recording from Grammy®-winning vocalist/pianist Diana Krall was Recorded at the Paris Olympia Theatre. Here finally, captured in amazing audio quality, is an album showcasing the magic of Krall’s concert performances.

Krall and her band – perform some of the tunes from Krall’s studio recordings, such as "East of the Sun (West of the Moon)" and "Devil May Care." They are joined by special guests John Pisano (acoustic guitar) and Paulinho DaCosta (percussion) for several tracks, including the Gershwin’s "S’wonderful." The Orchestre Symphonique European, conducted by Alan Broadbent with special guest conductor Claus Ogerman, is featured on the upbeat "Let’s Fall in Love" and a haunting interpretation of "I’ve Got You Under My Skin."

Audiophile Audition / audaud Rated 4 1/2 stars
"ORG has remastered the tapes for audiophile 45 rpm vinyl. The results are flawless. There is warmth in the tones that reflect the acoustic sound of the band. The separation is precise, especially in the mixes with the orchestra. The intricate registers and suppleness of Krall’s voice are presented with impeccable clarity." - Audiophile Audition, audaud, September 2011

Soundstage Rated 5 out of 5 for Recording Quality!
"A favourite of audiophiles because her music and voice lend themselves to purist recording techniques, Diana Krall perpetually sounds in great form on her recordings... The sound, remastered by Bernie Grundman, is clear, spacious and well defined -- outstanding in every way, the backing players as vivid as Krall's voice and piano..." - Marc Mickelson, soundstage, May 2009

"One of Diana Krall’s most beloved CDs, Live in Paris, has been given a loving audiophile LP remastering treatment by ace engineer legend, Bernie Grundman and produced by an audiophile label new to us, Original Recordings. The shimmering string arrangements on Let’s Fall in Love and I’ve Got You Under My Skin, are testament alone to the real life power of vinyl..." - Audiophile Audition

"Bernie Grundman’s remastering for vinyl puts Live in Paris in the gold plated category for the legions of Krall aficionados. This two-LP audiophile edition would make an ideal late night listening experience, or the perfect background soundtrack for a special dinner party." - Audiophile Audition

Also on this recording is a special bonus studio track, a rendition of Billy Joel’s "Just The Way You Are" featuring Michael Brecker's beautiful tenor sax solo.

Out of the primordial chaos of pandemic and two years since their last full-length outing SUPERSAN, those sassy purveyors of World Dance of the highest calibre return with a bang. Duo's 3rd studio album soon to be released by Boom Selectah Records promises to turn heads and perk ears of the aficionados of Afro House but also has a potential to spill out from the niche and conquer the hearts of wider audiences.The album titled 'Little Dakar' is' the labour of love of two long time collaborators from Greece, Kostas and Valantis. This time their quest for musical purity and honesty is enriched and enhanced by stirring alliances. Scattered inside the audio-tapestry of this exotic wax flower you will find the vocals from 'the voice of Senegal' Jefree, and enchanting strumming from the fret of George Koltsiou. While rich traditions of Senegali music are particularly evident (and reflected in the album title), 'Little Dakar' goes far and beyond the sounds of a steamy Dakar Disco dancefloor. Finely tuned ear is in for a treat and could easily travel the distances between Senegal, Angola, Ghana, Uganda and Mali to name but a few. But you don't have to be an expert to fall in love with this album. The multidimensional colours of African musical heritage are easily accessible to a novice too as the references to better known House and Funk traditions could be heard loud and clear throughout the record.

Yellow Vinyl

A Franco-Italian production of the latest vinyl de-luxe of Ryan Paris, recently released in a strictly limited edition in three colors (yellow, spottled, fuchsia). On the side A of the EP we find ''Tarzan Boy'' (Baltimora) which peaked at # 2 for 5 weeks in Musicbox live France and the 80's remake of ''Always On My Mind'' (Pet Shop Boys). On the flip side the Club Mix Version and the 80s disco-club remake of ''Dream'' by P. Lion (# 8 also in Musicbox live France)- The release also contains the autographed postcard of the Italo-disco icon Ryan Paris (Dolce Vita) for all the aficionados of the fantastic music of the 80s.

Clear Vinyl repress

1987... for those lucky enough visiting a decent import shop in that year could have seen a US import record with pink label showing a darts board with small text next to the picture saying "Target records" and "Joe R Lewis". Pretty sure nobody at that time would be alarmed by this... reading further it said....1. Love Of My Own... Written and produced by Joe R Lewis... in even smaller text the label info continued; mixed by Larry Heard! And even that, at that time that would not have ringed a bell, except for maybe a couple of dj's who only just in the last couple months picked up copy of a Mr Fingers record and memorised the writter credits. We're talking the very early days of House music, the pre-internet era where new music and info didnt spread all over the globe within a couple of seconds.... Now more then 30 years later this is a holy grail for worldwide record collectors and house aficionados, still not all info is clear. Rumors go that this record was produced after a recording sessions of Larry Heard and he helped Joe Lewis with the mixdown... but like all good stories there is a cloud of mystery covering up the details!. On the flip side there is one of the best tracks ever produced by Joe Lewis,.... Life Immoreal... a track so elegant and beautiful that it hurts!! Two of the best tracks Chicago House music has to offer in remastered versions taken from the original master tapes on this latest outing of Clone Classic Cuts!!

Following her highly praised "An Antworten EP" on TAL, Tentenko releases “The Soft Cave” on Couldn’t Care More. The Tokyo Wonder Girl further expands her unique universe of electronic music with four stunning tracks between oddly beguiling iridescence ("The Wave") and deliberately raw technoid clanging ("Stalactite"), developing a twisted yet very playful version of Experimental Techno, Breakbeats or whatever it is ("The Fish Stone"). Exciting stuff for Warp / Modern Love / Sähkö aficionados and everyone who dares.

The song, subtitled “A Garden of Personal Mirrors”, was written in 1968 by the film’s marketing strategist Mike Kaplan. Kubrick proposed it immediately following an unsuccessful pitch by MGM Records, who wanted to release a single to tie in with the film, and amid reports the Beatles were also writing a song. Presented by Wave Theory as a historical release, 2001: A Garden of Personal Mirrors adds a new chapter to the film’s mythology. This limited edition 7” vinyl will be available for the first time ever on 26th November 2021
2001 is infamous in the annals of film music history for the way that Kubrick abandoned Alex North’s original score in favour of classical and popular pieces that have become synonymous with the movie. Following a digital release last year that caught the imagination of the film’s fans, Wave Theory is now releasing a limited edition vinyl that will give the opportunity for soundtrack aficionados to own a piece of movie history.
Mike Kaplan explains, "The Single's intent was to capture the different responses 2001 was generating from audiences and the media, the many levels of interpretation and appreciation, from its hypnotic visuals to its metaphysical illuminations. We also wanted to instil curiosity among audiences who had not yet seen what was becoming a cultural phenomenon.”
Co-founder of Wave Theory Records Dan Jones said, “Attempting to write any music for Kubrick would be a daunting task, as Alex North — and now we discover Mike Kaplan — were both to discover. Both of them are examples of the complex creative interactions that Kubrick’s films distilled.”

"The stakes are high; if I mess up the last bar, the whole recording is ruined." As Dutch pianist Nicolas van Poucke acknowledges, there is an electricity in the room whenever the lathe is on. Direct-to-disc recording generates tension and release unlike other methods, not least in the final moments of a 20-minute solo piano recital. Described as "the young freethinker" of his generation, van Poucke relished the challenge. Having spent day one setting up to record works by Frédéric Chopin, van Poucke changed tack on day two to perform two Beethoven piano sonatas - Sonata No. 12 Opus 26 in A flat major, and Sonata No. 23 Opus 57 in f minor, also known as the "Appassionata".



For fans of great jazz soloists like Keith Jarrett and Bill Evans asmuch as for classical aficionados, van Poucke’s recordings make thebest of the process in capturing a sense of timelessness in the music.

Limited to 500 copies worldwide* 1980’s Australia were a blistering inferno of totally great powerpop, garage- and punkrock bands. Hoodoo Gurus, Stems and Lime Spiders were on top of their game and labels like Waterfront and Citadel put out albums and 45’s that most music aficionados would die for.

The Spliffs formed in Townsville, a small city on the northeastern coast of Queensland in Australia. In 1986 they unleashed their debut
45. Recorded all by themselves and released DIY style they got some rave reviews and got to play Sydney, Melbourne and Brisbane
opening for The Saints and Hoodoo Gurus. Their debut single is fab jangly 80’s powerpop right up there with Plimsouls or The Nerves.
Housed in a deluxe picture sleeve that comes with a printed inner sleeve filled with many rare and previously unpublished photos plus an interview with Spliffs main man and guitar-slinger Jamie Forsberg conducted by power pop guru Ric Menck. Orange color vinyl.
File under: ”beyond essential to any serious rock’n’roll, powerpop, garage and punk fan”.

Sweden’s One Way Ticket Records is a sister label to On The Dole Records who gave you “Jobcentre Rejects” (and more) and
to Sweet Mental Revenge Records who gave you Rodger Wilhoit. OWT is also a sub-division of Stora Skivmässan –
Scandinavia’s biggest record fairs

In 2011, Dallas based singer, songwriter DEREK DAMIAN recorded the anthemic WATCHA WANNA DO - IZIPHO aficionados will know that we released WATCHA WANNA DO in January 2019 and it sold out in 48 hours!, on the flip ‘The Baritone Of Love’ keeps the bar raised high with IN MY LIFE - from 2013, this mid tempo winner glides along with soulful ease.Don’t spend £100 on the only copy on Discogs, grab this new release with a different B Side!

Calibro 35, the legendary crime funk combo sampled by Dr.Dre and Jay-Z, announce the reissue of "Traitors", their iconic fourth album, on Crystal Red vinyl and digital deluxe edition with bonus tracks.

Record Kicks proudly presents the reissue of CALIBRO 35's fourth legendary long-time sold out album "Traditori Di Tutti" (Traitors) on March 04thon limited edition crystal red vinyl and digital "deluxe" edition with bonus tracks.The publication is part of "The Record Kicks Trilogy" that follows the reissue of the first three albums of the band, released in 2020. This time, Milan label Record Kicks will repress on wax of three different colours and on digital deluxe edition, the fourth, fifth and sixth legendary studio albums of the Italian cinematic-funk cult band. The digital deluxe edition of"Traditori Di Tutti" includes 2 bonus tracks: a crime funk cover of "Get Carter", originally released as a b-side of the "Butcher's Bride" 45 vinyl, and the unreleased funky stormer "Milan, Michigan".

"Traditori Di Tutti" is the fourth album by Milan's combo, inspired by noir masterpiece novel "Betrayers"published by the father of Italian noir, award-winning crime fiction author Giorgio Scerbanenco. The album contains only band's original recordings, from floor-shaking first single "Giulia Mon Amour" to groovy "The Butcher's Bride", from deep funky "Filthy Bastards" to the dancefloor jazz madness of "Mescalina 6". The five-piece pays homage to "I Maestri" such as Morricone, Micalizzi and Bacalov with 12 tracks full of funky beats, heavy guitars, groovy bass lines and fuzzy organs.

There's one thing that Italians do better than others: funky soundtracks. Quentin Tarantino knows best: soundtracks from Italian movies of the '60s and the '70s are the THING! "Calibro 35 does with music what Tarantino does with films". They borrow what they love and they make it their own. With Rolling Stone magazine words "Calibro 35 are the most fascinating, "retro-maniac" and genuine thing that happened to Italy".

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their fourteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

In 2020 double bassist and composer Lara Rosseel was thé revelation of the Belgian jazz scene. With her album 'De Grote Vrouw' she managed to conquer the hearts of jazz aficionados. Her compositions are firmly rooted in the jazz tradition but spiced up with exotic influences, balancing on that enviable border between mystery and recognisability. Music that didn't rely on boastful gymnastics, but a loud beating heart tailored to a wide audience.

Now Rosseel is continuing this journey of conquest with a young quintet and a new repertoire. Foundation and fantasy are key in her arrangements, intimate digressions and fine sound paintings.

The new album Hert is released on WERF Records on 18 March 2022.

Donut chiefs The Mighty Mocambos return with triumphant funk workout "The Take Off" out on limited edition 45.

On the instrumental A-side, crunchy drums and percussion set off into a 7-minute breakbeat extravaganza where dramatic horns and psychedelic, fuzzed-out guitars build up to an epic finale.

On the flip, Nichola Richards chants soulfully before passing the baton to Brooklyn MC JSwiss, whose spoken word poetry takes the listener to another level, ready for take-off!

Another sure-shotwinner from the Mocambo camp, for all funk DJs and aficionados.

Beyond their highly sought after 1978 album Festa Para Um Novo Rei­ - home to the mystical jazz-funk classic ‘Vidigal’ and released on Philips’ iconic Musica Popular Brasileira Contemporanea series (MPBC) - little is known about Marcos Resende & Index, even to aficionados of obscure Brazilian music. Far Out Recordings is immensely proud to present their previously unreleased self-titled debut album from 1976, contributing a crucial missing work from the glory days of progressive Brazilian instrumental music.

Born in Cachoeiro de Itapemirim, Brazil in 1947, Marcos Resende was a prodigious child who learned to play the accordion at the age of two, and the piano aged six. In spite of his immense musical potential, he travelled to Lisbon in the 60s to study medicine. Yet continuing to explore his musical passion on the side, he formed a trio which went on to open for Dexter Gordon at the Cascais Jazz Festival in 1971. From here he formed the electronic oriented prog-jazz group Status, who opened shows for the likes of Elton John, Phil Woods, Stan Getz, Art Blakey & The Jazz Messengers, but in spite of their relative live success they have no known recordings.

Now established as a highly regarded keyboardist, composer, and innovative electronic musician, Resende returned home to Brazil following Portugal’s Revolução dos Cravos in 1974. Inspired by US jazz and British progressive rock he’d experienced while residing in Europe, Resende went all out acquiring a keyboard arsenal to be reckoned with, which included the Prophet 5, Yamaha CP-708 and Mini Moog. Determined to integrate his newfound inspirations with Brazilian rhythms and jazz traditions, he formed a new quartet with Rubão Sabino (bass), Claudio Caribé (drums) and the late great Oberdan Magalhães, of Banda Black Rio and Cry Babies fame. Marcos Resende & Index recorded their self-titled debut at Sonoviso Studios with the legendary sound engineer Toninho Barbosa, known as the ‘Brazilian Rudy Van Gelder’ whose impressive resumé includes the era defining classics Light As A Feather by Azymuth, Previsão Do Tempo by Marcos Valle, and Quem É Quem by João Donato. Marcos Resende & Index fits perfectly amongst these masterpieces, sharing both the timeless ethereal qualities as well as the progressive and futuristic ideals of Light As A Feather in particular.

Yellow Marbled Vinyl

A Franco-Italian production of the latest vinyl de-luxe of Ryan Paris, recently released in a strictly limited edition in three colors (yellow, spottled, fuchsia). On the side A of the EP we find ''Tarzan Boy'' (Baltimora) which peaked at # 2 for 5 weeks in Musicbox live France and the 80's remake of ''Always On My Mind'' (Pet Shop Boys). On the flip side the Club Mix Version and the 80s disco-club remake of ''Dream'' by P. Lion (# 8 also in Musicbox live France)- The release also contains the autographed postcard of the Italo-disco icon Ryan Paris (Dolce Vita) for all the aficionados of the fantastic music of the 80s.

You need to go hunt this down. They’re making incredible music!” Tony Minvielle – Jazz FM

Vertaal’s debut double LP, “Paradigm Shifting” was released earlier this year to wide acclaim from the international jazz community and sold out on initial pressings.

Featuring 4 singles including the atmospheric “Alcazar” and live favourite “Drop Off’, the album was subsequently re-pressed on limited edition black vinyl which is also at the point of selling out.

2020’s lock down and subsequent cancellation of the band’s tour schedule led to extended periods recording in their home studio, on a barge on the River Stort near Stansted Airport.

The duo, comprising keyboard player and producer Theo Howarth and drummer Ajit Gill recorded “live”

versions of some of the Paradigm Shifting album tracks for various radio shows, joined online by guest bassist Severin Bruhin, guitarist

Luca Gianassi, conga player Simon Todd and saxophonist Loren Hignall.

Some of those recordings have now been made available on a special limited edition cassette EP featuring 4 tracks live studio tracks

– three previously unreleased versions from the album “Paradigm Shifting”, “Drop Off”, “Paradigm Shifting” and “Alcazar” and a completely new track “NDY”

Designed to look a box of Swan Vesta matches, the tape itself is pink with an onbody sticker of a collection of pink-headed matches.

Rush-released for Christmas, The Lockdown Tapes will make a nice stocking filler for jazz aficionados!

Vertaal have been an increasingly notable presence in the nu-jazz scene over the past 3 years.
Tipped as “ones to watch for 2019” by Jazz Re:freshed, in 2021 Vertaal have played an exclusive pick of sold out shows at prestigious venues such as

Ronnie Scott’s, Pizza Express Soho and the Jazz Café, along with festival appearances at Standon Calling, High Tide Festival and Lost Village.

They have also supported the likes of Mark Guiliana (David Bowie), & Pete Ray Biggin (Level 42) Richard Spaven

and this year embarked on a tour of the UK’s record stores playing tracks from the album.

In 2011, Dallas based singer, songwriter DEREK DAMIAN recorded the anthemic WATCHA WANNA DO - IZIPHO aficionados will know that we released WATCHA WANNA DO in January 2019 and it sold out in 48 hours!, on the flip ‘The Baritone Of Love’ keeps the bar raised high with IN MY LIFE - from 2013, this mid tempo winner glides along with soulful ease.Don’t spend £100 on the only copy on Discogs, grab this new release with a different B Side!

A multidisciplinary voyage through exploratory listening: Oddysee offers experiences through carefully-curated events, podcasts, radio and Buy Music Club playlists. Established in 2020 and operating with a heartfelt passion for electronic music culture, the Amsterdam-based platform connects the dots between like-minded music aficionados in their hometown and beyond.

Their inaugural release is a compilation that features musical works from artists that they had the pleasure of collaborating with over the first 12 months. A carefully curated assembly of a rather talented bunch of creatives. This special first edition vinyl featuring high-grade dance floor excursions from Eva Geist & Steve Pepe, Budino, Massimilano Pagliara and Christian S. Accompanied with exclusive artwork from Vancouver-based (CA) contemporary artist Amy Stewart.

100% of profits from the vinyl will be directly donated to NATV - a close-to-heart platform that amplifies indigenous voices and perspectives to a global audience. At a time when indigenous peoples' identities and their right to traditional lands continue to be violated, we hope to support these communities, many of whom protecting vital ecosystems to insure biodiversity for generations to come.