quête:el jay

Evening News is the new moniker of instrumental dance group formerly known as Beatnik Collective. A 4-piece hailing from Melbourne's inner north, the band composes house and electronica infused grooves, with influences ranging from Drum & Bass and 2 Step Garage.

In Berlin geboren, aber in der Kleinstadt Bad Salzuflen aufgewachsen, pendelt Mina zwischen den Welten und entdeckt in der CD-Sammlung ihrer Tante Schätze wie Joan As Police Woman und Nina Simone. Soul und Blues, die Hip-Hop-Kultur und die Revolte der großen Singer-Songwriterinnen stehen Pate, als sie an ihrer Debüt-EP ,Jaywalker" (2022) arbeitet, mit der sie als beste Newcomerin für den PopNRW Preis nominiert wird. Von ihrem Vater ,aus Versehen" zur Feministin erzogen - wie sie es einmal in einem ,Zeit"-Interview formulierte - bediente sie sich für ihren Künstlerinnennamen beim berühmten Cher-Zitat ,Mom, I am a rich man". Ihr Solidaritäts-Song ,Baba Said" geht während der Revolution im Iran schlagartig viral und verschafft der Sängerin über Nacht auf dem ganzen Globus Aufmerksamkeit. Das Musikalische mit dem Gesellschaftlichen zu verbinden war ihr schon immer ein Anliegen. Mit renommierten Festivalslots bei dem New Fall, Herzberg und Reeperbahn Festival und Supportshows für Maxim, Anna Calvi und Alice Merton zeigt Mina, dass sie ,mit 25 Jahren schon eine ganz schöne Powerfrau ist." (WDR 5, 2022) Mit ihrem Debütalbum ,Grown Up" stellt sich Mina Richman nun dem Erwachsenwerden. Mit schonungsloser Ehrlichkeit kehrt sie in ihre Kindheit zurück und verarbeitet streitende Eltern, kulturelle Entwurzelung und den gesellschaftlichen, wie auch ihren persönlichen Umgang mit ihrem Körper. Ehrlich. Queer. Selbstbestimmt. Auch musikalisch ist Mina gereift und stellt einen Sound mit Einflüssen aus Soul, Folk, Indie und HipHop vor, zeigt dass Amy Winehouse, Ronda oder die Alabama Shakes nicht spurlos an ihr vorbei gegangen sind, beleuchtet die schönen Seiten des Erwachsenwerdens: Mut und liebe Menschen, die einen begleiten. Das Album ,Grown Up" wird am 15. März 2024 über Windig erscheinen und anschließend auf einer großen Release Tournee vorgestellt.

Fixed Rhythms is proud to release a masterpiece double LP by Texas techno young star, Decoder aka Gautham Garg (as seen on Axis Records, Float Records, Amotik, Molecular, Science Cult, Subsist and more). He also runs the fabulous new imprint Toca alongside Jay York. Fixed Rhythms released a 12” EP entitled “Boulder” under his Cratan alias in 2021, and copies zipped on out the door. Not expecting this to be any different.

This is 8 tracks of hypnotic, bendy techno (with a C1 electro switch-up). You’re instantly transported to the depths of the cosmos within your mind on the first needle drop. User beware, this will hypnotize the dance floor. A track for all moments of the deep dance, with a D2 that ends the double LP with a powerfully optimistic sonic statement.

Mastered by Dietrich Schoenemann.
Design by Nick Owen.
Distributed by One Eye Witness.

Limited edition of 300 copies on black vinyl. Don’t sleep!

Violist, violinist and singer-songwriter Marla Hansen returns to Karaoke Kalk with "Salt", her second full-length album to date. Building upon the sonic palette the Berlin-based musician established with her debut "Dust" in 2020, "Salt" takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen's work and creativity. "Salt" features numerous collaborations with like-minded musicians and friends, e. g. producer and composer Simon Goff, The Notwist's drummer Andi Haberl and the renowned artist DM Stith.

The "Dust" has settled. After having recorded her solo debut of that name, in 2020 the world came to a grinding halt, leaving Marla Hansen left to her own devices in her adopted home of Berlin. For Hansen, who previously had lent her talent to many creative minds such as The National, Sufjan Stevens, The Hidden Cameras, Jay-Z and Ravi Coltrane, the collaborative aspect of writing and producing music had always played a crucial part in finding her own path as a solo artist.

"I started to explore synthesizers and electronic production myself," she remembers of the time when meeting other musicians in person was out of the question. "I am proud that I accomplished many of the electronic elements of the new album by myself, and otherwise laid the groundwork for the final electronic structures through my own experiments. I always wanted to record a 'big' record, one that has a lot of power and sound, and this one is 'bigger' than anything I have done so far."

"Salt" is big, indeed. The opener "Chains" is driven by a gliding bass line, bobbing 808 snares, deep chords and a mesmerizing chorus doubled by luscious strings, marking the beginning of a new chapter in her creative journey. A stark statement, both musically and lyrically. Meanwhile, the title track of the album is an almost abstract sounding ambient miniature, sketch-like, dark and haunting, showcasing Hansen's voice in a shy, brittle and fragile state. If This Mortal Coil/The Hope Blister were ever to record another album, these songs should be high up on the shortlist of tunes to pick. "The One Time" - a duet with Hansen's long-time friend DM Stith - gently meanders between a Philip Glass-inspired piece for chamber orchestra and a vocal ensemble performing on Top Of The Pops. In this range of styles and approaches, Hansen's vision is more present than ever.

For refining and finishing the songs, Hansen turned to Simon Goff, who produced the album and engineered much of the recording, merging Hansen's newly-found songwriting approach with the artistic delicacy which made her debut album an exceptional piece of work. Features include among others: Alice Dixon (Oriel Quartett) on cello, Kyle Resnick (The National, Beirut) on trumpet, Benjamin Lanz (The National, Beirut) on trombone and tuba, and Miles Perkin on bass. And then there is The Notwist's Andi Haberl, who "crafted perfect drum and percussion parts to move the songs wherever they needed to go, either into their driving grooves, slow-build explosions or gentle swells of feeling."

But what are songs actually about? "The themes revolve around a feeling of being trapped. Having to stay inside during the pandemic, with all the silence and stillness coming with it. Simultaneously, I was caught up in a professional situation that was not working for me, yet it required a lot of energy and time. I was thinking a lot about how to break old habits and patterns. Patterns in my life, patterns I saw my friends and loved-ones stuck in. There are a lot of ways that people can be trapped, and breaking out of that requires a lot of courage and energy - on all levels. The title 'Salt' seemed to fit, ocean themes showed up naturally in some of the songs, and I thought often about the quote: 'The cure for anything is salt water: sweat, tears or the sea.' Maybe I was just dreaming of the ocean, since it was inaccessible for the first time! But I wanted a cure for this feeling of being trapped, in a time of uncertainty and anxiety, salt as a remedy seemed to have some truth in it: sweat, tears or the sea."

Perseverance and the urge for freedom prevailed in the end. "Salt" is a bold artistic achievement, with songs as big as the biggest waves imaginable. With melodies as alluring as the most comfortable breezes. Perfect from start to finish.

15 years after their last album of original music, the Robinson Brothers present ‘Happiness Bastards’- their 10th studio album. Some may say the project has been several tumultuous years in the making, but we argue it's arriving at just the right time. Call it brotherly love or music destiny that brought them back together, the highly anticipated record consecrating the reunion of this legendary band just may be the thing that saves rock & roll. In a time where the art form is buried beneath the corporate sheen of its successors, The Black Crowes are biting back with the angst of words left unsaid penned on paper and electrified by guitar strings, revealing stripped, bare-boned rock & roll. No gloss, no glitter, just rhythm and blues at it's very best - gritty, loud, and in your face.

Since The Black Crowes reunited in 2019, they've made a triumphant return to form with over 150 shows spanning 20 countries worldwide, celebrating the 30th anniversary of ‘Shake Your Money Maker’, the album that put them on the map. Upon their return from the road, they knew they needed something new to show for their lost time. The Robinson Brothers and longtime bassist Sven Pipien headed to the studio with producer Jay Joyce in early 2023 and the experiences of years past transcribed themself through the music as the band found their way back to their roots. And it's finally here!

In Berlin geboren, aber in der Kleinstadt Bad Salzuflen aufgewachsen, pendelt Mina zwischen den Welten und entdeckt in der CD-Sammlung ihrer Tante Schätze wie Joan As Police Woman und Nina Simone. Soul und Blues, die Hip-Hop-Kultur und die Revolte der großen Singer-Songwriterinnen stehen Pate, als sie an ihrer Debüt-EP ,Jaywalker" (2022) arbeitet, mit der sie als beste Newcomerin für den PopNRW Preis nominiert wird. Von ihrem Vater ,aus Versehen" zur Feministin erzogen - wie sie es einmal in einem ,Zeit"-Interview formulierte - bediente sie sich für ihren Künstlerinnennamen beim berühmten Cher-Zitat ,Mom, I am a rich man". Ihr Solidaritäts-Song ,Baba Said" geht während der Revolution im Iran schlagartig viral und verschafft der Sängerin über Nacht auf dem ganzen Globus Aufmerksamkeit. Das Musikalische mit dem Gesellschaftlichen zu verbinden war ihr schon immer ein Anliegen. Mit renommierten Festivalslots bei dem New Fall, Herzberg und Reeperbahn Festival und Supportshows für Maxim, Anna Calvi und Alice Merton zeigt Mina, dass sie ,mit 25 Jahren schon eine ganz schöne Powerfrau ist." (WDR 5, 2022) Mit ihrem Debütalbum ,Grown Up" stellt sich Mina Richman nun dem Erwachsenwerden. Mit schonungsloser Ehrlichkeit kehrt sie in ihre Kindheit zurück und verarbeitet streitende Eltern, kulturelle Entwurzelung und den gesellschaftlichen, wie auch ihren persönlichen Umgang mit ihrem Körper. Ehrlich. Queer. Selbstbestimmt. Auch musikalisch ist Mina gereift und stellt einen Sound mit Einflüssen aus Soul, Folk, Indie und HipHop vor, zeigt dass Amy Winehouse, Ronda oder die Alabama Shakes nicht spurlos an ihr vorbei gegangen sind, beleuchtet die schönen Seiten des Erwachsenwerdens: Mut und liebe Menschen, die einen begleiten. Das Album ,Grown Up" wird am 15. März 2024 über Windig erscheinen und anschließend auf einer großen Release Tournee vorgestellt.

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

Arketip Discs is a Barcelona-based vinyl and digital imprint co-founded by Spear and Makuto that has featured music by Reeko, Truncate, Temudo, ORBE and Eduardo De La Calle.
Makuto is the label head from Spain with a growing reputation and who has kept his productions exclusively to Arketip Discs so far. ''Sfera'' is a hypnotic and atmospheric cut with modular accents and tones that morph and expand in sleek style.
A. Morgan is from Manchester, UK and has been establishing his productions with revered releases on the likes of Jay Clarke's Blackaxon, Joton's New rhythmic, Hans Bouffmyhre's Sleaze and Berlin's BCCO. ''Vogue One'' has a stripped-back style and groove focused rhythm with creative sound design and precise percussion highlights.
VIL is known as a core member of the Portuguese outfit HAYES, and has released music on Ben Klock's Klockworks, Ben Sims' Hardgroove, Shlomi Aber's Be As One, and TWR72's Float amongst others. ''The Reaction'' has a shuffling and quirky rhythm with deep, floating chords and electric elements creating a unique vibe.
Also from Spain, Psyk is the Non Series label owner whose back catalogue includes Tresor, Luke Slater's Mote Evolver, Scuba's Hotflush, Reeko's Mental Disorder and Chris Liebing's CLR to name only a few. Psyk's impressive remix of ''The Reaction'' succeeds in expanding distinct electric fragments from the original into a tapestry of organic, modular soundscapes

Extra Characteristics
Printed Sleeve

Directed by David Robert Mitchell, the supernatural horror film It Follows tells the story of a teenager (Maika Monroe) who finds herself haunted by nightmarish visions and the inescapable sense that something menacing is after her. The film was met with much critical acclaim and established Monroe as the movie industry’s newest “scream queen”.

It Follows features a stunning, electronic-driven score, heavy with pulsating synths and dread in equal measure. It was composed by the renowned musician Disasterpeace. This electro, 80s influenced score is a character in itself in the movie, and will haunt the listener long after the film has stopped rolling.

FOLLOWING THEIR RECENT REUNION, THE DELGADOS REISSUE THEIR FOURTH STUDIO ALBUM HATE ON COLOURED VINYL AND CD TO MARK ITS 21st ANNIVERSARY

Ushering in a new era of emotionally vulnerable and cinematic songwriting for celebrated Glasgow group The Delgados, 2002’s Hate is the group’s most ambitious recorded statement to date. Recorded amidst a backdrop of personal change and international crisis, Hate’s internal alchemy transmogrifies darkness into light. It’s an enclosed universe full of tragedy and magic, a swirling galaxy of lush orchestration, misanthropy dealt with kindness and black humour. Above all it showed a band coming to terms with their fragility with a new power and grace.

In Hate, the band’s ambition saw them striving to reflect the breadth of human experience, both the joy and tragedy of living in tumultuous times. Initially commissioned by The Barbican in London to compose music for a film about artist Joe Coleman, the instrumental music that instigated Hate was laden with darkness from the outset. The Delgados’ worldview has always been informed by nuance, an oblique but incisive lyrical perspective but on Hate a new rawness is woven throughout the songs. Coleman’s original subject matter - portraits of troubled historical figures like Ed Gein, Mary Bell and Jayne Mansfield - influenced the tonality of the music but the songs were written against a backdrop of international tumult and personal life changes for the band members. Beginning writing sessions following a family bereavement in drummer Paul Savage’s family, Hate was then recorded while both Alun Woodward and co-singer/guitarist Emma Pollock were expecting new additions to their young families, the latter with drummer Paul Savage. In the background to the recording process were the attacks on the World Trade Center of September 2001 and their aftermath. In this context, it’s remarkable that an album was made at all, let alone one so grand and compassionate. It’s a masterclass in restraint and imagination.

Hate sounds like the world in all its ugly glory. Recorded in Glasgow and New York with Tony Doogan, Dave Fridmann and the band as producers and using over 20 additional musicians, Hate grabs the baton from the group’s breakthrough critical and commercial success The Great Eastern. Bolder, broader and more all-encompassing than anything the band had previously attempted, the album’s palette is furnished by a string section, brass and reed instrumentation, a choir and electronic elements augmenting the core group of Emma Pollock, Alun Woodward, Paul Savage and Stewart Henderson. Far from being over the top, the group’s skill is in attention to detail, in honing and refining each arrangement, allowing each element its space.

It’s a fine balancing act that pays massive dividends. Woodward’s new lyrical vulnerability is spotlighted on tracks like The Drowning Years, which throws elegiac string arrangements against the narrative of characters living in darkness, punctuated by couplets that bring a real-life documentary feel to the narrative. All Rise brings a black comedy to the idea of a confessional before a transcendent, choir-led refrain brings ecstatic resolution to Woodward’s vocal in its highest register. On the single All You Need Is Hate, Woodward’s trick of subverting the Beatles standard showcases the dark humour at the centre of Hate. Here The Delgados’ perversity is in full flow, nurturing a glowing light from darkness, the resolving melody and Fridmann production recalling contemporaries The Flaming Lips (whose Michael Ivins assisted in mixing) or Mercury Rev. The perversity is the surging serotonin induced by the group while singing the lines “Hate is everywhere, inside your mother’s heart and you will find it there. You ask me what you need? Hate is all you need.”

It’s a dark magic that pervades Hate, indeed it’s almost the driving force throughout the album. Flipping minor to major and back again, Favours is fuelled by fear and violence before blasting into the heavens with the gauche line “and you’re feeling fine,” operating in stark contrast to the verses’ tone. Album opener The Light Before We Land finds Emma Pollock in the aftermath of recent family trauma. Her vocal is effortless; a study in steady restraint against the massive, Fridmann-patented drum sound powering Savage’s playing and Henderson’s instantly recognisable melodic basslines. Coming In from the Cold is Pollock in full flight, lifted to the heavens by wide-screen, instrumental texture. Her presence on Hate highlights her knack for lyrical impressionism, the timbre of her voice lending itself to drama while always retaining a mystique. Never Look At The Sun, inspired by the Coleman painting The Big Bang Theory (itself an explosives-themed study), revels in paranoia, her performance ringing out in the eye of the storm conjured by the swirling arrangements. It reaches the peak of a redemptive arc while seemingly parodying the very idea of redemption.

Hate was the sound of The Delgados completely fulfilling their potential, a fully realised vision buoyed by the weight of coming through a darkness into light. For its 21st anniversary, the album is being reissued on the band’s own Chemikal Underground on coloured vinyl and CD. Hate is all you need

Fool’s Paradise is the exciting new label from Toolroom Records’ Mark Knight - that comes straight from the heart, it’s a natural progression from his hugely acclaimed 2021 album release, ‘Untold Business’, which saw Mark go back to his roots, paying homage to the more funky, soulful, and vocal House from the 1990s from where he came.

With a focus on real instrumentation and production, coupled with great song writing, this new Toolroom sub label will be a platform for high quality House music that’s designed to stand the test of time. Launching the new label with a mighty bang and delivering the first in our exciting new vinyl sampler series is head honcho, Mark Knight who joins forces with Australian Toolroom label mate, Sgt Slick and British Soul sensation, Beverley Knight on a dynamite cover of Prince’s 1979 classic, ‘I Wanna Be Your Lover’.

Respectfully transporting the song onto today’s dance floors, Mark & Sgt Slick deliver a classy uplifting soulful house production, loaded with funky guitars, warm pads and sublime key performances. Adding the icing on the cake and putting her own stamp on things, Beverley belts out one of her signature spine-tingling vocals, garnished with lush harmonies and BV’s that would indeed make The Purple One proud!

Completing the vinyl package is Dance music stalwart, Opolopo, and British Soul icon, Jaki Graham, who together bring the dance floor heat with their new single, ‘Fire’. Powered by a potent soulful house groove from Opolopo, loaded with warm piano hooks, emotive synth melodies and a sublime popping bass hook, ‘Fire’ see’s Jaki flaunt her electrifying vocal talents with a show-stopping performance on this irresistibly catchy song.

- I Wanna Be Your Lover reached Traxsource #1 where it stayed for 6 weeks consecutively - Radio support on BBC Radio 2, BBC Radio Cornwall, Hedkandi, Kiss FM, Mi-Soul, Gaydio, Radio 105 / Montecarlo (Italy), Mambo Radio, Rinse fm, Select Radio, Totally Wired Radio, Point Blank, RTE, Power fm (Ireland), Metro FM (SA), Cool Fm, Radio Reverb, Radio FG (France), Release Radio and many more.

DJ support from Husky, Hector Romero, Javi Bora, Grace Bones, Judge Jules, Sebb Junior, Jay Vegas, Odyssey Inc, ATFC, Claptone, Black Legend, Cevin Fisher, Michael Gray, Kisch, Hoxton Whores, Full Intention, Booker T, Jamie Jones, Knights Of The Turntable, Sam Divine, DJ Rae, CASSIMM, Alex Preston

Amazing floaty modern soul / disco goodness out of late 70s Queens, NY. 'Love Is The Same' two brilliant and different versions, both dancefloor fire…

Mark Beiner met Ben Iverson in 1976 when I was 17 years old, at the time he was a junior at Newtown High School in Elmhurst, Queens. Mark had taken a part time job as a Produce Clerk at Walbaum's Supermarket on Northern Boulevard in Jackson Heights, Queens, where I met Ben Iverson, the "Frozen Food Manager."

Back then Mark remembers, 'I was going to work early just to talk to him about his musical background and his time spent in the 50's and 60's with the Ohio Doo Wop Group, "The Hornets", or better known as, "Ben Iverson and The Hornets."'

In 1978 after Ben and I discussed getting together and composing music, I started writing poetry and expressing in writing my break-up with my college girlfriend, Paula. Ben and Mark went on to writing two albums worth of material, which in turn gave us a lot of time and presence on stage at our live gigs.

The regular Coast to Coast Band members consisted of Ben Iverson on Lead Vocals, Rhythm Guitarist and Co-Executive Producer, Joe Crowley, who is known today as "New York Congressman Joe Crowley." Carl (Woody Wood) Morton on Bass Guitar, Jimmy Johnson on Keyboards. Lead Guitarist, Lou Jimenez, currently owns his own recording studio, Music Labs in Elmont, Long Island. On Drums, Eddie Byam, on Alto Sax, Jay Cohen, who in the 70's used to record for "Gary U.S. Bonds." Gary Pevols on Trumpet. On Bone, Scott Burrows, Trumpet player, Steve Becker, along side Neil Levine, Stan Stockley, Tom Russo.

It's the pair you've all been waiting for! FINALLY!

Alan Tew's driving jazz-rock, sleuth-funk masterpiece, Drama Suite Part I is finally reissued to sate your appetites for arguably the very best library two-parter in existence. If you don’t know, get to know. Originally released in 1976 but wonderfully timeless, Drama Suite Part I is at the top of every library funk collectors' list. It's easy to see why...

Racing out the gate, the gritty crime funk of "The Detectives" makes for a thrilling, wild ride. A dramatic action theme, it's packed with strident playing and bags of attitude. There follows 10 (ten!) drama-tinged, horn-heavy, wah-wah-laced, conga-enhanced, synth-riddled links for neat segues and maximum funk fever. "Helicop" is another fast paced and energetic dramatic action background with great breaks and horns. "The Big One (Prelude)" has an ace bassline and creeps along superbly to create expectation and contains an amazing rolling piano loop that just stops you dead in your tracks. It's all building to "The Big One", a driving, dramatic, full-band action with fantastic funk breaks, heavy horns and *that* piano refrain. It was sampled by Jay-Z, and you can't really blame him, can you? The brief, tense "Headlights" and (even briefer) burner "The Burn" add some - you guessed it - deep drama over insistent rhythms to close out Side A.

Flip over for "The Detectives (Slow Version)", a relaxed, thoughtful version featuring synths. You might recognise it as being sampled by Domo Genesis and Evidence for "Tallulah" from their brilliant collaboration a few years ago. "The Detectives (Interlude)" is another slow, pensive version featuring electric piano and a trombone solo in the centre section. There follows 6 further links, Detectives versions essentially, with guitars, electric pianos, flugelhorns - all very cool and relaxed rhythms. The strutting majesty of big-time highlight "The Build Up" is next. It's a medium-slow drama background with occasional light statements of The Detectives theme peppered throughout. Nice. The fantastically-titled "Snout" is a slow, tense background theme which features a repetitive guitar figure with alto flutes over the top. The tense, stabby funk of "The Prowler" rounds out proceedings, with nervous figures over a slow, insistent cymbal beat.

As with all of our KPM re-issues, the audio for Drama Suite Part I 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. We're not quite sure what else to say about this landmark record, other than, GET IT!

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.

When Leo Pesci submitted his outstanding nujazz LP, ‘Impolite’ to Jo at Ramrock Records, there was absolutely no hesitation in saying ‘yes please’ to his refreshing, contemporary collection of tracks which aim to transcend the limitations of genre and speak out on matters that are unpalatable and difficult to swallow. Leo addresses current global issues such as politics and corruption, climate change and overpopulation, capitalism and the misery it brings to society, but also toxic masculinity and relationships.

This is Leo’s first new release since his highly acclaimed EP ‘Community’ in 2021, which featured well-known artists of the London jazz scene like Jas Kayser, Ella Knight, Nicola Guida, Johnny Woodham, Simon JNR and Dani Diodato amongst others. ‘Impolite’ continues


to steer the listener through Jazz, HipHop, Soul, Alternative R&B and Rap with some exceptional collaborations featuring 15 different jazz/hip hop artists including Jackson Mathod, Moeazy, John Swana, Dylan Jones, Jay Phelps and Tendayi to name but a few.

Gonzalez Smith's debut album: "Roll Up A Song" is an album of classic popular songs with music by Jay Gonzalez and lyrics by Pete Smith. Best known as the guitarist/keyboardist for rockers Drive-By Truckers, Jay's musical tastes range from 'baroque' to 'A.M. Gold' and 'power' pop. His collaborations include local pop legends The Possibilities, power pop stalwart Scott McCaughey (The Young Fresh Fellows), and performances with Chris Stamey of The dB's and Bill Berry of R.E.M. Pete Smith, acclaimed lyricist, made waves with his contributions to the legendary jazz composer Gary McFarland's album "Butterscotch Rum". His journey led him to comedy writing for Adult Swim's animated shows. Classic pop composer Brent Cash's exceptional string arrangements elevate the album's depth and emotion, enriching Gonzalez and Smith's melodies and lyrics. Jay Gonzalez and Pete Smith are like a modern day Bacharach/David, if Burt spent his nights tearing it up with one of the best live rock bands in America, and Hal was a writer for Space Ghost Coast to Coast and The Brak Show. Their debut album as Gonzalez Smith, "Roll Up a Song," is a seamless fusion of power pop, piano ballads, bossa nova, and pure spun sugar confection. Jay brings the same multi-instrumental compositional skills found on his first three solo albums, and Pete pens lyrics by turns honest, romantic, arch and comedic, sometimes in the same verse. The results are so stellar, it's a shock to find out that the Drive-By Truckers guitarist/keyboardist and the Adult Swim comedy scribe haven't been writing together for decades. Arriving in December 2023, via Bobo Integral Records, "Roll Up A Song" transcends eras and genres. It's a harmonious journey, uniting melodies and lyrics into a timeless masterpiece. Get set to roll up the music, immersing in captivating soundscapes.

Calibro 35 unleash the new OST for the second season of TV series BLANCA, to be released on limited edition LP on December 1st 2023.

Italian cinematic cult outfit CALIBRO 35 announces the release of the ORIGINAL SOUNDTRACK of the second season of BLANCA, the TV series produced by Lux Vide in collaboration with Rai Fiction, broadcast in prime time on Rai 1 starting from Thursday, October 5th 2023 and directed byJan Maria Michelini and Michele Soavi. The soundtrack will be released worldwide on limited edition, crystal clear LP next December 1st via Milan based label Record Kicks.

The new thrilling episodes of Blanca Season 2 follows the success of the first season, that was aired worldwide on Netflix, M6 France and Telecinco Spain. Accompanying the journey is once again the original music of CALIBRO 35 the Italian "cult" cinematic combo active for over 15 years and with a fan base that includes superstars such as Dr.Dre, Jay-z and Damon Albarn. Made up of 20 tracks in total, the OST was entirely composed by CALIBRO 35 that created the sound universe of BLANCA: an impressive and choral work, which has engaged all the components of the band for a long time, giving the them the opportunity to develop a very vast soundscape.

"It's the first time that we deal with the creation of a 'season 2' and we discovered that the creative process can be very different" Calibro 35 says. "In the first season, we had to build from scratch a sound and musical world consistent with the idea that Jan had (Michielini, director and showrunner of the series); this time, however, we had to develop that already existing world further, in order to describe the new stories and new different characters of the second season. There had to be undiscovered musical territories, that forced us to step out of our comfort zone." The result is that on the 20 tracks of the ost, the heavy dose of Calibro's signature funk grooves of tracks such as "Badanti, "Carignano", "Cambio di Stagione" or "Sampierdarena" is mixed with more moody and soulful tunes, world music, opera and atmospheres à la John Carpenter. Amongst the album's highlights worth definitely a mention the Opening and End titles that feature the voices of Arya, MEI and Tahnee Rodriguez. Essential contribution to the recordings were made by Francesca Biliotti - mezzo soprano of the Monteverdi Choir, Valeria Sturba - exceptional multi-instrumentalist of the avant-garde music group OoopopoiooO, Rahma Hafsi and Elisa Zoot.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré. The BLANCA OST is the latest of many activities concerning cinema for CALIBRO 35: the band has been completely immersed in the world of soundtracks since the very beginning and they have recently worked on other productions as well, both as Calibro and individually. Last June, the band released their 8th studio album, NOUVELLES AVENTURES, recorded in Naples at Auditorium Novecento. With the new LP the group has made full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

Late Night Tales reissues the classic and hard-to-find
‘Late Night Tales: Jamiroquai’, compiled by none other
than Jay Kay himself. The 10th edition of what is now
a classic series of compilations was originally released
20 years ago, and hasn’t been available on vinyl for
over 15 years. A blissful collection of soul, disco, jazz,
rare groove, and funk, this collection is an electrifying
journey through the aural influences of one of the UK’s
most seminal jazz bands.
Jay Kay showcases a wealth and breadth of inspiration
that wouldn’t be amiss on the late-night dancefloors
of the Loft (or Giant Steps, for that matter). From The
Pointer Sisters’ uplifting and soulful ‘Happiness’ and
jazz funk legend Johnny ‘Smith’ Hammond’s ‘Fantasy’
to the anthemic ‘Stay Free’ by Ashford & Simpson and
mellifluous ‘Music Of The Earth' by Patrice Rushen,
these two discs form a rite of passage into the creative
mind of a true musical legend.