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Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…

Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.

Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.

As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.

Immerse yourself in the musical universe of ONE PIECE MOVIES - BEST SELECTION! Enjoy over 70 minutes of music from the One Piece films for the first time on vinyl, taking you on a journey through the adventures of the famous Straw Hat crew.

Fully licensed.

Luffy, a mischievous boy, dreams of becoming the king of the pirates by finding the "One Piece", a fabulous and mysterious treasure. But, inadvertently, Luffy one day swallowed a "magical devil fruit" that turned him into a rubber man. Since then, he is able to contort his elastic body in all directions, but he has lost the ability to swim, the height for a pirate! Over the course of ever more incredible adventures and chance encounters, Luffy will gradually compose his crew and multiply friendships with the peoples he discovers, while facing formidable enemies.

Kohei Tanaka worked on the composition and arrangement of this album.

Kohei Tanaka worked on the composition and arrangement of this album.

One Piece is a Japanese manga written and illustrated by Eiichiro Oda. The story follows Monkey D. Luffy, a young boy whose body became elastic after eating a Devil Fruit. Luffy decides to become the Pirate King and find the One Piece, a legendary treasure hidden on Raftel Island.

"Richard Edwards is in the pocket. He’s been there for several albums now: 2017’s Lemon Cotton Candy Sunset, 2020’s The Soft Ache & the Moon, and 2022’s Ghost Electricity/Vampire Draw. Just as the Margot records defined his twenties, this “Beach Bum” era, as he calls it, may well define his thirties. That era is expanded in Two Sad Little Islands Drift Together, Two Lonely Little Monkeys Find A Tree: Rare and Unreleased 2015-2023.

Beginning with Lemon Cotton Candy Sunset, Richard has been steering his ongoing body of work toward capturing a feeling of being at sea. Life can find us at sea in any number of ways–in a marriage or partnership, or in longing for one; in parenting, and its ceaseless wonders and worries; in bodies and minds that confound understanding (whether just our own, or also that of professionals); in our rotting world, which we’ve fucked up beyond all repair.

“What does that sound like, though?” you may ask. Like Mike Bloom’s cascading fingerpicking in “Lil Dead Eye-d (b.),” or the tranquilizing combination of Dave Palmer’s piano and Perla Batalla’s multi-tracked vocals on “Love (b.)” Like the L.A. based Section Quartet on “True Love Waits,” or the triumphantly stoned Velvet Ocean jam-session that is “Jane Greer With A Gun.” Like Richard’s use of melody and imagery on “Pink Lightning (b.)” and lead single “Benzedrine,” where he is masterfully accompanied by Erin Rae (on the former) and Maria Taylor (on the latter).

Unlike Richard’s past archival releases which have often featured home demo recordings, everything on Two Sad Little Islands has been produced in-studio. With this 3-LP vinyl set, Richard presents just over two hours of material that once again makes his case as one of the “most underrated songwriters of our time” (LA Review of Books)."

Ltd. Gold LP. In den Annalen der Rockmusik gibt es nur wenige Sänger, die eine so ausdrucksstarke Stimme haben wie Dan McCafferty. Als charismatischer Frontmann der schottischen Band Nazareth war McCafferty an mehr als 25 Alben beteiligt, veröffentlichte Hits wie 'Love Hurts', 'Dream On', 'This Flight Tonight' und 'Morning Dew' und tourte auf der ganzen Welt. Nach einer einzigartigen Karriere von 50 Jahren ist Dan McCafferty am 8. November 2022 im Alter von 76 Jahren gestorben. Sein Name wird in Erinnerung bleiben, seine großartigen Songs werden weiterhin auf unzähligen Rock-Radiosendern auf der ganzen Welt gespielt. Unentdeckte musikalische Schätze wurden in McCaffertys Privathaus Archiv aufbewahrt. Einige davon sind nun auf der posthumen Hommage zu finden: 'No Turning Back - In Memory of Dan McCafferty'. Die bisher unveröffentlichten Songs "Occident" und "No Turning Back" sind Originalaufnahmen aus den späten 1990er Jahren, die McCafferty mit dem deutsche Regisseur, Komponist und Musikproduzent Christoph Busse aufnahm. Der bisher unveröffentlichte Track 'Children's Eyes' stammt aus einer Kooperation mit dem Komponist und Produzent Detlef Wiedeke. Alle drei Titel zeigen die stilistisch enorme Bandbreite seiner rauen Rockstimme. Mit 'Into the Ring", "Starry Eyes" und "Sunny Island" folgen drei Stücke aus einer besonders ereignisreichen Karrierephase des schottischen Musikers. Die Songs wurden 1987 auf seinem inzwischen längst vergriffenen Soloalbum "Into the Ring" veröffentlicht. Das Album entstand zwischen den beiden Nazareth Klassiker "Cinema" (1986) und "Snakes'n'Ladders" (1989. Abgerundet wird "In Memory of Dan McCafferty" mit "Going Home" aus dem Jahr 1993 und aus dem gleichnamigen Album des kurzlebigen Projekts Seasons, mit original schottischem Dudelsack, Fiddles, Flöten und Schlaginstrumenten. Das Lied basiert auf dem Stück "Largo" aus der 9. Sinfonie "Aus der Neuen Welt" von Antonín Dvo?ák. Außerdem gibt es zwei aktuelle Coverversionen der Nazareth-Evergreens 'Love Hurts' und 'Dream On' als Bonustracks, gesungen von dem griechischen Sänger Panos Kalifis, dessen Stimmfarbe der von McCafferty verblüffend ähnlich ist. Last but not least: Auf dem Albumcover prangt ein Foto des jungen Dan McCafferty, während das Booklet zwölf Bleistift- und Kohleillustrationen enthält. "No Turning Back - In Memory of Dan McCafferty" ist ein musikalisches Must Have für jeden McCafferty/Nazareth und Hard Rock Fan.

"Trolls Band Together (Original Motion Picture Soundtrack)" ist das Album zum gleichnamigen DreamWorks-Animationsfilm. Der mehrfach preisgekrönte Künstler Justin Timberlake kehrt als ausführender Musikproduzent des Soundtracks an der Seite des GRAMMY-prämierten Produzenten/Songwriters Mike Elizondo zurück. Timberlake schrieb und sang neue Originalmusik für den Film, der auch Musik von den Darstellern und einigen der heutigen Top-Künstler wie Kid Cudi, Camila Cabello, Troye Sivan, Anna Kendrick und anderen enthält. Das Album enthält auch den ersten gemeinsamen Song von *NSYNC seit zwei Jahrzehnten, "Better Place"

First vinyl reissue since 1987 with 2 bonus tracks

Error Subcutaneo was born under the sweltering sun of Santo Domingo, Dominican Republic, but their project portrays the colder, more urban side of life in the Caribbean, where cacophonous violence and Cold War monoliths collide with dreams of a better tomorrow The duo take elements of hip- hop, modular electronics, island syncretism, and bebop to twist and distort contemporary narratives on music composition, representing the greater movement of Latin American resistance directly from its epicentre Temporada Ciclonica is a recollection of alibis from a quenched island imaginarium. Palm trees dance in sync with the gales, an omen of the upcoming hurricane season. Pictographic technologies seek refuge in time's embrace, as eerie scents of petrichor and blood fill the corridors beneath the temple steps.

The cyclone's ravaging beauty and destruction bring rain, fertility and life to the land, an allusion to the cyclical nature of creation. Masters of musical past ride the storm's eye, a semiotic double- entendre on the spinning nature of the vinyl medium. A pupil glimmers from the dark, a kid rubs its belly in the womb. Press: Truth and Lies - review "a challenging but exhilarating journey through the minds of two young artists who's deep knowledge of local and international music places no harness on their creativity. Raw and instant, these boys look at the world as it is and let its contradictions flow into their creations. 9/10" Received airplay on BBC Radio 6 Music (Gilles Peterson), BBC Radio 3 (The Late Junction - Wolf Eyes' Mixtape) + The Lot Radio NYC - Marco Wibel - Darker Than Wax

Synth pioneer and musical polymath, Wally Badarou is a genius. But you know that already. A vinyl version of his majestic Colors Of Silence has been craved by the Balearic cognoscenti ever since its low-key 2001 release. Indeed, when we first started work on Be With, we asked some pals with exquisite taste what their dream release would be. We asked Balearic legend Moonboots and, without hesitation, he said Colors Of Silence by Wally Badarou. We didn't know Wally had made this album. And most still don't. But that's about to change.

Colors Of Silence is ostensibly a new age album. As ever though, Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorisation. It's simply stunning, throughout. It sounds like A.r.t. Wilson or Suzanne Kraft, with traces of CFCF and Jonny Nash. But it was made a good decade earlier than the work of these modern giants. Sometimes, it doesn't seem far from some Larry Heard albums.

Island Records founder Chris Blackwell's friend Nathalie Delon asked Wally to provide music for the yoga DVD she was to release. Lack of time on both sides made them agree on using "quality demos" Wally had in his ideas bank. It's understandable why Colors Of Silence remains somewhat of a lost gem. As Wally explains: "Total lack of promotion made it an 'intimate' release, which was exactly what I was looking for: just a buzz-maker and time-buyer that would allow me to concentrate on the real thing as soon as I'd have time, which could also turn into a rare collecting item later, once the final versions made their way to success. You never know."

Over the years, Colors Of Silence has become a true cult record for the ambient/Balearic heads.

The beguiling but brief "Dance In The Dust" is the shuffling, hyper-percussive, hypnotic opener. It gives way to the deep serenity of "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. The bright and breezy "Where Were We" follows, a tropical, reggae-tinged bounce through the islands.

The uptempo groove is maintained on the keys-drizzled soca-funk of "The Lights Of Kinshasa" before Side A is rounded out with "Pictures Of You". It starts with stately, melancholic, unadorned piano and this alone would make for a beautiful song. But Wally always gives us that bit extra and he effortlessly introduces warm, dreamy pads and minimal, slo-mo percussion to augment a frankly stunning piece of work.

Ushering in Side B, Wally's mesmeric piano playing is to the fore again, in the intro to uber-chilled "Serendipity For Two". The playing becomes more mellifluous as the track progresses and adds warmth through exotic percussion, woodwind, sweeping synths and digi-drums. It has echoes of, er, Echoes. It segues seamlessly into the more propulsive, wavy "Smiles By The Millions". If you're not nodding and grinning along widely to the gently throbbing bassline underpinning this, we can't help you. The meditative "Higher Still" follows, cinematic in feel and ever so slightly sinister with the strings. It sounds particularly Badalamenti-esque, if you ask us.

That unmistakable, almost peculiar Badarou funk - so lyrical, so texturally rich and so rhythmically spacious - is all over "Oriental". Next up, "Days To Wonder" brings the serenity back, insistent yet melodic keys, as if played in a place of worship, coupled with birdsong, conjure a kind of instant nostalgia for halcyon days of youth. The contemplative "Dawn Of Europa" is a sombre, beatless, ambient journey whilst the glorious, too-brief "Crystal Falls" features soft percussion and sparkle before fully glistening with some gentle head-nod beats. Wally brings this incredible collection to a mellow, tender close with the graceful "Purple Lines".

There can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. A synth specialist, Badarou was the long-time associate of Level 42. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango and Miriam Makeba. He also produced Fela Kuti. Phew!

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. Special thanks must go to Apiento from Test Pressing who first introduced us to Wally and facilitated all those early zoom meetings. It couldn't have happened without his help. Not least on pulling the art together, too, which features striking original photography by Mads Perch. Benji Roebuck of Roebuck Press did his thing brilliantly in art working the whole package to completion. All in all: essential.

The sophomore album from NYC musician and singer-songwriter Kyle Avallone, is a collection of nostalgic meditations that take you out of the smoky bar and into the gray daylight of a seaside town. It is a cinematic dreamscape steeped in warm vocals, lush synthesizers, and sweeping steel guitars. Throughout the ten songs, tender narratives play like home movies on a living room wall, revealing little worlds and distilled memories.
Recorded at Studio G in Brooklyn with Jeff Berner (Psychic TV), Avallone reaches beyond the lo-fi sleaze of his 2020 debut, Last Minute Man, for a higher fidelity and grander sound palette. “After making a record by myself on an old four-track tape machine, it felt like a natural progression to go into a proper studio and play music with my friends". The core band consists of Mark Perro (The Men) on keys and Russell Hymowitz on bass, who both sing backing vocals, along with David Christian on drums. On several tunes, pedal steel played by Jon “Catfish” DeLorme (The Nude Party) dances around Avallone’s baritone voice, delivering a twang that is distinctively more New York than Nashville.
Inspired by the conversational storytelling of artists like Terry Allen and Lou Reed, Avallone was moved to capture the drama and mystery of his own life experiences. The characters we meet here are flawed. Mistakes are made and lies are told. Love is either lost or on the line. Dreams manifold as both echoes of the past and hopes for the future – the faded glow of childhood impressions in “Down the Hill”; the single mothers’ kitchen table reverie in “Going to the Beach”; the lament for summer’s end in “Vacant Sea”.

Im Jahr 2022 veröffentlichten Bear's Den ihr hochgelobtes viertes Studioalbum "Blue Hours", das in den UK Album Charts auf Platz 6 landete, sowie den Original-Soundtrack für die Apple TV+ Serie Trying, bei dem sie mit Stars wie Maisie Peters und Jade Bird zusammenarbeiteten. 2023 kehrt das Folk-Pop-Duo Bear's Den zurück, um zwei neue EPs zu veröffentlichen: First Loves und White Magnolias.
Bear's Den wurden 2012 in London gegründet und haben sich mit ihren hymnischen Songs eine treue und internationale Fangemeinde erspielt. Mit vier Studioalben sowie einem gemeinsamen Projekt mit dem Komponisten Paul Frith sind sie seit ihrer Gründung regelmäßig in den Charts in Großbritannien und Europa vertreten. Ihr Debütalbum Islands" wurde für den Ivor Novello Award für den besten musikalischen und lyrischen Song nominiert.
Nach Tourneen durch die ganze Welt, bei denen sie in Theatern, Arenen und auf Festivals spielten, kehrten sie 2019 nach der Veröffentlichung ihres dritten Albums "So That You Might Hear Me" zu ihren Ursprüngen zurück, um eine Tournee durch winzige "Highlands and Islands"-Locations in ganz Schottland zu machen und eine begleitende Dokumentation zu drehen. Die Band ist keine Unbekannte im Bereich der Musikdokumentation und spielte neben Ben Howard, Nathaniel Rateliff und The Staves eine wichtige Rolle in dem preisgekrönten Dokumentarfilm Austin To Boston.

Flora Yin Wong’s ravishing interiority finds lucid expression on an absorbing second album for Modern Love, manifesting her instrumental storytelling in a syncretic bind of supernatural themes with hyperrealist, concrète sound design.

Through ten parts, Flora crystallises the ennui that followed an uncanny, disorienting trip to East and Southeast Asia. “On an unexpected stopover in Hong Kong after five years away, my friends took me to a Bazi reader one night - something I was curious about, but much of a ritual for them - ” Flora recalls. “My father told me that when I was born, he had obtained an auspicious reading that since stayed like a guiding talisman with me. It was almost past midnight but people were still lined up, rather shaken and visibly upset, to see the old man. He had kind eyes and asked me why I was there and I said I was at a crossroads. He asked me my time and date of birth, and told me to pick one of his four little white canary birds as a vessel for divination.”

This was the final stretch of an ultimately aimless few months across the continent, including a 20 year overdue return with her father to his adoptive family in his hometown Kuala Lumpur - for many reasons, ended up as a strange and uncanny trip. She spent solitude in a haunted house during the quiet snowfall of Kyoto, where she might have offended some spirit... and nights in mountain temples with South Korean monks, and an equally strange feeling return to the Island of the Gods.

“It culminated in what felt like a final disillusionment with Asia - sudden deaths and a breakdown in beliefs - somewhere I never really have or will be able to connect with. The process of the reading summoned a final blow to my gut - an overwhelming sense of rootlessness, and understanding that all there is is emptiness and entropy. No birth-divined protection, just a measurement of the night sky based off nothing and everything.”

Heavy with a sense of nightmarish dissociation and grief, Flora read about Giuseppe Tartini’s ‘Violin Sonata in G Minor’, aka the Devil’s Trill Sonata, a notoriously tricky c.18th composition which attempted to transcribe music heard in a dream, which the composer felt he could never fully bring into reality. It’s this soporific motif that binds and underpins ’Cold Reading’, finding Flora chasing the dragon of fleeting fantasy through passages of etched melancholy, pinched with hypnagogic jerks that linger in the memory.

From her use of the ‘Devil’s Trill’ Sonata in ‘All My Dreams are Nightmares’ through evocations of subtropical humidity in the Bryn Jones-esque, resonant hand-played percussion of ‘Konna’ and ‘Banjar’, to a breathtaking dreampop denouement ‘Nectar Dripping’ and the Enya-like lush of ‘Beautiful Crisis’, Flora blooms her ideas with an openended ambiguity so often missing from so called Ambient music, ushering the listener into a soundworld that disturbs and displaces, just as much as it calms.

Das vierte Studioalbum 'Day And Age' von Frost* ist zurück auf Standard CD Jewelcase. Für dieses Album arbeitete die Band als 3-Mann-Besetzung, bestehend aus Godfrey und seinen langjährigen Mitstreitern John Mitchell und Nathan King. 'Um ehrlich zu sein, hat uns der Wechsel ziemlich beflügelt', sagt Godfrey, 'er gab uns eine viel breitere Palette an kompositorischen Möglichkeiten', wir schrieben einen Song und sagten: 'Stellen wir uns vor, Schlagzeuger x ist zur Band gestoßen, was würde er hier tun? Das hat uns in einige interessante neue Richtungen geführt'. Am Ende wurden drei Schlagzeuger Teil des Aufnahmeprojekts: Kaz Rodriguez (Chaka Khan, Josh Groban), Darby Todd (The Darkness, Martin Barre) und Pat Mastelotto (Mister Mister, King Crimson). 'Jeder Musiker brachte einen ganz anderen Spielstil mit', sagt John Mitchell, 'und wir haben die Songs auf sie zugeschnitten.' Im Januar 2020 richtete die Band für eine Woche ein neues, temporäres Studio in einem umgebauten Turm der Küstenwache in Dungeness in East Sussex (Großbritannien) ein. 'Wir waren 30 Fuß vom Meer entfernt, neben einem Atomkraftwerk und einem Leuchtturm, mitten im Winter! Es gab also kaum Tageslicht und das Wetter war furchtbar', lacht Bassist Nathan King, 'Wir haben dort 'Terrestrial' und 'Repeat To Fade' geschrieben, und in meinem Kopf kann man förmlich hören, wie sich die düstere, isolierte Bedrückung auf uns auswirkte. Die Songs, die wir schrieben, waren viel düsterer - der Wind heulte nachts um das Gebäude, das Kraftwerk erzeugte Knistern auf dem Ton, ein riesiger Leuchtturm nebenan fegte alle 30 Sekunden ein riesiges Licht in den Nebel und John schrie 'ENJOY YOURSELVES YOU SCUM' in ein Mikrofon. Es war absolut genial!'.Jetzt erhältlich als Standard CD Jewelcase, als Ersatz für die ausverkaufte Ltd. 2CD Edition.

Today we announce The Vinyl Collection, Vol. 2, an 11-LP boxset to follow 2021’s Vol. 1, which includes the remainder of Billy’s catalogue: Glass Houses, The Nylon Curtain, An Innocent Man, The Bridge, Storm Front, River of Dreams. It exclusively features Fantasies & Delusions & Live from Long Island on vinyl for the first time. The boxset includes a 60+ page booklet that highlights the era through photos, quotes, and an essay by Rob Tannenbaum. All albums remastered from original sources at Sterling Sound.

"The Vinyl Collection, Volume 2" vereint Billy Joels monumental erfolgreiche Alben aus dem späteren Teil seiner Karriere: "Glass Houses" (1980), "The Nylon Curtain" (1982), "An Innocent Man" (1983), "The Bridge" (1986) und "Storm Front" (1989), "River of Dreams" (1993). Außerdem gibt es 2 Titel zum ersten Mal auf Vinyl: die Doppel-LP "Fantasies & Delusions" und die 3er-LP "Live from Long Island" aus dem Jahr 1982. Alle Songs stammen von den Original-Album-Mastern, Zudem ist ein über 60-seitiges Booklet mit Billys persönlichen Anmerkungen und einem Essay von Rob Tannenbaum enthalten

The last twelve months have been a whirlwind for Henry Counsell and Louis Curran, the men who make up Joy (Anonymous). Having established themselves during the Covid-19 era by playing impromptu meet-ups on London’s South Bank, they have graduated to bigger venues, travelled to far-flung locales and recorded their second album, Cult Classics, while maintaining the spontaneous energy and irrepressible joy that made their name. Their music revels in the euphoria of being alive and all the feelings, good or bad, that come with it. It invites us into a community, draws us close and promises the night of our lives.

Recorded over the course of a year, the blueprint for Cult Classics was laid down over a two-week span at Imogen Heap’s Round House in east London. Joy (Anonymous) invited friends old and new to visit - they’d record live instruments in jam sessions upstairs and then retreat to a second room to flip and loop and generally mess with the sounds, moulding them into sizzling dance tracks. “Loads of people were coming up to me like ‘I thought this was going to be a dance record?’” Louis says, remembering the quietly beautiful music they’d be recording. “I’d be like, don’t worry about that, just keep playing.” He’d send it back to people later and they’d be floored - “That was my bit and you’ve made it... jungle!”

It was an organic and creatively fulfilling approach, one that didn’t allow any of the music to get stale or stagnate. As they built the tracks from the sounds they’d collected, Joy (Anonymous) would weave the new songs into their famously improvised live sets, testing them, refining them, taking note of the audiences’ reactions. In a year punctuated by a lot of travel, they’d also incorporate the voices of people they met along the way - “Beazley’s Poem”, which opens the record, features the words of a man who was working security at a Fred Again show at New York’s Terminal Five. “He was basically doing the opposite of his job and being a hype man, climbing on the fence and ramping up the crowd - we ended up hanging out with him - like, who’s this legend?” Louis explains. “He just speaks really amazingly about his life, all these amazing thoughts and opinions - he started jumping on the mic when we were playing, preaching these amazing messages to the crowd, like that we all need to be nicer to each other. The first time we played the record in its entirety, he introduced us and that’s the recording we’ve used.”

Joy (Anonymous) remain dedicated to the spirit of spontaneity. They shut a street down with a surprise waterside party in New York. On a trip to Copenhagen they played an impromptu set in a cafe, which turned into a house party and a night-long good time. In Lithuania, they ended up playing in a decommissioned prison. It’s harder, perhaps, to keep that spirit alive now that they are operating more within the confines of the music industry but they will keep lugging their kit to wherever the party calls for as long as they can. “I think if we lose that, we’ve kind of lost what makes us us,” Henry says.

Bursting with multi-genre reference points and disparate influences, Cult Classics is very much a dance album. The samples we made ourselves or we took from music that is quite different to dance music, but we definitely wanted to shout out a lot of the dance influences that we love,” Henry says. They listened to a lot of Daft Punk and Basement Jaxx as well as The Prodigy (“more rage stuff”), taking songwriting tips from their dance forebears, but also recording bits that felt more like jazz and motown (see: A Place I Belong and the lovely album closer, You’re In Or You’re Out). Emir Taha’s gentle classical guitar runs like a thread throughout Cult Classics, washing into the undertones of the record, tying it all together.

The album follows the beat of a night out, from frenetic, sweaty movement to the gentler winding down as the dawn breaks. At times it is euphoric, celebratory and pure, whirling fun, at others it seeks the joy in the darker emotions that life throws our way. 404 is designed to encapsulate everything about the Joy (Anonymous) journey so far. Skittering beats and ghostly vocals give way to vibrating house chords: sirens blare as we approach a dubstep drop. It’s dramatic and wild, ratcheting up, seeming to settle then hitting you with an intense and frantic breakdown before the ghostly vocal returns to lull us back into the world. It has the feel of a hungry cat playing with a mouse, toying with it before letting it get away.

What sounds like someone playing the spoons on playful, housey How We End Up Here is actually Louis’ restless habit of clicking his rings on everything, one of a myriad of calling cards and easter eggs that day one fans will recognise. They rework Miley Cyrus and Swae Lee’s Party Up The Street into a French-electro-inspired future classic, adding a note of melancholy to a tune that you can imagine hearing blaring from every car on a summer drive. The lyrics on Cult Classic are generally reassuring, inspirational, originally drawn from Henry in stream-of-consciousness freestyles. You’re fine the way you are, they seem to say - the repeated “No need to try” of A Place I Belong, the assurance that “It’s in me all the time” on In Me All The Time. Even the summery but regretful Did You Wrong hints at the growth that is possible from less than ideal behaviour. For Joy (Anonymous), joy isn’t about just being “happy” all the time - it’s about relishing every element of your being.

The name ‘Joy (Anonymous)’ is taken from the work Henry did with Alcoholics Anonymous groups: it is a way to build a community around sharing joy. Their impromptu live sets are known as ‘meetings’; they encourage fans to share moments of joy to their website. They care deeply about the scene they’ve come up in and are determined not to leave it behind. Every show is another chance to reach out and connect with people who love to come together and revel in music as loud as it can go.

Support slots for Fred Again and The Streets, wild B2Bs with Fred and Skrillex, and a set at Four Tet’s Finsbury Park all-dayer this summer have given the duo the opportunity to live out childhood dreams and introduced their infectious live shows to new audiences at huge venues.

With an album as assured and joyful as Cult Classics on the horizon (and a killer collab with The Blessed Madonna coming up), they’re only going to reach higher heights. But the essence of Joy (Anonymous) remains on the South Bank. Between shows at Ally Pally in September, they dragged their camping chairs and gear back down to the banks of the Thames: and it just felt right.

Dead Times is Lee Buford (The Body, Sightless Pit, Manslaughter 777) and Steven Vallot (Muslin). The duo originally began working together in 2008 while living together in Providence DIY space The Sickle, and releasing the early records from The Body and The Assembly of Light Choir on their short-lived Aum War label. They quickly achieved cult status with just two limited releases. Those releases have become highly coveted rarities for The Body fans and those familiar with the world of Providence, Rhode Island"s legendary DIY scene, which gave rise to artists like Lightning Bolt and Black Dice. Emerging over a decade later, Dead Times connects the threads of the untethered extremes of their origins to the mastery of production, composition, and structure each member has cultivated in their time apart. On their debut self-titled full-length, Dead Times present a kind of mesmeric dread, a world of desperate beauty wrapped in sonic venom. Buford and Vallot each bring wells of experience and new skill to Dead Times since their days living together in dilapidated warehouses. The duo"s shared history remains an essential element to their chemistry, but each has sharpened their craft to harness that raw creativity into music that is fearless, poignant and undeniably unique. A band"s band, but not for long. Dead Times, the duo"s first album, is staggering in its ambitions and exquisite in its execution. Lee Buford is known for his prolific work in acts including The Body, Sightless Pit, Everyone Asked About You, and more, alongside numerous collaborations with the likes of Full Of Hell, BIG|BRAVE, Thou, OAA, and Siege Engine. Steven Vallot is known for his collaborative work both musically, and artistically, with artists such as Krieg, The Body, Whitehorse, and Drew McDowall.

Mike Salta & Mortale release their debut album ‘Moloko Island’ on Music For Dreams label. Moloko Island is a getaway where good vibes can float freely. An island where only fantasy set the limits.

It is a collection of tracks, some of which have already been buzzing around the balearic / downtempo scene for a while now. The Album includes the infectious ‘Hey Moloko’ which was picked up by Hot Chip for their splendid Late Night Tales compilation, and the gamers amongst you may have noticed it in the most recent Playstation – Gran Turismo 7 soundtrack. Outro track ‘Bye Moloko’ is a brand new Re-edit of this classic.

The music of Mike Salta aka Gert Nygaard flaunts an eclectic palette, collecting strands from New Orleans funk, 80’s italo disco or Brazilian tropicalia and transforming them into rich and sun-drenched dance music.

The album is produced in collaboration with long-time studio partner Mortale, and is a sumptuous piece of chillout to call on the summer. A full-bodied groove of an album to transport you and soundtrack those sunny days & balmy evenings. Moloko Island concludes a voyage and reconcile an era where electronics and acoustics have been explored and united in the unique sound and vibe Mike Salta and Mortale has strived to unfold

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.