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Punk pioneers Crass continue their vinyl reissue series, repressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; ‘Farce’ by Rudimentary Peni and ‘Can’t Cheat Karma’ by Zounds.

Zounds are an English post-punk band from Reading, Berkshire, formed in 1977. Originally, they were part of the cassette culture movement, releasing material on the Fuck Off Records label, and were also involved in the squatting and free festival scene. The name of the band is derived from the old English ‘zounds’, a contraction of ‘God’s wounds’, referring to the crucifixion wounds of Jesus Christ, formerly used as a mildly blasphemous oath.

The band met up with fellow anarchists Crass when, legend has it, their van broke down on the road. They made their way to nearby Dial House, where Crass were based, who helped them with repairs. The two bands became friends, and although musically very divergent, they shared many common political views. Zounds shortly afterwards released their first EP, ‘Can't Cheat Karma’, on the Crass Records label in 1980. The EP featured possibly their most well-known track ‘Subvert’, a call to arms against the grind of daily life. The release of this EP and association with Crass led to an increase in the band's profile in the embryonic anarcho-punk scene, touring with both Crass and Poison Girls. They split in 1982 but reformed in 2007, and remain active today.

Penny continues; “Zounds could have made a fine pop group, but they were far too socially sassy to fall for that one. No, their commitment to radical political change, so abundantly clear in their lyrics, set them apart from the commercialism that had so blighted the likes of The Clash and other punkish pretenders. Having been drawn from the ranks of hippy bands like Here and Now, Zounds encouraged dissent and personal change, and, at their own cost, to pursue and promote them as ideologies. Can't cheat karma? No, nor ever beat it. Zounds were hip to this fine point. Want a better life?

Then make it for yourself. Ain't no one gonna help you out on that one. Find your own way, it's the only way there is.”

First released on 7” vinyl, limiting the sound, the new series has been remastered for 12” by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound.

Rare reggae collection originally released in 1975. Featuring guest musicians Ken Boothe, Delroy Washington, Bob Davis, Gene Rondo and former members of the Cimarons. Some of the tracks have been recorded at the Black Arc Studio with engineer Lee ‘Scratch’ Perry. All tracks produced by Clem Bushay.

After the success of Death Walks Behind You, an appearance on Top of the Pops, and a successful tour, it was time for emerging stars Atomic Rooster to record their third studio album, In Hearing Of. The album is a perfect example of a band evolving and in constant transition, such as they show with this little-known gem of the '70s British rock.

Much less bombastic than the band's earlier releases, In Hearing Of is almost funky at times. The lyrics are doom-laden in the spirit of much of this genre of British hard rock at the time, and pseudo-classical references crop up from time to time, but Vincent Crane's keyboards are generally tasty, and the melodies are often downright memorable.

In Hearing Of is available as a limited edition of 750 individually numbered copies on translucent magenta coloured vinyl.

“It was a rainy day at the recycling centre in Leitrim. There, amongst the tangle of discarded kettles and broken-down toasters, I first laid eyes on her…” A few years after her stand-out contribution to our ‘Wacker That’ compilation and following a bunch of purple patch releases for Nyahh Records, TakuRoko, Fort Evil Fruit and Eiderdown Records, Natalia Beylis graces Touch Sensitive with a true landmark album for the label – ‘Mermaids. Recorded both at home in Leitrim and at neighbour Mat Warren’s studio (Studio Moo Moo – a converted cow shed), ‘Mermaids’ was inspired by two salvaged items: a CRB Elettronica Ancona - Model: Diamond 708 E electric keyboard from the local tip and a photo taken by her father found in a pile of old family scraps. Smuggled home in the back of the van and ridded of the nine purple crayons lodged inside, the keyboard sounded perfect to Natalia; “The sounds that come from her when I play always move me like water; swimming in rivers and floating in the murk beneath the surface.” The striking image which would become the cover art features Natalia’s mother and two friends during a dip in the ocean. We see three women hanging out on a large rock – their bad-ass hairdos and poses perfectly framed and saturated in sepia. “There are complete siren vibes coming from the rock. Three women, three girls, three witches, three mermaids. I wish I was one of them. Or friends with them.’ After testing compositions and recordings for months on the rescued keys, the discovery of her father’s image formed the final work: “A confluence of the sounds and the image charged through me, and the album began to flicker into being.” Much like the push and pull of the River Shannon, Natalia’s own local swimming spot, ‘Mermaids’ flow is both organic but unstoppable. Anchored around the album’s hypnotic 17-minute title track, we are fully immersed within this subaquatic suite from the first splash. Alongside the keyboard’s glistening tone, field recordings from Natalia’s expansive archive bring us back up for air; taking stops to check in with the chittering chickens and ducks of Athlone. In keeping with her back catalogue and extensive body of work, ‘Mermaids’ exists within its own imagined universe. This is truly singular work that continues to underline Natalia as one of the finest underground artists of her time. We wholeheartedly encourage you to take a forty-minute sonic dip into a deep, murky, watery world of her own creation.

Hive Mind and Sing A Song Fighter are delighted to present to you their first collaborative release, the amazing solo guitar album from legendary Congolese guitarist Kahanga Dekula aka ”Vumbi”.

Swedish producer Karl-Jonas Winqvist (founder of Sing-A-Song Fighter and member of Senegalese/Swedish act Wau Wau Collectif) has been a longtime fan of Vumbi Dekula’s artistry which led to him releasing The Dekula Band's debut album ”Opika” in 2019 with the Dekula Band.

While watching the band perform was always a blast, says Karl Jonas, his desire to hear Vumbi play on his own, without the thunderous drums, wailing saxophones and chanting vocals grew in his mind, “Because, in a way, Vumbi’s guitar playing is like an orchestra on its own. And the idea of just concentrating on all the amazing riffs and beautiful, uplifting melodies was just so appealing”. Karl-Jonas proposed the idea of producing a solo album to Vumbi, and within a week the production process began

Recorded in two days during lockdown at the Helter Skelter Studios in Stockholm, Karl and Vumbi allowed the music to guide them. Vumbi was inspired to play 2nd guitar adding some harmonies and melodies here and there, and on the final track (”UN Forces Get Out of the DR of Congo”) he introduced a banjo into the world of ”Congo guitar”. Karl Jonas started up his old rhythm box machine to some of the songs to see how Vumbi and his playing would react to it. Elsewhere, wordless backing vocals from Karl-Jonas and Emma Nordenstam were added to Maamajacy, bass melodica by Karl-Jonas appears on Weekend, and a little piano tinkering from Emma adds some sparkle to Zuku. But clearly, Vumbi's virtuoso playing remains the star of Congo Guitar.'

„Reparatur“ heißt das am 22. September erscheinende dritte Albums des mehrfachen Amadeus-Preisträgers JOSH. In den zwölf abwechslungsreichen und mit viel Liebe zum Detail eingespielten neuen Songs des Albums zeigt JOSH., dass er es nicht nur versteht, mit humorvollen Texten und unwiderstehlichen Melodien zu unterhalten sondern auch ernstere Themen - wie z.B. seinem Burnout - in eingängige Pop- und Rocksongs zu verpacken. Unüberhörbar ist, dass sich die „Wolke aus Fiktion und Wirklichkeit“, auf die JOSH. sich bei Fragen nach dem autobiografischen Bezug seiner Texte gerne bezieht, diesmal ein klein wenig mehr in Richtung Lebensrealität bewegt hat. Einige der Texte setzen sich nämlich offen mit seiner Krankheit und dem Weg zurück auseinander, so z.B. in „Ich gehör repariert“, einem der absoluten Höhepunkte des Albums. Trotzdem schafft es der gebürtige Wiener souverän, textlich nicht resignativ und düster zu werden sondern stets auch das eine blaue Stück Himmel am tiefgrauen Firmament zu entdecken. Mit „Reparatur“ präsentiert sich JOSH. 2023 also gereifter denn je, bleibt aber stets unverkennbar er selbst.

On its fifth Various Artists EP, On Board Music welcomes the prolific, techno-meets-drum & bass artist ASC for a weighty, stepping collaboration with Semblance. Nuversion contributes a groovy dub-influenced cut that will slide easily into both techno and house sets. On the B-side, the inimitable Polygonia displays her delicate, melodic touch with the sublime “Veluo,” before Morphing Territories closes out the record with a pitch-black modular techno roller. All together, Point E is a well-rounded record which does justice to the range and quality of sounds that On Board has been pushing since 2015.

Die norwegische Band Kvelertak hat sich in den letzten zehn Jahren zu einer echten Größe in der Metal-Szene entwickelt. Die Band, die von Rolling Stone und Stereogum mit wohlverdienten Auszeichnungen bedacht wurde, hat weltweit Hunderttausende von Fans und über 50 Millionen Streams auf DSP's angehäuft. All dieser Erfolg hat zu mehreren Nummer-eins-Alben und Spellemannprisen Awards (Norwegens Antwort auf die Grammys) in ihrem Heimatland geführt.

Bei früheren Alben arbeitete die Band unter anderem mit der Hardcore-Legende Kurt Ballou (Converge) zusammen und arbeitete mit Musikern wie Troy Sanders (Mastodon) zusammen. Die Band war auch schon mit legendären Bands wie Metallica und Slayer auf Tour.

Auf ihrem fünften Album "Endling" klingen Kvelertak größer und kreativer als je zuvor. Bewaffnet mit massiven Riffs, Black-Metal-Wildheit und ihrer bisher ambitioniertesten Instrumentierung beherrschen sie die Kunst, moderne Metal-Klassiker zu kreieren, die sowohl heftig sind als auch Spaß machen. Nach 15 Jahren in ihrer Karriere sind Kvelertak so unaufhaltsam wie eh und je.

We are delighted to finish off the last full EP on the Telomere series with a new Artist you may or may not be familiar with.

Aspetuck, a US based DJ and producer. has his vinyl debut with a well rounded and stacked four tracker.

This EP blends the many genres of electronic music while leaning towards the deeper and melancholic sounds of electronica. Tart Jam, is a real Jam that will get the dance floor movin’, groovin’ and smilin’!
Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

Jessica Brankka makes her debut on Crosstown Rebels with new single ‘Musk’, joined by Audiojack and OMRI. on remix duties. Emerging from Brazil’s ever-evolving house music hotbed to make appearances at major venues across the globe, including Hï Ibiza this summer, DJ and producer Jessica Brankka is fast becoming an artist to keep an eye on. Debuting on Frau Blau alongside Floyd Lavine and racking up support from leading names in Solomun, Joris Voorn, Blond:ish and more, her outings via RADIANT. have only continued to help build and craft her growing sound. Stepping up for her most significant release to date, she joins the Crosstown Rebels family to open September with her new single ‘Musk’ - with remixes coming courtesy of Gruuv head honchos Audiojack and Tel Aviv’s OMRI.

Hooky, provocative vocals take hold from the off on ‘Musk’, with Brankka building via slick drum programming, vibrant stabs and sweeping melodies for an intensely catchy production shaped for all hours of the night. First up on remix duties are Crosstown regulars Audiojack, with their take introducing an abundance of additional energy via skippy percussion, zipping bassline grooves and swirling, off-kilter sonics, before launching into heady breakbeat territories. To close, returning Rebellion signee and OMRI. introduces his acid-tinged remix into proceedings, with wandering synth lines carrying the track towards more cosmic spheres.

Repress!

The second instalment of Healthy Scratch comes direct from Phoenix Arizona via the godson of house, Kareem Ali. In short order, Kareem has ascended with a relentless production output and focus like none-other.

Here we present his first vinyl release as well as what may be the only release, he does outside of Cosmoflux, his personal imprint. A producer of all music, for us he’s made 4 house tracks, perfect for any occasion and sure to get your feet moving, in the living room or on the dance floor.

Repress!

LA producer Blake Robin aka LUXXURY’s new full-length album finds the bassline obsessed disco addict experimenting with funk, synthpop and even (gasp!) pure instrumentals. ‘Increasingly in my most recent singles I’ve been treating vocals like instruments’ says Robin, ‘backgrounding and balancing them as sonic elements instead of centerpieces, so the listener gets lost in the groove.’ And indeed the star of these 11 songs is undoubtedly the 11 stellar basslines that ground the swirling synths and melodies as vocal fragments coolly dip in and out of the mix along.

Highlights include: KCRW fave ‘What Are We Gonna Do?’; the slap bass workout ‘Somebody Tonight’; the contemplative ‘…At Any Moment’ (playlisted by Purple Disco Machine) and its sister track, the title track ‘Alright’; while playful disco-house burner ‘Let’s Stay Together’ blends house and jazz funk rhythms with his trademark dusty basslines.

The album was 100% created by Robin, who wrote, performed, recorded and mixed all 11 songs, and even created the artwork. The 11 songs on LUXXURY’s album are all infectiously rhythmically-oriented while exploring new disco direction

The third volume of the most libidinous edit series around is finally landing on the shelves, ready to make even the hardest-to-please clubgoers drenched in sweat on the dancefloor.

The record starts at full speed with "Erotic 707 Sample," an irresistible feast of splashes and drums, just to abruptly transition into a smooth and dreamy mood with the downtempo gem "Tudo Ligado."

The B-side opens with the seductive Disco-House vibes of "Disco Manina," peaking with the anthem "Oh...Money!" - perfect to be sung along while holding hooves.

Foundation Music Productions take two of the standout tracks from Lady Blackbird’s critically acclaimed debut album ‘Black Acid Soul’ and enlist the expertise of some of Jazz’s finest talents, Greg Foat and Emma-Jean Thackray, to step up and remix these absorbing cuts.

On the A side, the much-revered London based, jazz and electronic composer/producer Emma-Jean Thackray delivers a downtempo and entrancing remix of ‘Blackbird’, flexing the jazz elements of the original into a smooth and encapsulating mix that's primed to lose yourself in.

Head to the B to find Greg Foat’s irresistibly smooth production touch with his remix of ‘Collage’, layering floaty percussion, dreamy organ chords and delicate guitars to create a sun-kissed, laid back vibe that shines a light on the scintillating vocals.

Norm Talley returns to his Upstairs Asylum label alongside fellow US house pioneer Delano Smith for Straight Up No Chaser, an eight-track opus featuring four solo cuts each.

Talley's gritty, dubbed-out, low-rolling house style is present and correct throughout with the loopy chords of 'Blak Bottom' getting things going, 'The Flip' getting more cavernous and aqueous and 'ISO Vision' leaning into dub techno.

'Believe It' is a soulful deep house looper, while Smith gets bubbly with 'The Bassline', lays down thumping kicks on 'Travels 23' and his trademark synth smears on 'The Drive' while 'Remembrance' is a heady dub house cut that locks you into a state of perfect hypnosis.

DeForrest Brown Jr., the writer and producer behind Speaker Music, describes Techxodus as "abstracting Blackness through information overload". On the album he explores the intersection of tech, Blackness and resistance via music taken from his archived live shows, which are then edited, ordered and reassembled in the studio. The main line of inquiry that feeds into Techxodus is Drexciya, whose myths have informed much recent afrofuturist creativity. DeForrest researches and reimagines the artifacts and stories of Drexciya with new maps, ideas and music, particularly reflecting on the 'Seven Storms', seven albums that came out in quick succession around the death of Drexciya member James Stinson, which seemed to herald Drexciyans in the attack mode. The artwork by Abu Qadim Haqq, who also created artwork for Drexciya, links the work too, with Deforrest re-orienting charts and timelines familiar from Drexciyan mythology, working up clues to all possible environments where Drexciyans could survive, from the depths of the Atlantic, to oceanic islands or even outer space. Like Sun-Ra, another touchstone of Afrofuturist music, it might be that the Drexciyans wanted to leave the planet they hated. With these elements, DeForrest creates a soundtrack for an alternate history, a sort of sci-fi sonic fiction which threads together the sonic warfare and mythos of the Drexciyan records with ideas and references to Ishmael Reed's 'Mumbo Jumbo', which tracks the story of 'Jes Grew', an audio virus, back to the coastal black cities of Alabama and the American South. Musically the album is as intense as its inspirations. DeForrest skilfully hand-plays rhythms which amalgamate trap and jazz drumming, but feel at times like orca-song as they pulse through the thick waves of digital sound. Equally the music evokes the ocean, with deep cold drones, or as if it's floating through time like in 'Holosonic Rebellion' which mixes in recordings of African Warriors. Sometimes there is an energetic turbulence as on 'Jes Grew', where punched-in passages of jazz brass bounce against DeForrest's drums to create a weird disassembled jazz. Towards the end the album begins to feel like a spaceship taking off, the rushes of ascending noise and distortion, distant Southern Gospel Vocals feel like music that's leaving earth. Listen to it without the references or feed your imagination; this is a powerful and immersive original work from one of electronic music's most unique creators.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Killah Priest’s Mystery Channel EP is his first release on 600 Block Records after his acclaimed features on Pugs Atomz’ Test Drive LP in 2022. The EP, coming on limited edition vinyl, features two original productions from Tusk57, an amazing Tall Black Guy Productions remix, and instrumentals of all three tracks. Tall Black Guy’s remix of Mystery Channel is a soulful jazzy take on the EP’s namesake, bringing his signature style to his first collaboration with 600 Block Records. From humble origins in Detroit, raised on a healthy diet of Motown, Jazz and early Hip Hop...Tall Black Guy has become a standard bearer for the current hip hop beats scene. Through a steady stream of productions filled with incredibly clever sample flips and deft production chops, he has won fans across the world, including Gilles Peterson, Lefto, Jazzy Jeff, Questlove and countless others. Killah Priest made his first appearances on such Wu-Tang side and solo projects as Gravediggaz’ 6 Feet Deep, Ol’ Dirty Bastard’s Return to the 36 Chambers, and Genius/GZA’s seminal Liquid Swords. His contributions to those releases especially Liquid Swords’ “B.1.B.L.E. (Basic Instructions Before Leaving Earth),” essentially a Priest solo track paved the way for the release of the MC's acclaimed debut album, 1998's Heavy Mental, and a lengthy and respected career in the hip-hop underground. In addition to his prolific solo work, he was an integral member of the groups Sunz of Man, the HRSMEN (aka the Four Horsemen), and Black Market Militia. About Tuskb 7 - A musician turned producer, Tusk57 brings a live feel to recording sessions and is most at home leading a band in front of a live audience. He is a multi-instrumentalist songwriter who has released multiple records under many other stage names in various genres, garnering critical acclaim including a Billboard hit. He is how based in LA and is using this moniker to develop a signature textured sound for hip hop and soulful music.

Black Truffle is pleased to announce its first release from celebrated London-based Canadian composer Cassandra Miller. Though her body of mature work stretches back almost twenty years, many listeners were introduced to Miller through the success of her astonishing 2015 Duet for Cello and Orchestra, which sets an imperturbable two-note cello part against a series of increasingly dense orchestrations of an Italian folk melody; in 2019, it was selected by The Guardian as one of the ‘best classical music works of the 21st century’. Traveller Song / Thanksong, the first release of her music on vinyl, presents a pair of compositions for voice and ensemble that exemplify Miller’s gently absurd, strikingly beautiful, and utterly unique work.

Like many of Miller’s compositions, these pieces originate in existing music. Traveller Song (2016/2018) begins from a 1950s song of an anonymous Sicilian cart driver recorded by Alan Lomax and Diego Carpitella, which Miller recorded herself singing along to, going on to then record herself singing to her own layered voices. Miller’s untutored voice is an unsteady, wavering wail that has, in her words, ‘more in common with a quasi-shamanistic keening than anything Sicilian’. Heard sometimes alone, sometimes layered, her pre-recorded voice is accompanied by a chamber sextet drawn from London’s Plus-Minus Ensemble. In the first section, Miller’s exposed warble is set to a spare piano accompaniment, somehow both faintly preposterous and magisterial. Following the voice note for note, the piano part often makes use of almost mechanical sequences of parallel chords, reminiscent both of Satie’s Rosicrucian period and the abrupt harmonic movements of a chord organ. The orchestration then opens up to guitar, clarinet, and sliding strings, a delicate environment for Miller’s voice, which, especially when it begins to be layered, generates a powerful sense of intimacy. In its concluding minutes, the folk roots of the original melody return in the form of a glorious full ensemble setting dominated by accordion, clarinet, and strummed guitar. Thanksong begins from recordings of Miller singing along to the third movement of Beethoven’s late quartet in A minor (Op. 132), the ‘holy song of thanks’ the composer wrote to express his gratitude for (temporarily) recovering from illness. Recording herself singing along repeatedly to each of the individual parts of the quartet, Miller created an aural score where each member of the string quartet listens to their own part on headphones, playing by ear. Performed on this recording by Montreal's Quatuor Bozzini, with whom Miller has a decades-long relationship, they are joined by the British soprano Juliet Fraser, who sings material from the Beethoven quartet ‘as slowly and quietly as possible’. The atmosphere of the opening of Beethoven’s Dankgesang, of hushed reawakening and thoughtful reflection, is sustained throughout the fourteen minutes of Miller’s piece, building at points almost to sentimentality before the five individual parts again fall back into a gentle burble of unsynchronised melodic gestures. Like Traveller Song, here the use of the voice is a long way from the mannered performance of much contemporary music, reaching for a human and bodily presence more connected to the reality of the everyday, albeit suffused with wonder. Presented in a stylish sleeve adorned with photography by Lasse Marhaug and liner notes by Cassandra Miller, this is a key release from a major contemporary composer whose work challenges and dazzles in equal measure. .

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Das Imperium kehrt zurück.

Sechs Jahre nach der Veröffentlichung ihrer von der Kritik gefeierten Ode an den Hass, Poetry Of The Ill-Minded, legen die finnischen Symphonic-Black-Metal-Ikonen Shade Empire ihr neuestes anthologisches Meisterwerk in Form von 'Sunholy' vor. 'Sunholy' ist ein Wortspiel aus den beiden Begriffen 'Sonne' und 'unheilig' und macht von Anfang an deutlich, dass Shade Empire die Dualität von Licht und Dunkelheit, Gut und Böse, Heiligem und Ketzerischem aufschlüsseln wollen.

- Ltd. Col. LP: (White With Black Marble Vinyl)

Dizzy Up the Girl ist das sechste Studioalbum der Goo Goo Dolls. Ursprünglich am 22. September 1998 veröffentlicht, feiert das Album nun sein 25-jähriges Jubiläum. Dizzy Up the Girl ist das meistverkaufte Album der Band mit über 5 Millionen Verkäufen in den USA und enthält fünf Hitsingles: "Iris", "Dizzy", "Slide", "Broadway",
und "Black Balloon". Die limitierte 25-Jahre-Jubiläumsausgabe ist auf silberfarbenem Metallic-Vinyl gepresst.

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Ein Meisterwerk unentrinnbarer Finsternis!

Die schwedische Instanz SHINING wird am 15. September 2023 ihr selbstbetiteltes 11. Studioalbum über Napalm Records veröffentlichen. Die 1996 gegründete Band gilt als eine der kontroversesten und musikalisch brillantesten Bands der Black Metal-Szene.
Auf ihrem elften Werk präsentieren sie sich noch düsterer und brutaler als je zuvor. Laut eigener Aussage wird Shining ”eine abwärts gerichtete Reise in Stereo sein, die die Welt in eine hypnotisierende, unentrinnbare Dunkelheit tüncht”.

Auch wenn die musikalischen Einflüsse hauptsächlich im Black Metal liegen, lässt sich die Band um Mastermind Niklas Kvarforth nicht auf ein Genre alleine festlegen. SHINING verbinden auf unvergleichliche Weise Einflüsse aus verschiedenen Stilen wie Klassik, Jazz und Progressive Rock, um eine düstere Stimmung, schmerzende Wunden und tiefe Leere klanglich darzustellen. Themen wie Selbstzerstörung, Selbstmord und Gewalt spielen eine wichtige Rolle in der Musik der Band. Im Laufe von zehn Studioalben, darunter Meisterwerke wie das legendäre V. Halmstad und Redefining Darkness, haben SHINING sich eine große Fangemeinde erspielt, die in den Bann des musikalischen Genies und der exzentrischen Art von Niklas Kvarforth gezogen wurde.

In the late '70s, The Avengers established themselves as one of the US's preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter's final performance.

As Byron Coley writes in the liner notes, "Of the best bands of San Francisco's first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was) with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!"

Originally released in 1983, four years after the band's dissolution, The Avengers' self-titled LP is often referred to as "The Pink Album" for its magenta-hued cover design. Frontwoman Penelope Houston's iconic voice and razor-sharp lyrics resonate on anthems "We Are The One" and "The American In Me," while penetrating ballads like "Corpus Christi" reveal a truly out-of-body euphony.

The Pink Album remains The Avengers' definitive statement - collecting their classic Dangerhouse EP, sessions recorded with the Pistols' Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, "The word I always come back to is mystical, and that remains almost theirs alone."

The Handsome Family definieren seit über 30 Jahren das dunkle Ende des Americana. Brett schreibt die Musik und Rennie die Texte. Ihre Arbeit wurde von vielen Künstlern gecovert, darunter Jeff Tweedy, Andrew Bird und zuletzt Phoebe Bridgers. Ihr Song "Far From Any Road" war die Eröffnungsmelodie für die erste Staffel von HBOs True Detective und wird immer noch jede Woche von Tausenden von Shazams aus der ganzen Welt geteilt. Die neue Platte von The Handsome Family begann mit einem Schrei in der Nacht. 'Es war ein düsterer Winter in der Mitte der Pandemie', sagt Brett Sparks. "Eines Nachts gegen 4 Uhr morgens begann Rennie im Schlaf zu schreien. Sie schrie: 'Komm in den Kreis, Joseph! Heute Nacht ist kein Mond da.' So beängstigend es auch war, ich dachte, Mann, das ist ein guter Refrain!'. Wenn man Brett bittet, seine Musik zu beschreiben, sagt er: "Western Gothic". Es ist Musik, die von den verlassenen Malls in der Wüste inspiriert ist, wo rissiger Asphalt vor Hitze schimmert und dorniges Unkraut langsam das Land zurückerobert.

Ils Veulent Nous Tuer is Bérurier Noir's 3rd maxi 45tours, the title of which is borrowed from the slogan of a banner unfurled by the mutineers from the roof of Fresnes prison. It was an apt title for the group, too, since at the time of its release, the political and police authorities decided to destabilise them by associating them with the Black War activists and arresting many of the Bérus' entourage.

It's a dark album, with hard-hitting lyrics rooted in the social reality of the time (1988) and tackling subjects as diverse as the problems of access to food for the precarious (On A Faim !), prison repression (Sur Les Toits), the excesses of marginal youth (Mineurs En Danger) and the omnipresence of the military and police in our daily lives (Et Hop !). The album compo

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The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found themselves the driving force behind a vast "Mouv'ment d'la Jeunesse", determined to take control of their lives in the face of a society that was ultra-conservative at the time. Times have hardly changed.

From their first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances at demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir waged the most exciting war of independence in the history of French rock, with just a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

François, Loran and their 'Troupeau d'Rock' gave the last finger to this turbulent, irredeemable raia, committing hara-kiri at the height of their glory, during three final concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work continues to resonate, whether at demonstrations or free parties, fuelling the hopes of all those who wish to turn this world upside down and build a truly libertarian society based on solidarity and brotherhood.

For those who missed this unprecedented adventure, the Archives de la Zone Mondiale label is bringing you 8 recordings by Bérurier Noir in the form of limited-edition reissues on highly original colour vinyl ("crown" finish), distributed throughout the year.

Factory Benelux presents a limited crystal clear vinyl edition of Dark Light, the eighth studio album from post-punk trailblazers Section 25, originally released in 2013.
Recorded in 2012, Dark Light would be the band’s first collection of new material since the tragic loss of founder Larry Cassidy in 2010, and marked a return to the smooth electro and synth-pop textures first explored on their seminal 1984 album From the Hip. These echoes are amplified by the presence of co-vocalists Beth and Jo Cassidy, as well as a sublime cover image by iconic artist/designer Peter Saville.
Much of Dark Light was produced in collaboration with remixer Derek Miller (aka Outernationale), and includes new versions of single tracks Colour Movement Sex & Violence and Inner Drive. Other stand-out cuts include future pop classic My Outrage, also released as a single on Record Store Day.
“A revelation. The group were once doomy post-punks whose 1984 electronic album From the Hip anticipated house music and thrilled New York clubland. Now the deaths of singers Larry and Jenny Cassidy have inspired their daughter Bethany to carry on the family business and give the band a makeover. The collision of the original members’ brittle rhythms and the angelic voices of Bethany and similarly fresh-faced co-singer Jo takes recent material into shimmering club-pop heaven” (The Guardian, 2014)
Now released on vinyl for the very first time, FBN 145 is limited to just 500 copies pressed on crystal clear vinyl. The digital copy contains several bonus tracks.

Its been five years since Belgium's WeMe Records lovingly selected the first ever collection of Heinrich Mueller's (Drexciya/Doppleffekt) best remixes/remodels for a new generation of listeners that won't have to pay collector prices to have them on vinyl. Volume 2 of False Vacuum is now with us and still has riches to choose from.

These 13 rare and hard to find tracks (3 of which make their vinyl debut) all deliver in different ways as he systematically reinvents each one.

Beginning with his raw and now classic remix of Ultradyne's 'Clones', the hard-edged dance-floor friendly 'Woman's Scent' by Cisco Ferreira (The Advent), the more laidback and futuristic sounding 'Bohrium 274' by Jauzas the Shining and Victoria Lukas, the slow and mysterious and first time on vinyl 'Somehow' by Rough Days For Diamond Trade, reinventing the darkest of dance-floors on 'Rytumtraks 0002' by Albert van Abbe, the moody masterpiece and first time on vinyl 'Now We Continue' by White Car, Duplex's 'Autoslug' sounding like its been rearranged inside a black-hole, a balancing act between the light and darkness on Fasenuova 'Cachito Turulo', an insistent rise and falling workout for As One's 'Where Did He Go and Why', a tightly wound and almost meditative 'The Truth' by The Exaltics, an angular stomping march of the robots 'Longwang' by 6D22, a jumpy fidgety groove for first time on vinyl 'Forty Eight Hours' by Yan Wagner and perhaps one of his most sublime pieces is kept for last with 'So Long For A Small Storm' by Dollska.

The Strangers brings together Hervé Salters AKA General Elektriks and two exceptional rappers: Frenchman Leeroy (ex-Saïan Supa Crew) and American Lateef The Truthspeaker (Blackalicious) in a new project. Evolving in the year 2222, "The Strangers" is a testament from the future in the form of hip hop with a strong funk undertone, a timeless and playful sound where the languages of Shakespeare and Molière combine and clash to describe a world of tomorrow in 2023 that no one has yet heard of: requiring the earthlings of the future to travel from an early age, society abolishes the fear of the unknown. Lateef, Leeroy and General Elektriks have therefore chosen to set their narrative in the future to better speak of today"s world. The environment, individual freedom, police violence and communitarianism are all subjects that permeate the record. But the 3 Strangers inject a healthy dose of humour and energy into their music. This album is a sonic road movie of anticipation, zig-zagging between athletic and poetic flows soulful choruses, and darker downtempos. The sound developed is fluorescent and infectious, speaking to the hips as much as the head.

Guy Pedersen's magical Maxi Music, originally released on cult Parisian library label tele Music in 1972, is psyche-rock and jazz-funk gold. It's a vital Pederson outing, oscillating between the rough and the smooth, but always with those hypnotic grooves. It's a start-to-finish winner, yet the final 13-minute-long opus will blow minds. Trust!

Stirring opener, "Prétexte Pour Indicatifs" is so mighty, it was covered by Keith Mansfield on "Hot Property" from Big Business/Wind Of Change on KPM. It's a track in 4 deliberate parts, the first a rapid tour de force, the second and third presenting organ-and-wah-wah-drenched slo-mo funk workouts and the fourth a return to the frenetic energy of the opening bars. Phew, pretty sensational. "Purgatoire Mood (Interlude)" is a beautiful segue into the stunning horn-laced, swift-paced aggressive jazzy excellence of "Purgatoire Mood 1" and the more poetic "Purgatoire Mood 2". Fast-paced funk beats and dramatic interplay!

"Christophus Colombus" is another song with multiple sections; the intro a rapid wah-wah-enhanced psych-rock statement that truly thrills before settling into a more steady yet no-less unrelenting guitar-funk showcase with wordless vocals and, later, reflective guitar and piano in gorgeous harmony. Closing out this electrifying side, the elegant "Bass In Love" is a soft'n'sultry slo-mo funk instrumental, as rough cello, jazzy piano and salacious, breathy vocals combine to create the scent of lingering heat to pretty rousing effect.

Ushering in Side B, "Sing Song Bass" is a slow starter but, once the drums kick in brilliantly, we're treated to a deeply melodic, propulsive, organ-flute-piano-bass gem - it's truly memorable and absolutely fantastic. The wonky, delirious psych-pop of "Petit Moujik De Nuit" is a curiously compelling number but it serves, for us at least, only as the pre-curser to the phenomenal closing track. An absolute beast that totally slays all before it!

Yes, despite Maxi Music being that rarest of library records - a record that can stand up on its own from front to back - it really does contain that *one* absolute killer track. And Peterson saved the best until last. The real highlight - can you imagine there's better?! - is the blazing psych-rock funky burner that is the infamous 13 minute thriller "Kermesse Non Héroique". Containing a wicked flute solo it genuinely sounds like something off the first Dungen album. Yes, that good. What a way to go out!

The audio for Maxi Music has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.

"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.

Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".

The audio for Contrebasses has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Every once in a while, a library record's absurd level of perfection will be enough to throw up your hands and pack it all in. "How will I ever find this record in the wild?!", you may despair. And, yes, up until now, Michel Gonet's Phasing News Volume 2 was such a work of this ridiculous standard. Not just hyper-rare, but hyper-brilliant. Its high points transcend the "library" genre. This is a record that has always been so so hot on secondary markets. And it's easy to hear why! It's a big big French library classic with mad crazy demand.

Opening with "Mondial Scoop (Number III)", it continues on from where the dramatic tracks of Phasing News Volume 1 left off. The group of "Phasing Percussions" get under your skin, sample material for days here. "Phasing Leitmotive A" and "Phasing Leitmotive B" hypnotise with their analogue synth loops. Yet it's "Phasing March", closing out the side, that is absolutely sensational. Timpani drums merge with open breaks making for an irresistible neck-snapping tour de force.

Side B starts with "Devil Dance A", an unbelievably infectious bass instrumental whilst "Devil Dance B" adds more percussion and bass flourishes and is all the more funky for it.

And now for the main event. "Flower Dance A". What can we even say? An instantly captivating, sparkling keys loop and glittering percussion neatly arranged atop a very strong bassline and drums, all lean and potent. The melody was lifted wholesale by The Soulsavers for "Rumblefish" back in 2002 and you can't really blame them. "Flower Dance B" removes the bassline for a lighter feel but that loop still burrows inside your brain. It's perfect.

"Happy Smith (Number II)" was used by Madlib for Erykah's "My People" (!!!) whilst the set closes out with a group of tense, phased workouts.

The audio for Phasing News Volume 2 has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Das neue Album von BRUJERIA "Esto Es Brujeria" erscheint als limitierte, orangene Doppel-LP mit rot/schwarzem Splatter im Gatefold.

"Esto Es Brujeria" ist die fünfte Full-Length-Veröffentlichung der narco satanicos des Death Metal; BRUJERIA. Mit sechzehn Tracks schließt sich der Kreis zur Post-Pandemie-Ära, in der die tiefe Polarisierung, die zivilen Unruhen, die anhaltende Brutalität und die sozialen Umwälzungen der Zeit reif für die berüchtigten Kritiken der Band sind. Die berüchtigtsten Antihelden des extremen Metals, die von einem dichten Mythos umwoben sind, können jederzeit und überall auftauchen, um ihre Geschichten von anarchischem Chaos und gesetzloser Wut zu erzählen. Sie sind die ewigen Banditen, bereit zum Feiern.