quête:dou

Released in 1998, THE CHRISTMAS ATTIC earned double-platinum certification and continues to captivate audiences with fan favorites like “Music Box Blues,” “Boughs Of Holly,” and “Ghosts Of Christmas Eve.” The album also introduced “Christmas Canon,” which has become one of the band’s most popular songs and a modern holiday classic. THE CHRISTMAS ATTIC tells the heartwarming tale of a little girl’s magical night spent in an attic filled with yuletide memories, accompanied by spellbinding guitar solos and soaring choral vocals set against a rock orchestral backdrop. The record serves as the second installment in TSO’s celebrated Christmas trilogy, which also includes Christmas Eve and Other Stories (1996) and The Lost Christmas Eve (2004).

TSO was conceived by the group’s late founder, composer, and lyricist Paul O’Neill. His ambitious vision was to create a progressive rock band that combined rock opera and classical rock with a dazzling live show that featured lights, lasers, and pyrotechnics. In the 1980s and 1990s, O’Neill produced several albums for the influential heavy metal band Savatage, which is how he connected with longtime collaborators Jon Oliva (vocals), Al Pitrelli (guitar), and Robert Kinkel (keyboards/producer).

With more than 10 million albums sold, TSO has inspired generations of fans to rediscover the multi-dimensional art form of rock opera. Since its touring debut in 1999, the band has emerged as one of the world’s top live acts, performing for over 10 million people across the globe, selling more than $280 million worth of tickets, and donating $11 million to charity.

GAF are back!!! This time under their Estrella de la Muerte configuration and with a gateway musical behemoth double album into the cosmic unknown.
The prolific project, helmed by local Canarian anchorman Mladen Kurajica, dwells deep into esoteric rock genres and this time, they waste no time in plunging the listener into their brave new type of cosmic rock with a deeply influenced krautrock voyage of 70’s jamming and psychonautic exploration.
Recorded over three days in the cultural space of El Tanque, Santa Cruz de Tenerife, at the height of the covid pandemic of 2020 and during one of the hottest summers to date, the band entered the space with no plan in mind deciding instead to approach the recording sessions without any preconceived ideas or pre-composed songs. Clean out of external influences and ready to experiment they loaded in all their available gear, including an array of modular synths, in order to create a new approach to song writing and flesh out some ideas for a future album in situ. The very process of that search, through pure improvisation and jamming, became the album we’re presenting here.
No overdubs or subsequent edits were done, except for cutting some songs so that they could fit on the album. Almost 5 hours of recordings in total, finally reaching a 7 track, 69-minute double LP. All the reverb heard on the record is the natural reverb of El Tanque, a 16 second tail natural reverb recorded with several room mics at different locations in the venue. Eventually this became the first fully instrumental album by the Estrella de la Muerte configuration, with a line up of 7 musicians (Gaf y Estrella de la Muerte are normally a sextet).
Enter then, this inspired selection of psychedelically damaged tunes, 70’s space rock, psychoacoustics and Kosmishe inspired jamming. This is healing music for your mind altering journeys. The titled Pyramids here serving not only as a gateway to the cosmic unknown but also as an exploratory symbol of the bands willingness to freely embrace their subconscious inner flows into a cosmic collective. Ecstatic music for our times!

Legendary 2010’s indie band Crocodiles’ guitarist Charles Rowell’s new synthpop-meets-gothic rock project. Think Nick Cave crooning over Martin Rev’s minimal electronics or The Lords of the New Church-era Stiv Bators jamming with Wayne Hussey and Douglas Pearce.

After relocating from New York to France, Charles Rowell began stuffing his suitcase with various synths and samplers while taking cheap bus rides to bordering countries.

While living out of a hotel in north east Paris, he played his demos for Third Coming Records who quickly released the Bad Trip EP in 2020. Concerts became more frequent after the pandemic, with the release of Spellwound and a few have become infamous with guitars smashed to pieces, broken glasses, unruly audience front flipping onto the stage.

With Paris providing the background and a scene of friends such as avant-garde drag artist Tuna Mess and industrial techno veteran Poison Point who pushed his creativity even further, Crush Of Souls constant spirit is that it remains unpredictable and thrives on collaboration.
This is even more true with his upcoming album (A)Void Love.

Written over a period of intense insomnia that coincided with a run of shows playing guitar for Australian legend Harry Howard, Crush Of Soul’s main man Charles Rowell finally found rest after writing and recording the last song entitled World of Fear. Six months prior he had quit his job as a chef, traveled east to Prague for inspiration and returned ragged and sleepless.
Rowell’s insistence on keeping the instrumentation simple and clean came from an arduous two years of literal blood, sweat and tears. Every bit of drama, eastern excursion and sleep psychosis can be found within the walls of (A)Void Love.

Acoustic guitars and dramatic synths provide a cold wilderness for the various rhythms to inhabit; touches of minimal electronics, cold wave and synth pop can be found while the song writing remains classic for lovers of Echo & the Bunnymen and Nick Cave & the Bad Seeds.

There’s always been a thread of synth-punk, death rock and DIY noise running through all of Charles’ projects (Crocodiles, ISSUE, Flowers of Evil), however Crush Of Souls pushes harder and further into the darkness with the new album ‘(A)Void Love’.

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

The legendary producer, remixer and one half of ‘90s duo Full Intention, Michael Gray, offers up two new productions on his label Sultra. Joining forces with multi-talented signer Tatiana Owens, Gray lets loose a double header of feel good, piano laden house tracks doused in Owens’ delectable vocals.

After the successful releases from Skitty and Double O, Threshold has added to the series of AKO VIPs and takes no prisoners on this release.

Humble in the jungle and AKO and dance floor classic. VIP finally comes out with another classic PAIN (the hazardous VIP) on the flip deep subs, pads, and edits in true Threshold style.

Repress

Second compilation by Habibi Funk, following the success of the first part, featuring a wide range of music from North Africa and the Middle East.

When South Korean balearic prodigy Mogwaa came to MM Discos with an idea for his rst full-length album, we were a bit surprised.
He said, ‘I want to do an album of bossa tracks with synths, a drum machine and my guitar’. We obviously had to take him up
on that deal.

Fresh from the recent Bandcamp feature on his own brand of danceoor-ready modern boogie, Seungyoung Lee (aka Mogwaa)
arrives back on MM Discos with his - and our - rst full length exercise. With six tracks per side of 80s inuenced synth and bossa
badness, ‘Hazy Dreams’ is an exercise in simplicity, and more proof of the ever-expanding musical horizons of one of the scene’s
most virtuosic instrumentalists.

Pairing a sensitivity to the construction of ambient, funk, bossa and cassette-tape 80s experiments with his own cinematic subtlety,
‘Hazy Dreams’ takes a gentle, minimalistic approach, crafting its own escapist world that oers a welcome diversion from the
steady ow of busy balearica and downtempo.

Opening track ‘Full Bloom’ paints a picture of midsummer at dawn, some clear-skied island where lush vegetation climbs through
hibiscus gardens. ‘Nacimiento’ is an AOR/bossa crossover evoking West Coast yachting in full afternoon, and A3, ‘Soothing’, adds
a touch of wistfulness with reverb-doused guitars over meandering bass motifs.
The easy kick-and-snare combo of ‘Levitation’ sets the scene for a drum machine love aair, unrequited love on the rocks, and
‘Flashback’ plays with short delay trails and o-kilter melodic sequences, where you feel the soft presence of the nebula approaching
at the break of day. Closing out the A-side, ‘Dispatching’ reaches out even further into the imagined cosmos of Mogwaa’s
picture-perfect world, portraying an ambience at dusk, observing, calmy, as pued-up pink clouds melt into the evening canvas.
On the other side, Mogwaa explores quiet corners with ‘Illusions’, a slow meditation on the nature of simple presence, and ‘Echoes
of You’, a stream of subdued brush strokes that crescendo into higher frequencies on gently undulating pads. B3, ‘Moondance’,
ups the tempo and recalls classic Mogwaa with its sideways shue and starry melodic refrain, pivoting through folk-dance
moods and surprising chord changes.
Nearing the end of the album, ‘Footprints’ wades through tall grass in search of altered states, innite and hypnotic, changing
course only to crouch down and study the landscape, and B5, ‘It always comes and goes’, pictures the to-and-fro of jetstreams and
comets in the blinding midday sky. Finally we have the closing credits of ‘Swingin’ that looks o into the horizon, jaunty and exalted,
a guitar-led tribute to an easy-going world, and ultimately mindful of the power of dreams.
We’re humbled to have such a special record for our rst full-length release on the label.

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. 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.

High Roller Records, 180g black vinyl, ltd 500, insert, A5 photo card, double-sided poster, Transfer, audio restoration and mastering by Patrick W. Engel in February 2023. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile reissue!

High Roller Records, picture vinyl, ltd 500, handnumbered, insert, A5 photo card, double-sided poster, Transfer, audio restoration and mastering by Patrick W. Engel in February 2023. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile reissue!

High Roller Records, picture vinyl, ltd 500, handnumbered, insert, A5 photo card, double-sided poster, Transfer, audio restoration and mastering by Patrick W. Engel in February 2023. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile reissue!

"In 2019, metal musicians CC McKenna (drums) and Doug Weiand (lead guitars) set forth on a dark musical path - aligning diverse metal influences with otherworldly channelings of alchemy, the occult and all things esoteric. Little did they know, the final ingredient of their impending amalgamation was on the horizon, set to emerge as DEATH DEALER UNION. After meeting acclaimed frontwoman Elena Cataraga (a.k.a. Lena Scissorhands of modern metal frontrunners Infected Rain), a musical pact was instantly formed - propelling the band into the studio with producer Valentin Voluta (also recognized for his work with Infected Rain) to conjure their lauded debut collaborations “Borderlines” and “Beneath The Surface”. The tracks went on to premiere in 2022 with top-notch music video visuals, garnering nearly 1 million views on YouTube alone to date.

He has curated an intimate, thoughtful collection of songs that deal with cherished loved ones, love denied, the power of faith, and a simpler, less encumbered way of life.The album features a healthy mix of country classics and contemporary bluegrass songs: Sparks revives warhorses from the repertoires of Lefty Frizzell, George Jones, and Hank Williams, complementing them with material from present-day writers including Wyatt McCubbin and Daniel Crabtree.

An evocative, heart-felt singer with few peers, younger bluegrass musicians are inspired by and study the subtle nuances of Sparks' vocal style. But Sparks, however, is a double threat, being equally revered for his innovative guitar playing.

Countless guitarists have tried to emulate his singular flatpicking style, but few - if any - have truly mastered it.

For some years, fans of the Bluegrass icon have requested that he do a project of this nature. At long last, that wait is over. Listeners get pure Larry Sparks.

Recorded at his newly built home studio, it's just him, his signature 1954 D-28 and his son Larry "D" Sparks providing subtle backing rhythm on bass. The warmth and intimacy of this album affords his admirers the opportunity to pull up a chair, relax, and listen to a true bluegrass master do what he does best - playing and singing from his heart to theirs.

Firmly influenced by Cosmic Americana releases by bands like the Flying Burrito Brothers, or, more recently, Sturgill Simpson's "Metamodern Sounds in Country Music," Capps puts his own Central Texas spin on things with nods to Doug Sahm and Roky Erickson.
This vinyl edition of People Are Beautiful is pressed on limited edition Baby Blue vinyl..

Louis' Yowie , laying down their first new music since the release of
"Synchromysticism".

This deluxe Gatefold Double Vinyl edition includes three sides of music, with side four silk-screened with exclusive new artwork by Gumballhead the Cat cartoonist Rob Syers and SKiN GRAFT Records' Mark Fischer. Resting inside the gatefold sit two uncut sheets of 18 collectible Lobby Cards. Each card casts a spotlight on one of the album's performers with a band photo and trivia on the flipside. The
entire package is topped off with a collectible "Footlong" OBI, featuring selling points and review snippets for retail display - and the final product is wrapped in a crystal clear resealable sleeve.

These powerhouse single A & B sides offer testament to the undiminished power of Dale's work, as well as his continuing status as one of rock's preeminent guitar innovators. As a result of Sundazed's unprecedented access to Dale's massive tape archive, this incredible double- LP collection has been sourced from the original analog reels and pressed on colored vinyl. These tracks capture the bigger-than-life guitar master at his absolute greatest... Jungle Fever, baby!!!

Billy Talent returns with Live at Festhalle Frankfurt, their first live album since 2007’s 666. The new album, produced by Juno Award nominee for Producer of the Year Ian D’sa and mixed by Juno Award winner Eric Ratz, sees the band perform 21 career spanning hits and was recorded this past November at the iconic German venue in front of a sold-out crowd. The 21-track set is slated for release digitally and on double disc CD on June 16, 2023 – with a vinyl pre order available now. The vinyl release is expected to ship to fans in late September. Following the release of Live at Festhalle Frankfurt, Billy Talent will drop several live videos from the show, culminating in a full-length concert film, directed by Dennis Dirksen that will premiere later this fall.

Candlebox is gearing up for an unforgettable finale as the legendary Seattle rock band prepares to retire at the end of the year. The group’s Long Goodbye Tour is currently underway, and its final album, The Long Goodbye, will be released later this month. Today, Rhino announces it will spotlight Candlebox’s early years with a 7-LP vinyl boxed set featuring all three studio albums the group released on Maverick, plus more than a dozen previously unreleased recordings that are only available in the collection.

THE MAVERICK YEARS will be available exclusively on vinyl on September 22. The set introduces newly remastered versions of Candlebox (1993), Lucy (1995), and Happy Pills (1998) as double LPs, along with a single album of unreleased outtakes, demos, and more. Candlebox and Lucy will make their North American vinyl debut, while Happy Pills will be available on vinyl for the first time anywhere.

The Maverick Years chronicles the band’s dramatic ascent, starting with its eponymous debut, a quadruple-platinum smash celebrating its 30th anniversary this year. The album spent more than 100 weeks on the charts, peaking at #7 with hits like “Far Behind,” “You,” and “Cover Me.” The original album has been expanded on the new vinyl version with two unreleased bonus tracks, “Sorry I Let You Down” and a demo for “10,000 Horses.”

Jonny Benavidez, the sweet-spoken soul virtuoso, is back with his latest 7" double-sider drawn from the album "My Echo, Shadow and Me". Backed by Cold Diamond & Mink's mesmerizing grooves, Jonny delivers another extraordinary musical voyage.

The top side, 'Do What You Wanna Do,' intertwines his golden voice with a steady dance groove, the determinate message getting wings under Jonny's majestic command. Flipping the record reveals 'Your Last Song,' a heartfelt bluesy downtempo soul gem that will leave an indelible mark on the hearts of those who appreciate the power of soulful melodies.

This record showcases Jonny's distinct sound and evolving style blending a firm understanding on the origins of his craft with a contemporary touch. Prepare to be transported to a world of soulful ecstasy as Jonny Benavidez continues to enchant with his undeniable style and unwavering passion.

Taking up the gauntlet thrown down by New York's no wave scene, many Italian bands of the early '80s, playing far from the footlights of the world's stage, began creating compelling, and often cutting edge, hybrid sounds. This kind of experimenting soon went viral along the entire peninsula: from Southern Italy to the Alps, creating a brave new Italian take on post-punk. From the nervous white funk of Neopolitans Bisca, to the instrumental explorations of Confusional Quartet, to the "fake jazz" of the Hi-Fi Bros (who even had a track produced by Arto Lindsay), to Band Aid, this collection testifies to one of the most creative periods of the Italian underground. Also features: Eazycon, Modern Model, Die Form, Funkwagen, Nofun, Hakkah, Illogico, Rinf, and State Of Art. Includes CD; CD features the previously unreleased bonus track by La Maison, "Noise Express".

"Multila" was the third album by Finnish producer Sasu Ripatti under the moniker Vladislav Delay. It compiles the "Huone" and "Ranta" 12"EPs Ripatti released on Basic Channel's Chain Reaction label in 1999 and 2000. The album features six hauntingly murky dub ambient tracks and the impressive 22-minute techno odyssey "Huone."

More than 20 years after its original release as a full-length CD album (Chain Reaction), these iconic recordings of modern electronic music are now available again as a double vinyl edition, featuring a revised artwork by Marc Hohmann that matches the new design of the "Whisteblower" and "Entain" reissues.

"Life films us exactly. Our experience of it, though, lies beyond images and descriptions. Emotions, coming in irrational flashes, are non-figurable. We lose our little connection to them very quickly. We look for forms which promise to take us to our own experience. We construct forms with this in mind: that they can take us to meet the subconscious. Multila's construction is principled this way. Fragments of experience, moments without definition or localisation are captured within tiny fragments of time and then within one's mindspace. We can look into it and see that experience has left some of its data to us. As we receive it, again and again, we are connected and reconnected to certain indefinable moments. Both during and after its recording, Multila is a tool to learn about the unintentional states of us. It is a way to see our own emotional loops. Multila is a soundtrack for vision." - Vladislav Delay in the year 2000

Stelios Vassiloudis enters an inspiring new phase as he unveils his sophomore LP All Else Fails available March 25th via Balance Music.

Hailing from Athens, Greece, Stelios Vassiloudis poses a triple threat as a composer, producer and DJ. Having been active in the electronic music scene since the early 2000s he has cultivated his own brand of distinctive ambience reflective of his rich and diverse musical background; transcending the dance floor via an emotional narrative of complex soundscapes, intricate harmonies and hypnotic rhythms. Over the past decade Stelios has released music under various other monikers, yet this new endeavour is his most diligent to date - allowing him to rediscover his love for making music during the process, "I'm more hopeful, inspired and determined than ever before."

Ten years on from the release of his debut LP, Stelios' detail-oriented offerings remain incomprehensibly thought-provoking and thorough with this new album. Noticeably dissimilar to any previous efforts, Stelios consciously took a step back from the pressure of maintaining a steadily flowing supply of functional, club-oriented music and as the world stood still amidst the pandemic, he embraced the opportunity to reconnect and express himself with a broader musical vocabulary. He admits that: "with the world around us seemingly on the fast track to Armageddon, the music ended up being very much reflective of the sadness and helplessness I felt."

All Else Fails is a stimulating odyssey to anyone listening. Harmonically dense, arcadian glistens seep throughout the ten tracks, each complementary to the next. Bask in the wistful iridescence and you won't be disappointed.

Stelios carved his way into electronic music by traversing around the globe as a DJ and performer - performing at intimate underground bars in Beirut, festivals in Miami, after-hours in Tokyo, beaches in Goa and mega clubs in Argentina. Having developed a formidable discography on esteemed labels such as Bedrock, Poker Flat, Ovum, Constant Sound and Darkroom Dubs, among others, Stelios' studio prowess and coveted productions cemented his reputation as a versatile and acclaimed artist. His intense passion and drive for innovation in music serves as the fuel to keep him inspired and relevant, qualities that no doubt ensure his reputation as an artist of the highest calibre, will endure.

This album starts the journey of Unruly Records by featuring some of the early tracks and artists who helped shape the sound of "Club Music".

These songs were originally released between 1991 & 1995 and took dance-floors in Baltimore by storm. There is also a full color insert which paints a picture of that moment in time. In support of Baltimore City's Inaugural "Baltimore Club Music Day" on June 17th, we put together this anthology to kick off our "Anthology" collection/series which will initially start with 3 installments.

Be on the lookout for "Anthology 1996 double album next year!

«Opening Soon» is a culinary buddy movie with a background of gourmet grooves where body tricks at the turntables have been replaced by acrobatic pizza tricks. This album from Jean Tonique and Mi Man is a real tomato concentrate and ingredients cleverly dosed which abound in suave and feel good tracks. 11 tracks that we can imagine as the perfect soundtrack to accompany the dolce vita 2.0 of this great musical duo (between Mario Bros and Cheech & Chong).

A tasty and pop cuisine that gives pride of place to a nostalgia that gathers behind the tiled counter («No One Really Knows», «Memories») or on the dancefloor («Running After Time», «The Music»). We let ourselves slide and be lulled by the smoothness of the arrangements as silky as an «Extra Virgin Olive Oil».

Do The Right Thing, as they say, and it seems like those two found a way to celebrate a lifestyle full of friendly looks.

Tonique, who had already accustomed us to the spiciness of his sharp guitars continues to demonstrate a knowledge all in funk and finesse. He is accompanied by Man, who brings his sweetness and harmony. They combine their strength on this project initiated with the title «Day & Night» and its languorous disco tinged with rhodes and percussions with Salsoul accents.

If the tablecloths are white and red, we don't doubt that the inside of the delivery van is lined with silk and velvet of the most beautiful effect to "cruise" the night as in Brooklyn and East Harlem to the rhythm of «Never Get Old». Lightness and nonchalance for a songwriting full of coolness and analogical charisma boosted by a Moog which invokes the best of the 70/80's.

Iconic and timeless, with or without a disco ball, wouldn't the key word be Pizza-Yolo?

As one half of Minutes Unlimited, a group formed with fellow electronic producer Michna (Ghostly International), Eliot Lipp displays a talent for creating precise, shiny techno/trap that showcases both artists’ synth and drum machine dexterity.

He also provides the prefix for the appropriately named Lipphead, a collaborative effort with underground hip-hop and downtempo producer Blockhead. Lipphead’s loose and experimental approach to dance music stands in stark contrast to the cold, methodical tone of Minutes Unlimited.

Somewhere in between and slightly off-center of these two sounds is 'Encounters,' Lipp’s forthcoming full length LP. From laid-back downtempo cuts 'Know By Now' and 'The Lowdown' to choppy upbeat hip-hop instrumentals like 'Guitar Maniacs' – Eliot condenses years of growth and influence into this expansive double LP. Comprised of 16 tracks, the sequencing of Encounters pulls from Lipp’s DJing experience, creating a seamless and cohesive listening experience from start to finish.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

All the essential tracks of Funk, sung by the greatest legends of the genre, gathered in a double vinyl, with :

Johnny "Guitar" Watson - Imagination - Grandmaster Flash - James Brown - Loleatta Holloway - The Whispers - First Choice - Barry White - The Sugarhill Gang - Syl Johnson...

'This will be his first greatest hits record. Includes his five #1 hits “Your Man” – certified 4x platinum by the RIAA, “Would You Go With Me” certified 3x platinum by the RIAA, “Why Don’t We Just Dance,” certified double-Platinum by the RIAA; “All Over Me,” certified Gold by the RIAA; and “Hometown Girl,” certified double-Platinum by the RIAA. Turner has sold more than six and a half million records, and reached five and a half billion global streams. Socials: FB: 3.25M, TW: 541,561, IG: 213,480, YT: 1.09M, TT: 611,100. Formats: CD, LP (Ivory).

Piotr Kurek’s new album “Smartwoods” is a sprawling root system of tiny melodic phrases that loop and curl around subtly evolving instrumental thickets. The Warsaw-based producer and composer takes his cues from early music, baroque music and experimental jazz, entangling his influences with filigree traces of contemporary computer music and fueling it with sonic vapors from the near future.

Made up of seven distinct segments, the album blurs its acoustic and electronic elements into an illusory hedge of abstract sound. Harp, saxophone, clarinet, double bass, voices and guitar twist into computerized processes and synthesizer chirps, creating an uncanny dreamworld where the real isn’t always what it seems. Each player is entwined with the other to create a living, breathing whole.

Like Kurek’s painterly 2021 album “World Speaks”, “Smartwoods” is also inspired by visual art - particularly the whimsical work of Algerian-French graphic designer Jean Sariano. The album cover features artwork by Polish painter Tomasz Kowalski, whose shapeshifting creatures and miniature stories aptly reflect the music’s wild fantasy. The first manifestation of “Smartwoods” – a live show at Unsound in Kraków in 2022 – featured animations by Italian artist Francesco Marrello, who put together a visual treatment for the single “Harps”.

Music composed, arranged and produced by Piotr Kurek
Anna Pašic - harp
Tomasz Duda - clarinets, saxophone, flute
Wojtek Traczyk - double bass, electric bass
Piotr Kurek - keyboards, MIDI wind controller, electric guitar
Recorded in June and November 2022 by Piotr Kurek, Piotr Zabrodzki (Studio Pasterka) and Tomasz Duda

Cypress Hill’s self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren’t usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice.


From the opening notes of the group’s first single, “The Phuncky Feel One,” to deeper album cuts like “Stoned Is The Way Of The Walk” and “Tres Equis,” it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete. MC Sen Dog always had B-Real’s back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable.


When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group’s relationship in the reissue’s liner notes (which is included only in limited edition Skull) saying, “By the late ‘80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter’s deep wrangle, the former’s inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop’s most formidable young producer, while straddling the bi-coastal gap.”

Cypress Hill’s debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of “The Phuncky One” and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group’s live set to this day.

Longtime friend of the Sweet Sensi Crew, Rumbleton brings his distinct style of Amenism, dubwise, bass RUMBLE junglism. For side A we get the future classic Codex Indica; a deep meditation on dub and junglism. On the side B, Rumbleton meets DJ Clear for Sweet Sensi Records first foray into true Drum Funk. Here we have a taste of what it would be like if soundclash met drum funk junglism.

DJ Support
Mantra, DJ Trax, Double O, Coco Bryce
Yorobi, Ben LQ (Australia), Tim Reaper, Kid Lib +More

Shuji Katayama is a composer and an arranger who is part of the Team-MAX group. He composed all the music for the series (4 seasons). He also participated in the musical compositions of Boruto and the film Naruto The Last. Synopsis of the series : We are in the year 2138.

Yggdrasil, the famous hit MMORPG is about to close. Momonga, the founder of the guild whose fame is no longer to be done, waits alone for the end of the game. However, the closing time has passed, Momonga does not disconnect and the non-playable characters find themselves gradually of a consciousness… A new world is about to make its appearance.


















p B7 Clattanoia TV Size
[q] B8 L.L.L. [TV Size]
[r] B9 GO CRY GO [TV Size]
[TV Size]

Ash sind seit 30 Jahren zusammen, aber es waren die zwei Jahre, die sie voneinander getrennt waren, die sie zu ihrem brillanten neuen Album inspirierten. Wie der Rest der Welt wurden auch Tim Wheeler (Gitarre/Gesang), Mark Hamilton (Bass) und Rick McMurray (Schlagzeug) von der Pandemie überrumpelt. Es war nicht nur die erste längere Auszeit, die die Band in ihrer unglaublichen drei Jahrzehnte währenden Karriere hatte, sondern auch die längste Zeit, in der die drei sich nicht gesehen hatten, seit sie sich in der Schule in Downpatrick, Nordirland, erstmals begegnet waren. Tim Wheeler - wie man es von einem der größten Songschreiber seiner Generation erwarten würde - hatte während Ashs Zwangspause weiter Songs geschrieben. Zum Reboot-Camp der Band erschien er bereit zum Loslegen mit einem Rucksack voller Hard-Rock-Hymnen. Und schwere Zeiten verlangen schließlich nach härterer Musik. Das selbst produzierte "Race The Night" - das achte Studioalbum der Band - ist in jeder Hinsicht herausragend. Aufgenommen im Oh Yeah-Studio in Belfast und mit neuem Fokus, kombiniert die Platte die unwiderstehlichen Rock-Riffs von "Meltdown" (2004) mit der melodischen Meisterschaft von "Free All Angels" (2001) - und das alles verpackt mit einem deutlichen Twist ins Jahr 2023. Und mit den fernen Anzeichen eines oft beschworenen Rock-Revivals am Horizont, könnte es das essentielle gitarrenzentrierte, hymnenreiche Album sein, auf das die Welt gewartet hat. Seit Ash als Teenager mit ihrem Nummer-Eins-Debütalbum "1977" aus Downpatrick auftauchten, ist die Band ein vitales, wachsendes Anliegen. Die meisten ihrer Zeitgenossen sind verschwunden oder haben sich zumindest aufgelöst, bevor sie zurückkehrten, aber Ashs Licht leuchtet so hell wie eh und je. Für dieses Album sind sie sogar zu Fierce Panda Records zurückgekehrt, die eine ihrer ersten Aufnahmen, "Punkboy", auf der 1994 erschienenen Crazed And Confused EP veröffentlicht haben.

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

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.

European funk fusion of the highest order, Michel Gonet's Phasing News Volume 1 is the essential companion piece to the venerated Volume 2. It's truly a library treasure that every home must own. As Tele Music themselves said, it contains "tense and mysterious underscores in a range of styles"; whilst we don't disagree, we'd add swaggering, orchestral drama-funk-jazz-breaks. Vital.

Opener "Moon To Light (Number II) - A" is a total wonder. It's incredible, and what a way to begin a record. The percussion is electrifying, complimenting the dark, heavy piano, eerie organ work, electric guitar soling and rhythm section brilliance. Part B is virtually identical but without the electric guitar. The slow "Soul Cathedral (Number II) - A" is an ambient spacey synth gem which is both beatless and drenched in phased organ. Pretty captivating. Part B plays it rather straighter, a church organ continuing the same melody and tempo but with less of the swirling synthy effects.

"Light In The Rains (Number II) - A" sounds like something Diamond D would've sampled in the mid-to-late 90s, conjuring as it does that peculiar, creeping Axelrod-funk, all eerie electric guitar and organ, bass and spacey effects. Part B loses the electric guitar and adds brass.

The swirling, dramatic "Mondial Scoop (Number II)" has that urgent News At Ten feel with its prominent timpani drums whilst "Mecanic Bird Song" is a frenetic, abstract track with disorientating keyboard interplay.

*Total highlight* "Mephisto Jet (Number II) - A" rides a slick, proto-hip-hop beat with melodic, warm Rhodes yet, thrillingly, casually ups the drama with strings and timpanis. It then returns to its more mellow state. Ace. Part B adds acidy, phased percussion to create a more hypnotic, tripped out feel to proceedings. Part C is half as long but, pared back to just drums and Rhodes, it's arguably twice-as-nice.

To close, the shuffling, bell-laced urgent jazz of "Phasing News - A" is another highlight, riding a great bassline and augmented by ace drums, organ and electric guitar. Part B is also great, removing the guitar and doubling down on the head-nod funk.

The audio for Phasing News Volume 1 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.

Der aus Seattle stammende Produzent Jeff McIlwain, alias Lusine, kehrt mit seinem 9. Album Long Light zurück und feiert damit sein zwanzigjähriges Bestehen bei Ghostly International. Lusine, der als Einfluss für unzählige elektronische Künstler wie die Londoner Loraine James und andere gilt, ist bekannt für viszerale, kinetisch neugierige Musik, die Techno, Pop und experimentelle Kompositionen miteinander verbindet. In den letzten Jahren hat McIlwain sein Handwerk mit mehr kollaborativer, songorientierter Arbeit in die Höhe getrieben. Long Light" zeigt die durchgehende Linie; seine charakteristischen Looping-Muster und Texturen sind dynamisch und dennoch minimalistisch wie immer. Strukturell geradlinig, straff und hell, strahlt das Material als das direkteste in seinem Katalog, mit Gesangsbeiträgen von Asy Saavedra, Sarah Jaffe und den Sensorimotor-Kollegen Vilja Larjosto und Benoît Pioulard. Lusine hat seinen Sound schon früh gefunden, aber er hat nie aufgehört, an seinem Potenzial zu feilen, geduldig die Ablenkungen zu dekonstruieren und die Rätsel zu lösen. Mit Long Light erreicht ein prozessgeleiteter Künstler ein außergewöhnlich erfreuliches Niveau an Klarheit und Unmittelbarkeit. McIlwain sieht den Titel, der der lyrischen Phrase "long light signaling the fall again" entnommen ist, die Benoît Pioulard für das spätere Titelstück geschrieben hat, als einen Leitfaden, der mehrere Bedeutungen widerspiegelt. "Es gibt diese Art von Paranoia, bei der man nicht weiß, was real ist, es ist ein Zeitalter der großen Angst und es gibt all diese Ablenkungen", erklärt McIlwain. "Es ist wie ein Spiegelkabinett." Dem langen Licht zu folgen ist der einzig wahre Weg, und diese Metapher wendet er auf die Aufnahmen des Albums an, die ebenfalls einen zyklischen Charakter haben, ähnlich wie die Jahreszeiten. Wie der Beginn des Herbstes schließt das Album eine Periode der Kultivierung ab; "Musikmachen ist ein Kampf und man muss eine Menge Geduld haben." Long Light ist der Beweis dafür, dass das, was jenseits des Lärms, am Ende des figurativen Tunnels liegt, all die Arbeit wert ist, die man auf dem Weg dorthin geleistet hat. In der gesamten Sammlung identifiziert McIlwain das zentrale Klangelement, einen Gesangsausschnitt oder eine einfache Beatsequenz, auf dem alles andere aufbaut. Auf dem Opener Come And Go" vervielfältigt er eine Gesangseinlage seiner langjährigen Mitarbeiterin Vilja Larjosto zu einem himmlischen Chor, der an den Sensorimotor-Hit Just A Cloud" erinnert. Es ist die Bass-Hook auf der Single "Zero to Sixty", die sich um die Stimme von Sarah Jaffe windet, deren geschmeidiger Tonumfang und coole Darbietung die Quelle für Lusines unverwechselbares Mapping ist.