Buscar:be well

Best Of Bruce Springsteen is a collection of original songs spanning his storied 50-year recording career, from 1973's Greeting from Asbury Park, NJ to 2020's Letter To You. It will be available as an 18-track set across 2 LPs or 1 CD - and digitally as an expanded 31-song package. The collection will span early-career favorites like "Growin' Up" and "Rosalita (Come Out Tonight)," staples of Springsteen's live shows from "Dancing In The Dark" to "The Rising," best-selling breakouts like "Born To Run" and "Hungry Heart," as well as recent releases "Hello Sunshine" and "Letter To You." Here, these career-spanning works appear together in one set for the first time. The packaging includes archival photos and a new essay.

Bo Carter's family had a musical tradition going back to slavery times and he learned a great deal from its very talented members

As a Mississippi musician, Bo was steeped in the region's rich early blues repertoire, but was distinctive in adding to it a new level of sophistication rarely equaled by other blues artists. As a member of the great Mississippi Shieks band he encountered a wide range of traditional and pop styles and employed many of them in his innovative performances. One particular part of his repertoire was the sexually suggestive double entendre blues that are featured here on this album. These recordings, which were demonstrably more original than any of his rivals, sold extremely well and helped Bo become one of the most prolific artists of the whole pre war blues period.

"Banana In Your Fruit Basket: Red Hot Blues 1931-36" by Bo Carter includes the following tracks: "Mashing That Thing", "Howling Tom Cat Blues", "Pin In Your Cushion", "All Around Man" and more.

“The first full length LP by Joshua Massad and Dylan Aycock. Massad is a tabla player living in India and studying under Zakir Hussain. Massad and Aycock came together in Tulsa to record live at the legendary Church Studio which was founded by Leon Russell in the ’70s. Over a few nights they captured some moments in the studio before it came under new ownership and just before Joshua moved to India. “Aycock improvising on 12-string with Massad accompanying tabla and sitar. A flowing river of sound, a meeting of the minds. The little touches that Dylan’s brother Jesse Aycock adds (bits of synth) really sweeten the deal as well. Track two recorded in Leon Russell’s legendary Church Studio.” —Aquarium Drunkyard “Track one is an improvisation recorded at the home of Joshua Massad’s friend who he was house sitting for and invited me to come play. When I showed up the door was open and he was deep in practice so no words were spoken. I set up a mic and just started playing. We played for fortyfive minutes straight and the twenty mins of the first track was culled from that moment. We clicked immediately and that was the first time we ever played together. Joshua is studying and teaching in India now where he’s been since 2019.” —Dylan Golden Aycock

,somewhere in the nowhere, between cows and sheep, there's a little studio:"klingt als ob man den schrank aufmacht und einem fällt alles entgegen" (fortuna ehrenfeld) "sounds shit" (new york times) "nope" (bbc6) "i fucking love it!" (brian eno) "honestly?!" (meg white) "mind opening" (hans zimmer) "well done" (idles) bonny und clyde sind in ein, ja sie hören richtig, walisisch/oberösterreichisches indie-duo reinkarniert und plötzlich riecht hier alles wie reifenabrieb nach einem vollgas-start auf der straße richtung sonnenuntergang.an den drums wird hier schnell eine new sensation offenbar.tank girl, punkbraut, madonna, blumenmädchen.mit roher gewalt und einem einzigartigen stil ballert veva mit stampfenden beats den weg zum tresor frei, während tom lässig mit dem ellenbogen durchs regal geht und die erbeuteten juwelen in form von schmutzig geschliffenen britesquen songzeilen für die ewigkeit auf den pokertisch wirft.im haldern studio hat martin, sänger und mastermind von fortuna ehrenfeld, den beiden einen derart geschmackvollen noise appeal auf die leiber genagelt wie man in hierzulande nur (viel zu) selten hört." FALSE LEFTY stellt die punkwelt auf den kopf. sie brechen nicht nur optisch, sondern auch musikalisch jedes klischee. drei saiten, drei trommeln- mehr braucht das duo FALSE LEFTY nicht. die band bricht mit perfektionismus, reduziert sich von überflüssigem, lässt das unwichtige weg und setzt auf einen minimalismus, der die hoffnung weckt, dass es doch so wenig braucht, um gute musik zu machen- eine vision, zwei menschen, drei saiten, drei trommeln. FALSE LEFTY sind eine newcomer band, bestehend aus einer schlagzeugerin, die im stehen drei trommeln spielt und einem sänger, der seine gitarre nur mit drei saiten bespannt: die frage ist nicht, was gute musik braucht, sondern was sie nicht braucht. seit der gründung der Band vor einem jahr spielten FALSE LEFTY über 40 konzerte, sowohl als headliner wie auch als support für Public Image Ltd., Fortuna Ehrenfeld, The Lathums, SONS, Kapelle Petra, Cash Savage and the last Drinks und viele andere.

Total Reality is the sound of a group in constant forward motion, finding new sounds and new ways to express their joy and catharsis in making music together. On album opener 'Slug' the band sing ‘I’m feeling like a slug so I gotta visit the doctor’, and though reliably tongue-in-cheek you get the feeling they mean it - the members using Dr Sure’s Unusual Practice as a vessel to lift each other up while unpacking the collective fatigue of life in late-capitalist society. “A mood like that, you're apt to stay in it, not dial your way out. Despair like that, about total reality, is self-perpetuating." - Philip K Dick On their third LP Total Reality - a title ripped from the classic sci-fi novel ‘Do Androids Dream of Electric Sheep?’ - Dr Sure's Unusual Practice tackle lofty issues through a hopeful lense, avoiding the often cynical pastiche of modern punk music. Total Reality touches on varied influences - proto-punk to post-punk, new wave to no wave, krautrock to trip-hop - to concieve something fresh and inspired. Beginning in 2018 as a solo project, here Dougal Shaw is joined by an ever-expanding collective. In addition to a core band (Jake Suriano, Miranda Holt, Tali Harding-Hone, Mathias Dowle) the new record features contributions from Jack McCullagh (Cracodile), Stu Patterson (The Empty Threats/Placement), Alannah Sawyer (Babyccino/Mouseatouille), as well as Shaw’s partner Alivia Lester, and baby Blue - who also adorns the album cover. An almost polar approach to the band’s acclaimed second LP ‘Remember The Future? Vol. 2 & 1’, which was tracked live in a recording studio, Shaw refers to Total Reality as a ‘collage album’. There are pieces of pandemic-era demo’s; drum machines coexisting with a live-tracked rhythm section; fresh collaborations; layers of guitars, synths, horns and percussion; collected field recordings and samples - all cut and glued in Shaw’s home studio to realise an expansive and colourful record.

To understand the significance of the word 'featuring' on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used. The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution's continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold. It wasn't until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they'd recorded at Judson Hall. After its first release in plain or handdecorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors. We're lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.' —John Corbett (excerpt from the liner notes)

Is this the future sound of black American jazz - an inclusive yet rhythmically complex groove based music that owes as a much to black urban culture - predominantly hip hop and trap music rhythms - as it does to jazz improv techniques and rhythms? It's certainly interesting that similar elements swim through the music of Robert Glasper and Kamasi Washington, who along with Scott are currently big box office, pulling-in substantial new audiences for their music. Ruler Rebel is the first album of a trilogy celebrating 100 years of recorded jazz, and will be followed by Diaspora and Emancipation Procrastination later. At the heart of this music are polyrhythmic grooves that might come from jazz, New Orleans black Indian music, trap, Malian rhythm Kassa Soro and the interplay between an SPD drum machine and live drumming. Largely featuring Scott's trumpet, the record introduces his articulate and frequently eloquent voice as the narrator of Ruler Rebel, much like the Persian Princess Scheherazade narrating her tales of the mysterious east to Sultan Shahriar over one thousand and one nights. A key track is `Encryption', a summation of Scott's direction of travel on the album. Here the running rhythm is derived from the New Orleansian Afro-Indian culture married with Malian Kassa Soro. This is in turn is layered with SPD-SX electronic drum machine and sampling machine played by Joe Dyson and Cory Fonsville that introduce rhythmic elements from trap and hip hop. Sounds complex? Well it is, but it works. Other highlights include `New Orleansian Love Song' and `New Orleansian Love Song II' and a celebration of Afro-Indian culture on `The Coronation of K. Atunde Adjuah'.

Is this the future sound of black American jazz - an inclusive yet rhythmically complex groove based music that owes as a much to black urban culture - predominantly hip hop and trap music rhythms - as it does to jazz improv techniques and rhythms? It's certainly interesting that similar elements swim through the music of Robert Glasper and Kamasi Washington, who along with Scott are currently big box office, pulling-in substantial new audiences for their music. Ruler Rebel is the first album of a trilogy celebrating 100 years of recorded jazz, and will be followed by Diaspora and Emancipation Procrastination later. At the heart of this music are polyrhythmic grooves that might come from jazz, New Orleans black Indian music, trap, Malian rhythm Kassa Soro and the interplay between an SPD drum machine and live drumming. Largely featuring Scott's trumpet, the record introduces his articulate and frequently eloquent voice as the narrator of Ruler Rebel, much like the Persian Princess Scheherazade narrating her tales of the mysterious east to Sultan Shahriar over one thousand and one nights. A key track is `Encryption', a summation of Scott's direction of travel on the album. Here the running rhythm is derived from the New Orleansian Afro-Indian culture married with Malian Kassa Soro. This is in turn is layered with SPD-SX electronic drum machine and sampling machine played by Joe Dyson and Cory Fonsville that introduce rhythmic elements from trap and hip hop. Sounds complex? Well it is, but it works. Other highlights include `New Orleansian Love Song' and `New Orleansian Love Song II' and a celebration of Afro-Indian culture on `The Coronation of K. Atunde Adjuah'.

SUWI, with its strong live reputation, renowned for skillfully engaging and connecting with its audience, unveils its third studio album. Food for the lovers of Khruangbin, Menahan Street Band and other instrumental soul bands. Including members from Nordmann, Kosmo Sound and Robbing Millions.

Playing for Oscar is the raw power of nature speaking to you, the romance of 'dying is realizing that you are alive.' It manifests itself with the physical experience that is groove and the serenity and simplicity that we already know from their previous albums. The addition of lyrics and singing provides the biggest change in their band sound.

Cyriel Vandenabeele, an avid reader and transcriber of film, series, and game music, provides the compositions. The magic of SUWI is complete when they, as a trio, with Mattias Geernaert on bass and Elias Devoldere on drums, surrender to the moment. On this album as well, this results in the spontaneous and sincere expression that is love. Think Jimi Hendrix, Herman Hesse and Mariokart64.

There is no in-between, neither is it only black or white - it is always, also, a question about contrast.

This is the third edit release on the newly reborn Tech-nology label.

The first was played by Luca Bacchetti at Burning Man 2023 and by Michael Meyer in his Soundcloud, radioshow - a big thanks.

The second is yet to be discovered, but mostly jazz and afro with a Minimal and Chicago touch.

The edit series is a mix between techno, which was initially the start of the label, so!

The edit series is not disco in the sense that is most popular or most accepted, this is a new way!

Making a techno approach to attack the original disco track.

Tech-nology!

This output is the third and not a secret track.

Here it is black, like the techno sound behind.

There is the basic well-known one-to-one production with extra techno breaks for your dancing
pleasure.

But the flipside, with 2 versions, is the big room killer.

There is always white noice

There is no in-between, neither is it only black or white - it is always, also, a question about contrast.

This is the third edit release on the newly reborn Tech-nology label.

The first was played by Luca Bacchetti at Burning Man 2023 and by Michael Meyer in his Soundcloud, radioshow - a big thanks.

The second is yet to be discovered, but mostly jazz and afro with a Minimal and Chicago touch.

The edit series is a mix between techno, which was initially the start of the label, so!

The edit series is not disco in the sense that is most popular or most accepted, this is a new way!

Making a techno approach to attack the original disco track.

Tech-nology!

This output is the third and not a secret track.

Here it is black, like the techno sound behind.

There is the basic well-known one-to-one production with extra techno breaks for your dancing
pleasure.

But the flipside, with 2 versions, is the big room killer.

There is always white noice

BALANCE OF POWER are back with new band members and a brand-new album! Founding members Tony Ritchie (bass) and Lionel Hicks (drums) are joined the band's new lead vocalist Hazel Jade as well
as guitarists Chris Young and Adam Wardle, who have since taken over the reins from guitarists Chris Masimore and Stoney Wagner, with whom the band worked on and recorded the upcoming album
"Fresh From The Abyss"
BALANCE OF POWER melden sich mit neuen Bandmitgliedern und einem brandneuen Album zurück!
Zu den Gründungsmitgliedern Tony Ritchie (Bass) und Lionel Hicks (Schlagzeug) gesellen sich die neue Leadsängerin Hazel Jade sowie die Gitarristen Chris Young und Adam Wardle, die inzwischen in die Fußstapfen der Gitarristen Chris Masimore und Stoney Wagner getreten sind, mit denen die Band am kommenden Album "Fresh From The Abyss" gearbeitet und es gemeinsam aufgenommen haben.
"Fresh From The Abyss" ist eine Kollektion von Songs, die entweder die Uhr anhält und auf einen bestimmten Moment in der Zeit verweist oder zurückblickt und die Unendlichkeit von Zeit und Raum, des Lebens und des Sterbens thematisiert.

Back in stock!

The Italian proto-house bomb from Masarima on Clone Royal Oak gets a well deserved remix treatment! Originally produced by Mystic Jungle and Whodamanny, this one gets a work over by The Egyptian Lover who gets his freak on and delivers in his inimitable style...You know what's up!!! Pure west coast 808 electro funk bliss. Luca Lozano also comes correct with two remixes where he takes it another route on both. On the 'Breakbeat Guy Remix' the early 90s inspire him to a uk breakbeat version. And Karlos Moran joins him for the Tribal Workout Dub not unlike NY's garage era... This is the rebound of Masarima's ''Freak Like U'' we all have been waiting for!

Limited To 140 Copies Worldwide*

This is the first release by Essex warrior Diplomat, who would later go on to making some serious noise on the hardcore/gabba label Deathchant as well as running Electro Avenue Records. He is still at the top of his game when it comes to production, recently releasing two EP’s on the Vinyl Fanatiks sister label, Amen Brother.

This EP originally came out on Vinyl Fanatiks in 2020, just as the whole covid thing happened. Due to everyone being at home, the record sold out quickly and only a box was saved for distribution at the time. A proper slice of UK hardcore rave – intense, plenty of stabs and crazy samples with a good dishing out of hip hop vocals. This one really is for the 1993 heavy stompers, a classic slice of the nice. Originally released in 1993 on Diplomat’s Immunity Records.

Only 140 have been pressed on 180g pink marbled vinyl.

Limited repress of this amazing record! Subradeon makes this first EP on their own imprint with a special remix from the well know collective SCAN 7. Timeless and direct, fully inspired by the cities of Caserta, Berlin and Detroit.

The Undisputed Kings of Cowpunk and purveyors of the hardest and finest banjo/fiddle action you'll ever come across. Pronghorn have been kicking around since 1992, and this summer the band celebrates 30 years of playing home-grown cowpunk, drinking warm cans of Stella, late night garage food and meeting a whole host of nutters, and ne'er-do-wells along the way.

Lunaria Records is pleased to announce that we will be releasing the band's latest album, 'Welcome to Pronghorn County'. Available on CD and limited edition vinyl, you can now pre-order your copy!

Limited box edition. Alex Font is the essence of this new label MINIMALER Factory, besides being a precious friend whom with it was overdue to create a story on vinyl together. Being as much impressive as a stunning performer, as an ace producer, as a fantastic musician, a dedicated mastering engineer as well as a fascinating music teacher, this is nevertheless first and foremost by his incredible human side that he is even more standing out. This first album from Alex Font has been imagined since 2020 as a collector item in and out, it is a significantly meaningful release for us which will be available as a very limited boxed gatefold 190g edition.

Yes! Tommy Guerrero’s revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007.

Coolly opening the album, "And The Folklore Continues" can be said to be both a titular and actual nod to his past work. As ever, there's heavenly Latin guitar stylings that make you swoon and the melancholic vibe is accentuated by the addition of some melodic wordless vocals from Tommy. Just divine. The sparkling "La Califas Perdido" follows, all dreamy melodic guitars and twinkling vibes over dusty drums and a fine bassline. The shuffling, conga-assisted "I Would Go With You" is a gentle, romantic gem whilst the brief but beautiful "No Time For Time" feels in a hurry to let us know that Tommy can work with more propulsive rhythms. In this case, they underpin Tommy's gorgeous, shimmering guitars wonderfully well.

The head-nod funk of "Calling For Ya!" (get it?) features Curumin delivering the clever title as a hypnotic vocal refrain peppered throughout, all hung around some buried spoken word vocals and gorgeous cello work from Lenny Gonzalez. "Bloodinthemud" is a low-down gritty funk workout whilst "Zapata's Boots" is a total low-key groover, all Latin percussion and Morricone muscle aided by a whistled Spaghetti Western melody. The startling instrumental "Mosaic Man" closes out the side with a lean slice of mellifluous, virtuoso guitar bliss.

The reflective "What Have I Been Doing Since I Was Gone?" opens the B-side in glorious fashion, the type of melancholic melodic head music that should soundtrack a bright walk on a cold winter's day. The hypnotic groover "Paper Switchblade" is a razor-sharp fuzz-funk whilst the beautifully downbeat "Never Forget To Remember" is a kaleidoscopic kalimba-koolout. Galloping cop-funk breaks workout "Run With The Hunted" is a rollicking ride and it's followed by the fresh chiming guitar funk of "New Terrain".

The upbeat and bright "40 Summers", featuring congas from Alfredo Ortiz, is as clean and poppy as Tommy gets and it really is a look he wears incredibly well. Just straight up guitar pop. "The Simple Man" a gorgeous, melancholic ballad, closes out the record with deeply yearning vocals from Tommy, a rarity and a treasured one at that.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Kaito Cuts: Revert / Sequoia b/w Trek / Wait Up/ Sloan by Kaito | Galaxy Sound Co. — GSC45-042, Test Pressing | With their 42nd donut in the always-on-point 45 edit series, @galaxy_sound_company drops a new batch of lo-fi hip-hop beats instrumentals. This time out GSC is showcasing a newcomer to the head-nodding beat maker scene — @kaitoian.


Kaito, an out cold skater as well, has a couple of self-releases you can find on his Bandcamp page, which are solid & sound at home alongside his pop’s ( Todd Osborn) Ghostly International releases. This 7” EP outing spins at 33 1/3 to pack in as much as GSC can squeeze in & is straight up beatloverz heaven. What is impressive, for this old timer, is how clearly deep Kaito’s musical knowledge goes. He clearly has learned well from his father & all the good music he certainly has had at his fingertips. From Madlib to Os Mutantes to Fela Kuti to J Dilla & other artists who were not afraid to dig deep & unearth beats & melodies to tickle your fancy, Kaito’s tastes are as refined as anyone in the game. I know a number of the original source materials that comprise each track, but that I leave to you to dig out for yourself. Here I encourage you to open your eardrums & listen deep with your fav pair of headphones & let each track wash over you. From straight forward head-nodding hip-hop thumpers to beautiful Brazilian femme fatale vocals that lure you into the loop, to a Afrobeat driver that’ll break ya neck, to a mellow, soulful MPC hopper that will lovingly recall a Arlo Parks joint, to then closes out with a synth-laden spaced-out dreamy loop to end credits.

Earth, Our Planet?”: A call for environmental awareness. This time, Pedro Vian - the founder of Modern Obscure Music - presents his fourth solo album (following his 2020 release, "Ibillorca"). Due for release in spring 2024, "Earth, Our Planet?" promises to immerse us in a moving odyssey, crossing the boundaries of musical genres to provoke an urgent meditation on the protection of our planet. On this occasion Vian has composed the album influenced by the myth of the eternal return, the compositions are long and repetitive, generating states of pure trance.
Pedro Vian, singular for his fusion of genres and styles, ventures into even more complex territories in "Earth, Our Planet?". From the first listen, it is evident that this work treads the line of convention and breaks the boundaries of electronic and experimental music with artistic dexterity. The album weaves together texture, hypnotic rhythms and melody. Each track reveals his distinctive ability to create immersive landscapes, guiding the listener into deep emotional introspection. This is not just music; it is a transformative experience.
The beauty of this album lies not only in the musical vision. The album features high-calibre collaborations that add layers of creativity and elegance. Trumpeter Pierre Bastien, whose early productions left an indelible mark on Aphex Twin's Reflex label, infuses "A Day in Rotterdam" with a unique emotional resonance. Violinist, Asia, renowned for her avant-garde approach and ability to conjure unique landscapes, elevates the album's opening tracks "Urobóros" and "Les Tambours Subterraniens". Their skill and sensitivity intertwine perfectly with Vian's artistic vision. In addition, Italian producer Daniele Mana, with whom Pedro Vian collaborated closely on his previous album "Cascades", known for his experimental approach and talent for creating extraterrestrial atmospheres also contributes to "Les Tambours Subterraniens". His artistic perspective adds more complexity and texture to the piece, pushing the boundaries of contemporary electronic music. There is also a collaboration with Raül Refree, an artist with whom Vian worked with last year, presenting “Font De la Vera Pau”, an album that The Guardian defined as "a wonderful piece of electroacoustic music, a captivating mix of strings and analogue synth drones which sometimes flirts with Alice Coltrane-ish spiritual jazz". With "Earth, Our Planet?", Pedro Vian not only offers up some of his best work to date, but it is also a call to reflect on our relationship with the natural world. As a part of a planet where environmental awareness is more crucial than ever, he urges us to protect and preserve our world as an extension of ourselves. This extensive work is a statement, Vian addresses the notion that too often we prioritise immediate needs over the well-being of the planet. It highlights the fact that we often consider the Earth as a possession when, in reality, we are but a part of it.