Buscar:ed ed

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The 6 songs that comprise new record Simple Things finally realise Wally's vision for select backing tracks from his beloved Colors Of Silence.

The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has “simply" added overdubs and vocals to their mastered mixes with some discerning edits. Simply put, Simple Things is another slice of simply stunning Wally Badarou genius.

Simple Things has been decades in the making. Indeed, Wally struggled not only with the idea of singing these wonderful songs himself but singing them in English and writing his own lyrics, while wrestling with the sensational backing tracks, which themselves seemed to have taken on a life of their own.

As Wally explained to us: "In addition to the instrumental artist I have been known as, so far, there has always been a singer who simply was not sure he was, up until now. Even though “Back To Scales Tonight”, my very first album, was, indeed, a song album."

Opener "It Couldn't Be You" embellishes the uptempo groove of soca-funk gem "The Lights Of Kinshasa". As Wally explained to us, it's about “a simple love story somewhere, one rainy night, under the lights of Kinshasa. A woman, a man, online dating, quite usual in our times. Then they meet, almost missing each other." The guide vocal Wally had laid for Colors Of Silence - with an organ sound - seemed striving for words in Linguala, a Congolese language he could not speak. Therefore the decision to do it himself was not an easy one, for it had to be in English to fit his singing. We think it turned out pretty good!

"You Can't Hide Always" vocalises Wally's deep concerns set to the propulsive "Smiles By The Millions": "Populism, ostracism, radicalism, ethics and values all turned upside down worldwide, are they all inevitably exacerbated by our social networks? It could all melt down one day, like a house of cards in the ocean of fake news and false prophecies”. Wally wanted to keep the track as bare as possible but, inevitably, the backing vocals and the synth-brass arrive ultimately to present a welcome 70s flavour, with no snare-drum added.

The bright and breezy "We'll Make It Again" adds vocals to "Where Were We", a tropical, reggae-tinged bounce through the islands. Here's Waly: "Where were we when we last said: "I love you"? Simple words to express something quite common, but never quite simple to deal with. A simple song about the resilience of the broken hearts.” The reggae came from it being conceived when Wally was scoring for “Third World Cop”, a 1999 Jamaican action movie.

"Walk Straight Ahead" provides Wally's gorgeous, contemplative and idiosyncratic vocals to the deep serenity of Colors Of Silence highlight, "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. As Wally describes, "it started as just whispers, sweet amber whispers. Then the colour turned darker, as darker skies seemed to fall upon us while the whole world keeps on walking ahead, straight ahead, regardless of the blatant warnings, feeling much too comfortable in conformity. Initially, the verses were to be spoken only. I realised they could be sung all the while, without overshadowing the ethereal atmosphere." Amen.

The serene, celestial "Painting My Life Blue" presents the vocal version of "Days To Wonder". Says Wally, "how does it feel when your second half is gone after decades of riding life together? Past the temporary loss of your bearings, you come to realise you've been blind to the essential, and suddenly you can see...For this most intimate song of mine, I had tried to come up with a melody on top of the existing backing track, long before realising the melody was in the keyboard part already. It just needed to be properly mixed with it."

The profoundly emotional "Just Two Lovers" works up the formerly-too-brief and glorious "Crystal Falls" into a much fuller masterpiece and features acoustic guitar sparkle before fully glistening with some gentle head-nod percussion. Waly explains further: "Dear little green men, please tell me, what is it about us that makes you want to come and visit us so often (contrary to Fermi's assertion)? And here is the reply I believe I heard them sing: "You've got the key you've been searching for: Love”. I reverted to the initial backing track I had made around 1985, which already bore the melody, and which I added acoustic guitars to, before singing it." An astounding closer.

A synth specialist, 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. 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!

When we asked Wally about the significance of this collection's title, he explained: "These are "Simple things” that everyday’s life seems to build upon. The simplest are the harder to describe, but when satisfactorily described i.e. with simple words, they are the more genuine and authentic to express and share. I’ve immersed myself in other classic song lyrics, something I hardly did before, just to appreciate the genius behind the simple words they were made of, and had a great time studying how powerful they were in expressing complex ideas such as love."

Recording was twofold: first, most of the backing tracks were recorded in 2001, in Wally's studio in Normandy, mostly using hardware synths and Yamaha digital consoles. Then, he fine-tuned the melodies and wrote the lyrics in late 2023, then added some overdubs and sang them all during summer 2024. States Wally, "Digital Performer was and remains the DAW I’ve been using throughout, ever since the 80s."

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. 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. Sometimes, the simple things are the most extraordinary.

Introducing OBI02 – Plight of the Gifted EP by TB Shine, the second release on
Dutch-label OBI Trackz.

Operating under various aliases since the early 2000s, TB Shine is one of the many expressions of Norwegian artist Terje Bakke. Plight of the Gifted EP holds five tracks that drift between hypnotic minimalism and raw percussive workouts, told through disjointed rhythms, haunting atmospheres, and layered tension.

The A side kicks off with Dopamine Dungeon—a slippery, low-end-driven roller wrapped in hazy textures and unstable euphoria. The track traps the listener in a quirky haunt, like the title describes accordingly. Red Army Moody Troopers follows with a tougher edge: straight drums, spectral pads, and an undercurrent of unrest. It’s a track that marches forward but never fully lands, suspended in an unresolved urgency.

On the B side, Plight of the Gifted appears in two versions. The original leans into emotional melodic motifs and fragmented structures, evoking both vulnerability and defiance. The Haunted Version strips things back further—bleeding with space, odd grooves, and a kind of post-club phychosis that lingers long after. Closing the EP is Plague Doctor, a slow-burning piece where a hopeful melody echoes and distant percussion round off the release with a sense of closure while being wrapped in a warm blanket.

With Plight of the Gifted EP, TB Shine offers a layered and personal collection— one that walks the tightrope between control and collapse, rhythm and mood. A fitting next step for Obi Trackz: cryptic, cinematic, and carved with intent.

The Coney Island Rhythm Band join the Sosilly gypsy family with their first track 'Dancing Down The Path' feat. Jerk. Together they deliver a party hands in the air throwback any good disco & house fan should know!

''E.R.M.B'—Contemporary disco that oozes funk thanks to its plump bassline and jaunty, clipped pianos, it's augmented by slivers of classic breakbeat goodness, vibrant strings and an earworm vocal hook and ravey piano chords combine in melancholy fashion to provide a dramatic juxtaposition. BIG!

Ben Pest and ARA-U unite for the next release on No Static / Automatic. Kaos Sympatic EP started life with the pair recording jams of various vintage studio kit, including an EMS VCS3, Roland VP330 and an Orgon Systems prototype known only as the “Silver Box”, which developed into full tracks over subsequent sessions. Ben Pest has been busy releasing high grade club tracks including collabs with Radioactive Man and Kursa for Asking For Trouble and Love Love Records last year, and with solo EPs dropping on Cultivated Electronics and Posh End music. Here he links with NS/A boss ARA-U, turning out some of their headiest material to date.

The EP kicks off with ‘Err Hello’, it’s wholly discordant, lairy, and unapologetically weird. ‘‘Get A Grip’ drifts in with hallucinatory wafts of sound over a warped riff, building into a granular, distorted headfuck of a hoover-bass moment. This one will make the subs rattle on the right side of distortion. On the B Side title track ‘Kaos Sympatic’ gets stuck in with a big broken beat and guttural sub that transforms into a techno drop to drive this track home. Finishing up, ‘Slapback’ serves up a cut of high energy electro funk, coming off like classic ERP on heat. Limited edition purple vinyl.

"Quadrilocular EP", Morgan Geist's first 12" record, originally released in 1994 on Metamorphic Recordings is remastered from the original tapes and features artwork inspired by the 1994 edition. A melodic "Midwest techno" classic, Geist composed, recorded and mixed the project on a minimal, tape-based setup in his college dorm room in Ohio. Nonetheless, the sophisticated programming and meticulous mixing techniques that would characterize his later discography were already evident.

Featuring a jacking remix by Curtin, Environ's reissue is mastered from the original tapes and features artwork inspired by the 1994 edition.

“Vox Flora Vox Fauna” is an invocation in which ECE CANLI channels the voice of Earth itself. A ritual of breath, rebirth, bone, and buried memory. Like the most transcendent moments of Dead Can Dance, the soundscapes are primitive, tribal, atmospheric, and utterly cathartic: echoes of a wounded planet, mourning and resisting at once. They unleash the raw force of Gaia, vibrating through ancient rhythms and spectral chants that seem to rise from the soil itself. In an age of collapse, this is music as prayer, protest, and purification, an elemental cry from the Mother to all who still listen. ECE CANLI “Vox Flora Vox Fauna”. Ltd. Edition Album presented in ONE-OFF truly limited edition of 100 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes a printed innersleeve.

Zum ersten Mal werden Klassiker dieser Compilation auf Zoetrope-Vinyl veröffentlicht, darunter ein brandneuer Remix von „Rapper’s Delight“, dem meistverkauften Track in der Geschichte der Sugarhill Gang.
„Rapper’s Delight“ gilt als einer der erfolgreichsten, wenn nicht sogar als der erfolgreichste kommerzielle
Hip-Hop-Track überhaupt. Er gilt als einer der einflussreichsten Hip-Hop-Tracks aller Zeiten und hat Rap
einem breiten Publikum zugänglich gemacht. Zu den von diesem Track beeinflussten Künstlern zählen
unter anderem Jay-Z & Nas, Dr. Dre & Snoop Dogg und Run DMC.

'Transplant Rejection’ is the work of Estonian artist and IDA Radio co-founder Robert Nikolajev, this collection of seven ‘almost’ dark ambient tracks embody the melancholy of autumn whilst hinting at the forthcoming eternal winter. A man with many hats, Nikolajev operates on the fringes of the leftfield house underground for labels such as Incienso, Collect-Call and Sad Fun as well as being one half of the sporadic DIMA DISK act with Ragnar Rahouja. Eschewing the more rhythmic side of his productions for this Muscut tape, Nikolajev taps into the fictional soundtrack atmospheres the label is known for and brings his own brand of wistful, introspective world-building by way of machine harmony to the now Tallinn based imprint.

There’s a lo-fi, grainy quality running throughout the collection, a kind of sepia-toned nostalgia that envelops the listener and disorientates any perception of time or place. Buried vocal fragments sit in the mix on ‘Stifled’ alongside decaying synthesiser drones whilst ‘DDM’ channels an edgy post-rock dirge with its use of sagged bass guitar. Overall, an inspired look into the more ‘at home’ side of this increasingly prolific Estonian artist.

The legendary SHOES crew returns to dance-floors, living rooms & lounges with 4 new edits in a range of tempos and styles. From filtered midtempo breaks laden disco to afro-beat 90s techno and all the way to baby making soul, SHOES are back and in rare form on this one.

Originally a jewel from Sunnyview Records (born from the legendary TK Productions). Dolos’ Night So Right was a slick blend of electronic funk and soul with an unmistakable boogie-disco swagger. Hailed by fans as a “lush, echo-drenched boogie monster” with a “pre-house” edge, it was already dancefloor gold.

Now, Dr Packer breathes new life into the classic, delivering a silky, tension-charged rework steeped in his trademark disco-house finesse. A warm, rolling bassline locks the groove as percussion pulls back, letting Rhodes chords, filtered strings, and subtle guitar licks shine. The result? A masterclass in dancefloor tease and release, pure, modern-classic disco magic.

Initially founded in 2024 by Tantum, as an event series in Berlin, this new label will be the home for the music of its core artists Tantum & Hyunji-A, showcasing their music as well as hosting like-minded musicians. A platform for artists that dare to think differently.
Since our first release is so special to us, we decided to press KML001 as a vinyl, with a special edit to the tracklist exclusively for KMLV001.

A1 / Keep My Letters
What better way to start the label other than a very personal track that embodies our connection through music. We wrote this track in 2024 as a closing track for the first KML event where we hosted Guy J in Berlin.
Originally written in Montreal, we've managed to capture the magic in anticipation of something new. Hyunji-A's intimate Korean lyrics describe what this project stands for. We decided to keep it as close to the original sketch as possible - sometimes things don't have to be complicated.

A2 / Baires
Tantum's long sought-after 'Baires' will be part of KMLV001 as an exclusive gift to everyone supporting the vinyl release. A trippy and progressive track that was made, as the name suggests, in Buenos Aires. Capturing the vibrant feel of the city and the WeAreLost tour that inspired this track. Play it from start to finish, this record will make you move!

B1 / Keep My Letters (Simon Vuarambon Remix)
Simon is a close friend of ours and we could not think of anyone better to remix the title track for the label launch. He not only understands our vision but also puts his talent to use, crafting a soulful melodic twist on 'Keep MyLetters'. We are proud to call Simon our friend.

B2 / Mirror
This track is like the dark, evil twin of the title track. It was our first actual collab track, so of course it found its way on the debut EP . It's a proper secret weapon on the dancefloor. Try it out for yourself if you dare.

Another superb selection of Chicago and Hard Techno tunes from labelboss Manatane and german hard techno
veteran Marco Remus (Nerven Records, Kiddaz)

Carefully arranged jazzy cuts circle the first appearance of the enigmatic Edrift. For sure a future classic to fill your colorful afternoons, or to serve as a tapestry for late night conversations, will most likely end up on your forever loved records. Lovely melodies drift in perfect balance on top of some of the coolest beats. Unpack, throw it on the turntable, and enjoy it in the most relaxed way, as it was intended.

VARIOUS ZBROYI COMPILATION ONE, opens with Orlesko’s break mix—offering a fleeting glimpse into the untamed world we are all part of. The journey deepens with a hypnotic remix by Polish underground heavyweight Gathaspar, pulling us further into its immersive pulse. The B-side shifts the atmosphere. Here, Montreal-based Maurice Giovannini delivers a crisp, clean cut that locks the dancefloor. Closing the release is a beautiful, introspective segment from Mexico’s experimental deep-sound explorer Never Alone In A Dark Room, wrapping the compilation in emotive nuance.

Thanks to the artists and everyone involved in bringing this series to life.

Edition of 200 hand-numbered records, each housed in a custom Rosy womb French paper jacket with letterpress + a unique hand-cut found photo memory fragment on each cover with newsprint insert. Every copy has a different cover.

An archival release by short-lived post-punk, Brooklyn duo Möthersky. Xander Hing, with South African origins, vocals and guitar on Side A, bass + vocals on Side B. Richard Vergez, visual artist and Noir Age label owner, fuzz bass + drums on Side A and guitar + synths + drums on Side B. Played the Nothing Changes party in 2013. Shared bills with acts such as Cindytalk, Black Rain, Eric Random, Das Ding, and Drew McDowall.

Reviewed in The Wire magazine:

First single by this Brooklyn based duo named after the classic track on Can's Soundtracks LP. Their basic approach remains bottom-heavy in the vein of early Factory and 4AD units, but the guitar angles up top have gotten more slithery. Far less doom-ridden than their earlier work, this still stirs up dark waters aplenty. And it has a lovely package of which I think Peter Saville would approve."

-Byron Coley, The Wire

Although it was only reissued last year, that sold out in quick time, so now it lands once more but as a nice coloured pressing of The Mighty Ryeders' delightful single 'Let There Be Peace.' An OG is a rare and pricey collector's item and for good reasons - its scorching funk with big horns and raw rhythms. The B-side features 'Evil Vibrations' by MURO aka King Of Diggin', famously sampled by De La Soul in their brilliant 'A Roller Skating Jam Named Saturdays.' It's another timeless sound that pairs funk and soul into something as likely to get big reactions now as ever, not least because of how silky the groove is.

"CRAZY
SIDE A :
MATT EARLY EXTENDED REMIX
SIDE B :
MATT EARLY INSTRUMENTAL MATT EARLY RADIO EDIT
FORMAT : RED 12” VINYL"

Detroit's MotorCity Wine offers a uniquely histaminergic POV on dance music, doubling as a one-stop wine shop, record label and vinyl store, and in so doing highlighting a real economic reality: music often really does sound best when paired with powerful, sense-boggling beverages. Here they welcome local Eddie Logix for a thematic chuggers' chaiiwala, from the laggard and slap-happy homebrew 'Moonshine Mandala' to the background noisy, bustling B-side blear, 'Brooklyn Street Sunrise', which works street sounds and knowing urban chant-murmurs into a serious post-Afro stew.

Cassette edition of Death Is Not The End's contribution to the Blowing Up The Workshop mix series.

"A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."