Buscar:b say

For the third time to the house of Sakskøbing we are witnessing return of a close friend to the label, Portland-based Aaron Carlson who goes by the moniker ac$. This legend of a human being has crafted a 5 audio pieces which has been made on his modular machines at his home studio and showcases a good range of what I believe we call house music. With the first release he has done for the label that went out in the year 2017 and marks a 6-year friendship between the artist and all of us fellas who hold his music dear to the hearts. The record turned out to be warm, personal and true to the artist’s vision you’ll agree if just like us you have been following the man’s sound output over the years. Very importantly it teaches that bean curd is not only good for your body but for the mind as well and let’s not even start to count how many things you can do with it. You know what they say…

Following weeks of anticipation after an already banner year for the Hot Spitta, Curren$y gifts fans with his third release of 2022, The Drive In Theatre Part 2, the next installment in the cult fan favorite series. The 21 track album features appearances from Rob49, Fendi P, Dash, URA, Blü, I’sis, Premo Rice, and Jade Angelle, and sees production from Kino Beats, Trauma Tone, Harry Fraud, Cookin Soul, and more. In traditional form, Curren$y skates over smooth, jazz-infused beats and delivers a perfect album to put on and let play out while relaxing or working. If it wasn’t already clear, it’s safe to say that Curren$y is one of the greatest to ever do it. How many more timeless classics do you need?

Ein Album zur Feier von James’ 40-jährigem Jubiläum. ”Be Opened By The Wonderful” ist ein Album mit 20 Titeln (19 auf Vinyl) mit einigen ihrer beliebtesten Songs, die mit einem 22-köpfigen Orchester und
einem 8-köpfigen Chor neu interpretiert wurden.

First single to be taken from Skinshape’s ‘Nostalgia’ album. For fans of Khruangbin, El Michels Affair, Tame Impala and Bonobo. Despite the drama insinuated on ‘High Tide, Storm Rising’, Skinshape aka Will Dorey takes it easy with one of his signature laid back lolls featuring tenderly strummed guitar. “The strings in unison, arranged by Jon Moody, almost have a 'Bollywood' feel” says Dorey, completing the contentment with brass melodies that truly set the track adrift on memory bliss. ‘Theme for Lazarus’ is the album’s opener expressing wide-eyed wonderment; expanding upon the delicate, folk-edged setting in which the track sits, his vocals echoing in the distance like somebody you used to know, Dorey offers that “you often get themes for characters in film soundtracks. For the music, I wanted to create something that had elements of classic Skinshape, but also to add some new ideas that I hadn't used before such as the pizzicato strings”.

First time on wax for P.0.3 and BLUMET!!!

Printed sleeve

A1 TRASHIN is a POWERFUL 194 bpm melodic hardfloor banger, old school off beat bass, full of mini breaks and surprises with a stomping kick!! FIRST DEBUT FOR P.0.3 ON VINYL!!!

A2 ANTRAX is a mega TRIBE CORE track with an impressing solid kick and mental melodies. Slowing down a bit to 165 bpm, driving off beat bass and ghosty effects, nice mixing tool!! FIRST DEBUT FOR P.0.3 ON VINYL ALSO!!!

B1 BLUE ANGER is the very first debut on vinyl for BLUMET, 2013 RS7000 drum machine remake. The track recall IVAR THE BONELESS war cry saying "you cannot kill me". Mad 210 bpm angry tune to make the crowd gabber kick the air! Edit and mix from STITCH!

B2 THE NAME OF DOVA is an old school hardfloor unreleased banger at 180 bpm from the infamous UZI. Stomping and deep first part with fidget recalls and digi sound effects, second part goes melodic on a Zelda Epic theme sound like, very cool!

MASTER from the very talented producer and Master engineer 1NC1N.

GRAPHICS from STITCH!!

The story of Lucia Rango, an Apulian singer who was active for a short period during the Sixties, rightfully belongs to that category and meets all requirements for becoming a legend. In 1967, when she was almost unknown, she recorded Lucia Rango Show, an entire album made of songs taken from the repertoire of her friend Piero Ciampi, who worked closely with her on their selection and arrangements. Being one of the most maudit and personal authors of national songwriting, Ciampi had always been a perfect outsider: blunt, shy, extremely talented, and unable to adapt to the rules of the music business. But above all, the Leghorn-born singer was a superb songwriter. The match between his songs and Rango's classical voice and ethereal beauty looked like a very promising one, but never brought any success.
Arranged and orchestrated by Maestro Elvio Monti, and embellished by the participation of Alessandro Alessandroni's I Cantori Moderni, the record is a perfect child of the Sixties, featuring beat tunes and “yè-yès”, Italian canzone, intense ballads, Brigitte Fontaine-like atmospheres and a rediscovered duet of Lucia with her friend Piero, Non chiedermi più, whose recording was known among insiders at the time but sadly appeared to be lost forever. Ciampi's voice lives again in a song that has remained unreleased for more than 50 years within this new expanded version of Lucia Rango Show, thanks to the long research of journalist Lucilla Chiodi (Musica Jazz). Needless to say, the album is an enormously valuable historical document for all fans of Ciampi's output and Italian music in general: along with classics such as Fino all'ultimo minuto, Quando il giorno tornerà and Hai lasciato a casa il tuo sorriso – all originally included in Ciampi's first LP released under the alias Piero Litaliano in 1963 – Lucia Rango's voice consigns to history as many as six songs conceived and written specifically for her recording debut by Ciampi along with Elvio Monti. To date, Rango's invaluable interpretations are the only versions ever recorded of Samba per un amore, Il tuo volto, Stasera resta qui, Primavera a Roma, Ti ho sognato and Sono stanca.

Spice does everything from buttery sweet soul to disco that makes you want to move. They are a firm favourite with those cultured crate diggers and their Let There Be Spice album is about as good as it gets. This fresh 7" from P-Vine features two of the standout tracks. First up is 'The Last Time' with some expertly penned choruses and a vocal turn that will have your mouth open in awe. Flip it over and the quality does not drop - "I'm So Glad To Say' is a high watermark for modern soul with staccato guitars over a persuasive bassline and gentle drums to make for a perfect captivating and mellow groove. A real must-own 45rpm.

34 Jahre ist es her, dass Texas ihre erste Single „I Don’t Want A Lover“ aufgenommen und dann verblüfft zugesehen haben, wie sie Platz acht in den britischen Charts erreichte. Seit dem hat die Band aus Glasgow zehn Studioalben produziert, die sich weltweit über 40 Millionen Mal verkauft haben! Ihren größten Erfolg hierzulande feierten sie mit dem Album „The Hush“ (1999), das mit dem Radio-Überhit „Summer Son“ Gold-Status erreichte. Nun freuen wir uns sehr diese beeindruckende Karriere mit einer einzigartigen 24-Track-Compilation zu feiern! Ihre größten Songs (u.a. inkl. Wu-Tang Clan Feature) und zwei komplett neue Songs finden sich auf 2CD und 2LP: „After All“ und „Keep On Talking“.

In the five years since Creep Show’s acclaimed Mr Dynamite album was released it’s fair to say that we’ve all been through a fair bit. Sitting here, in 2023, things don’t seem to be getting any better. There’s the cost of living crisis and political meltdowns; we're in deep water with global warming and to top it all there’s a war on our doorstep.

Back in 2018 everything seemed less complicated. Sure, there was stuff to get riled about, but we knew nothing about what was to come. Mr Dynamite was a fairground ride into the dark corners of a world that was on the brink of being blitzed in a blender. It was a record teetering on the edge. Five years down the line you’d expect the follow-up, Yawning Abyss, would double-down and bring the white-knuckled, teeth-gritted fury of the last five years to the boil. And yet….

A quick recap? No problem. Wrangler + John Grant = Creep Show. And Creep Show? “A band of musical misfits who have found a voice or two”, says Wrangler’s Ben “Benge” Edwards, whose Bond villain studio on the edge of a moorland is Creep Show Grand Central as well as home to an analogue synth arsenal that could sink ships.

Wrangler have known each other for a while. Tunng’s electronics wizard Phil Winter and Cabaret Voltaire’s trailblazing, pioneering frontman Stephen Mallinder go way back, while Phil and Benge crossed paths in the 21st century when they seemed to be increasingly in the same venues at the same times. Meanwhile, Mal had been living in Australia since the mid-90s and when, in 2007, he returned to the UK his old pal Phil suggested he meet Benge and the three of them immediately began working together.

Wrangler collectively bumped into Grant at their soundcheck for Sheffield’s Sensoria Festival in 2014 where they were playing with Carter Tutti. A friendship blossomed and when they were invited to perform together for Rough Trade’s 40th anniversary show at London’s Barbican in 2016, well, they jumped at the chance... and Creep Show was born.

Let’s talk about the new album... What is the ‘Yawning Abyss’? You might well ask. According to Mal, it’s “a cosmic event horizon that I can see from my attic window when stand on a chair”. Yeah. Thanks.

“On this album”, offers Benge, feet firmly on the floor, “Wrangler wrangled some vintage synths, mostly Roland, Moog, and the ‘Crystal Machine’ - then John Grant joined in the fun at Memetune Studios where lots of musical experiments were carried out. Then Mal and John ran off to Iceland with the master tapes and recorded a load of madcap vocals. Back at Memetune, me and Phil were left to try and make sense of it all. Which wasn’t hard because what they did in Iceland was totally magnificent.”

Which kind of brings us back to where we began. You’d imagine ‘Yawning Abyss’ would be blowing steam out of its furious ears. Mr Dynamite but kicking a wasps nest. Repeatedly. And yet…

Opener ‘The Bellows’ comes on like a modular ‘Radio Ga Ga’, the singalong ‘Moneyback’ (“You want your money back? / I didn’t think so”) sounds like Godley & Creme’s ‘Snack Attack’ meets Prince Charles And The City Beat Band (“Pennies, pounds, dollar bills, signed agreements, death wills”). ‘Yahtzee!’ is an unhinged electro breakdance party in four minutes and nine seconds.

Where Mr Dynamite was menace, a mélange of mangled voices, with Grant and Mallinder being heavily treated, pitched up or down, rendering their contributions largely indistinguishable, Yawning Abyss takes a more direct approach. You hesitate to say feelgood, but there’s a skip in the step here for sure.

The title track plays John Grant’s vocal straight. Completely. It’s good, so very good. Like ‘Axel F’ covered by Vangelis. The delicious shimmering synths of ‘Bungalow’ also plays those Grant pipes with a straight bat. ‘Matinee’ delves into darker, very funky territory. With Mal upfront it comes on like ‘The Crackdown’. Choice lyric: “You are starting to breakdown / And it’s so fun for me to see / You should have thought of that / You should have come prepared / You can see what’s happening and you look a little scared”.

So, you know, not all feelgood. But it does feel good. It’s probably best to draw your own conclusions... This is Creep Show after all.

Stoned Part I was the first self-released album from lost soul phenomenon Lewis Taylor. His third album proper, it was initially released on his own label Slow Reality in 2002 and it's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. The songs are varied, hook filled and outstanding. Beloved by his legions of diehard fans, it's nothing short of a masterpiece.

After parting ways with Island, and without a label deal, Lewis went back to his home studio and began to record Stoned Part I in 2001. Co-written and co-produced with longtime collaborator Sabina Smyth, Lewis sings and plays all the instruments on this beautiful, emotional and very human album. It represents Lewis at his most accessible and finds him in the middle ground between his two Island releases. In some ways, Stoned Part I distills the best of his musical sensibilities. The flawless production is dense, layered and very early-2000s slick. The bottom end is thick, funky and sexy.

The complex, proggy-soul of title track "Stoned" opens the album and instantly captivates. Deep swinging funk with truly sweet soulful vocals, complemented by wah-wah guitar and swelling acidic synths. As Lewis himself told us, the ad libs at the end of the track were a nod to Paul McCartney at the end of "Hey Jude". Fan favourite "Positively Beautiful" has shades of Curtis and Marvin; its richly layered harmonies propelled by a simple, metronomic click-track that gives way to a more fully fleshed beat for the magnificent coda.

The slow, sweeping majesty of "Lewis IV" is all moody atmosphere, featuring dense, richly textured music and heavenly multi-tracked harmonies. The stop-you-in-your-tracks incredible "Send Me An Angel" could have been a huge AM radio hit, beautifully crafted sophisticated soul-pop songwriting in the vein of the very best Sade records. Yep! *That good* The smooth, psychedelia-lite "Til The Morning Light" is a gorgeous, sun-dappled love song, layered with Lewis' distinctive honey drenched vocals and, again, the type of record you could've easily heard all over the radio at the time of initial release.

The remarkable, wide-eyed "Shame" packs so many shifting styles into one song, it has to be heard to be believed. Opening in a laconic, breezy style, not unlike a Dallas Austin or Rodney Jerkins produced R&B hit of the day, it morphs into a heavy psych-soul Soulaquarians wig-out (the solo bearing an uncanny resemblance to Carlos Santana’s on "She’s Not There") before elegantly sliding into string-assisted symphonic soul and then back around again. And again. Sheer brilliance. The sublime, gentle head-nod funk-soul of "When Will I Ever Learn" (Part 1) is a strikingly well-turned-out tune, a neat, sweet bass-driven guitar-soul jam that ensures our jaw won't be leaving the floor anytime soon. "Lovin’ U More" sounds like a classic turn-of-the-century Neptunes production, the likes of which they'd lay on for JT BITD. A Latin-tinged groover with more than a little Nile Rodgers-driven slick funk stylings, it's yet another instant Lewis bomb with those gorgeous harmonies and chart-friendly irresistible key-changes to boot. Another indisputable (non-)HIT!

The funky seductive swagger of "From The Day We Met - Part II" opens the final side of wax, giving way to the gigantic buzzing synth-funk beast "Lovelight", a track so insouciantly mighty it should have been a massive hit for someone. Wait, what's that? Robbie Williams covered it? Ah, OK, well, I guess that says something about the effortless pop genius contained within. Containing a seemingly unnoticed nod to Kraftwerk’s "Computer World", it's Lewis's favourite song on the album. It's easy to hear why: "Sabina’s production totally nails it. I love the restraint and the subtlety, and that mixture of warmth and sweetness from the singing against the slightly cold, yet beautiful airy-ness of the backing track." To close this phenomenal album, the twisted electronic soul of "Sheneverdid" marries Lewis's beautiful falsetto to his virtuoso playing and an easy-cum-ominous musical backdrop. Stunning.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the eleven tracks over a double LP so, as ever, it sounds sensational. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned.

In a club scene saturated with the Minneapolis sound, Luck Rosenbloom was searching for something different. Using Korgand Moog synths, Steinway Concert Piano and a Boss DR-110 Dr. Rhythm, he created his own funky fusion sound to spread the word of God to the mainstream. Recorded at Minneapolis's Custom Record Studios he cut 200 copies of this elusive 45 of which only a few known copies exist. The record was promoted on his cable access TV show "Lucky Mania TV" where he encouraged kids to say no to drugs and take their vitamins.

Libyan Reggae at its peak grooves courtesy of Benghazi-born Ahmed Ben Ali. After working with Ahmed in 2020 on the 12” hit “Subhana” (Habibi012) (2.4M Spotify streams), Habibi Funk is back with a fulllength release focusing on Ahmed’s releases from the mid 2000’s.

The tracks on the LP represent a blisteringly deep collection of heavy reggae rhythms and synthesized grooves from a singular creative force, inspired as much from Jamaican sonics as from Libyan folkloric styles, as Ahmed says, “it’s the Libyan style, not some bullshit.” Out everywhere June 16th.

Bringing their story to the present, The Boo Radleys new single, "Seeker", introduces the band’s eighth album. Where last year’s album, joyful in tone yet brooding with heavyweight lyrical themes, came together as an exploration of the isolated ideas of each member, Eight is, according to vocalist and co-songwriter, Sice formed of songs recorded “purposefully to appear together on an album.” Before adding, “There is also a greater depth of integration, which means that it’s more difficult to tell which member of the band the song originated with.”

Reflecting on "Seeker", the new album’s opening track, written about leaning on those we trust to share life’s highs and lows, bassist and co-songwriter, Tim Brown says: “This song started out as a three-chord synth pop tune and mutated into a brassy bop courtesy of trumpeter, Nick Etwell. The electric guitar flourishes were added by Louis Smith before Sice added layers of backing vocals which help drive the song along and bring it to its joyful conclusion.”

In Times New Roman... is raw, at times brutal and not recommended for the faint of heart. And yet, it’s perhaps the most beautiful and definitely the most rewarding album in their epic discography. Founder Joshua Homme's most acerbic lyrics to date are buoyed by the instantly identifiable QOTSA sonic signature, expanded and embellished with new and unprecedented twists in virtually every song. With In Times New Roman… we see that sometimes one needs to look beneath scars and scabs to see beauty, and sometimes the scabs and scars are the beauty.

In Times New Roman... is raw, at times brutal and not recommended for the faint of heart. And yet, it’s perhaps the most beautiful and definitely the most rewarding album in their epic discography. Founder Joshua Homme's most acerbic lyrics to date are buoyed by the instantly identifiable QOTSA sonic signature, expanded and embellished with new and unprecedented twists in virtually every song. With In Times New Roman… we see that sometimes one needs to look beneath scars and scabs to see beauty, and sometimes the scabs and scars are the beauty.

In Times New Roman... is raw, at times brutal and not recommended for the faint of heart. And yet, it’s perhaps the most beautiful and definitely the most rewarding album in their epic discography. Founder Joshua Homme's most acerbic lyrics to date are buoyed by the instantly identifiable QOTSA sonic signature, expanded and embellished with new and unprecedented twists in virtually every song. With In Times New Roman… we see that sometimes one needs to look beneath scars and scabs to see beauty, and sometimes the scabs and scars are the beauty.

In Times New Roman... is raw, at times brutal and not recommended for the faint of heart. And yet, it’s perhaps the most beautiful and definitely the most rewarding album in their epic discography. Founder Joshua Homme's most acerbic lyrics to date are buoyed by the instantly identifiable QOTSA sonic signature, expanded and embellished with new and unprecedented twists in virtually every song. With In Times New Roman… we see that sometimes one needs to look beneath scars and scabs to see beauty, and sometimes the scabs and scars are the beauty.

In Times New Roman... is raw, at times brutal and not recommended for the faint of heart. And yet, it’s perhaps the most beautiful and definitely the most rewarding album in their epic discography. Founder Joshua Homme's most acerbic lyrics to date are buoyed by the instantly identifiable QOTSA sonic signature, expanded and embellished with new and unprecedented twists in virtually every song. With In Times New Roman… we see that sometimes one needs to look beneath scars and scabs to see beauty, and sometimes the scabs and scars are the beauty.

"Nobody wants to live a life that is disposable," says Taylor. "Everybody wants their life and their time to mean something, and I think in our daily lives, there's a choice that can be made to do small things every day so that you really do feel like, 'hey, my life has value." The title and the record's lyrics are partly a reframing of the average human experience. Modern culture has convinced us that a 'normal' life is unremarkable, but this paves over the beauty inherent in routine relations. "Everyone looks at their experience as like, 'I want something more," explains Taylor. "But any conversation that you have with anybody, there are things that you can pull out, or walking somewhere and just looking around and being alive- There's a lot of meaning to me in that, even if you go for a two block walk." The songs on Disposable Life came from ideas Taylor workshopped with lead guitarist Kevin Maida.

When the band gathered again post-pandemic restrictions, the goal was simple: write songs and hinish them without any external end goal. Between December 2020 and February 2021, the band wrote and demoed four songs before recording in Crown Point,

Indiana at longtime collaborator and producer Seth Henderson's Always Be Genius Recording Studio. Vince Ratti (Circa Survive, The Wonder Years) mixed the EP and Kris Crummett (Dance Gavin Dance, Mayday Parade) mastered.