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'Legend' is lofty praise that is often used lightly, however, Mike D from the Beastie Boys certainly is one in the truest of spirits. We are delighted after over 30 years of being involved in music to finally release a project involving such a hip-hop pioneer and icon as Mike. In keeping with the maverick attitude of the Beastie Boys, you don't always get what you expect. For this release there isn't a hip-hop beat, instrumental-funk or hardcore-punk joint in sight, rather an electronic-African club banger.

Mike took it upon himself to rework Malian artists Idrissa Soumaoro and L'Eclipse De L'I.J.A. and their track ‎’Nissodia', which is taken from the 'Le Tioko-Tioko' album originally released in 1978 on the German Democratic Republic (GDR) label ETERNA. The song was also featured on 'The Original Sound Of Mali' compilation released on Mr Bongo back in 2017.

It was November 2019 and the day before a Mr Bongo 30 years celebration event in Paris at the Pedro party in the 'New Morning' club, when out of the blue the remix landed in Dave Mr Bongo's inbox. We loved it straight away and decided to road test it the next night in the club. Whether it be a remix/re-edit/rework, it doesn't matter, what does matter is that it works spectacularly in the club and had people jumping on the stage to dance at the party. A sensational track and one which leaves a beautiful memory of good-times from a night out in Paris (and one which is in retrospect is even more poignant as the late-great maestro Tony Allen was in the club that night), and we are sure it will light up many more dancefloors to come.

Alexis Cabrera debuts on FUSE sister imprint Infuse as he releases his four-track ‘Acidity’ EP.

Argentinian born, Berlin-based producer and live act Alexis Cabrera has emerged as one of South America’s finest electronic music exports with a string of stand-out releases via the likes of Raum…Musik, Moscow, Yaji and Salty Nuts over the past few years alone. A co-founder of Fun Records alongside fellow Argentian Barem, Cabrera’s sophisticated, groove-heavy sound combined with his impressive live performances have seen him take to world renowned venues such as Watergate, Tresor and Hoppetosse in his adopted hometown, and September now welcomes another ‘feather in his cap’ as he makes his debut on FUSE sister imprint Infuse to deliver his four-track ‘Acidity’ EP.

Taking cues from its title, lead cut ‘Acidity’ unveils a bubbling acid-driven production guided by sweeping synths and slick drum licks, whilst ‘Bulevardò’ journeys through warping electronics, shuffling percussion and off-kilter vocal murmurs to offer up a twisting, hypnotic ride. Next up, ‘Tocado’ introduces an infectious medley of organic drums, resonant bass melodies and icy hats, before closing proceedings via the jazzy chords and funk-heavy bass licks of the infectious ‘Esa Vaina’.

Prolific American artist Jon Hester returns to Rekids for the first instalment of his new album, ‘Converge’, this September.

Jon Hester grew up in the Midwest US, living in Chicago and Minneapolis while taking musical cues from Detroit. Initially he was a dancer, and later transitioned to the decks with a refined understanding of what it takes to move a club. He progressed to hosting his own events, holding residencies, and working at a record shop, and now brings his physical rhythms and adventurous drums to his productions, with output on respected labels such as Transmat, Deeply Rooted, Dystopian, Klockworks, and LET Recordings, not to mention multiple appearances on Rekids.

Continuing to show fine form on his debut album, Hester now serves up eight of his signature house and techno fusions with plenty of his trademark directness across four sides of vinyl. The superb 'Sending Signals' opens the album with scene-setting synth modulations full of sci-fi atmosphere. It's the calm before the storm as 'Metropolitan' then immediately sets off on a cantering groove that is eventually run through with busy, jazzy piano keys that bring the soul.

'Haze' has excellently taught kick drums with hypnotic synth tones adding colour, and features Hester on saxophone. When 'Rain' comes, things grow darker and more menacing, with shakers and urgent stabs keeping you moving at a slick pace.

The second half of this compelling record features the loopy punches and pulses of the super smooth 'Dreamstate', beautifully cosmic and widescreen techno of 'Free' and pensive but urgent deep electro of standout cut 'Flex.' Last of all, 'Equinox' is lit up with distant chords which bring a far-sighted gaze to the rolling, robust kicks.

VENT’s 21st release, a remix EP edition of 120 copies all hand numbered with a risograph printed cover, sees the collaborative works of 2019’s Kına LP by MAYa & Tolga Baklacioglu (VENT017) being reinterpreted through the lens of four prolific remixers. Each has brought their own perspectives and experiences to the table, challenging and redefining the original versions in their own way. Palestinian producer Muqata’a, for instance, has taken the track “Jyoti”, a track dedicated to Jyoti Sing, who was gang raped and murdered in India, reconstructing it so as to emphasize the continuous violence against women, whereas Martial Canterel has universalized the notions of yearning for a homeland in his remix. As a release featuring a broad range of bold and uncompromising remixes in different styles, the themes of nostalgia and yearning helps each remix highlight the qualities of the others. As keys to decrypt each remix more carefully, the artists have provided their brief comments, below:

Silent Servant (legendary dj/producer):

"I tried to give this remix a different approach than what has been my usual. Something based on perceived nostalgia but mixed in a modern way. I wanted it to feel like a lost RMX for the Hacienda from 1984 but hit in a modern club standard.”

Martial Canterel (cult poster boy for 21st century minimal synth):

"In approaching the work of my very dear and old friend, Maya, and her collaborator, Tolga Baklacioglu I wanted to situate differently the atmosphere and longing, to word it entirely otherwise. I wanted to dramatize this yearning for home and homeland, what the Welsh call Hiraeth. I want to place her plaintive strivings for home and tranquility in a festival of upbeat rhythms and releases."

Muqata’a (Palestinian beatmaker):

"It was very interesting remixing this powerful piece, working with the concept and different elements of the track, 'Jyoti', creating a more loop-based structure in an attempt to represent repeated violence against women."

Decimus (uncompromising esoteric artist):

"What I find amazing about the original version of this track is how colossally monolithic it is. It shifts and morphs over its 13 minutes but it never relents in its intensity and density. It feels epic and gigantic. I chose it to remix because I saw it as a challenge to carve something quieter and perhaps more narrative, in form, out of it while trying to stay true to the intensity of the original."

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- ALBUM FEAT. SKRILLEX, EXCISION, DATSIK, NOISIA,
KILL THE NOISE, AND 12TH PLANET
- FIRST TIME ON VINYL
- LIMITED FIRST PRESSING OF 2.500 INDIVIDUALLY
NUMBERED COPIES ON COLOURED (SILVER AND
BLACK MIXED) VINYL

The Path of Totality is the tenth studio album by American nu metal band Korn. Originally released in 2011, the album finds Korn shifting gears and exploring new territory.

On The Path of Totality band collaborated with some of the leading dubstep and electronic producers in the world, including Skrillex, Excision, Datsik, Noisia, Kill the Noise, and 12th Planet. This resulted in something completely new, yet utterly and definitively Korn.

The title The Path of Totality refers to the fact that in order to see the sun in a full solar eclipse, you must be in the exact right place in the exact right time,' Korn frontman Jonathan Davis explained.

The album includes the singles Get Up!', Narcissistic Cannibal', Way Too Far' and Chaos Lives In Everything'.

The Path of Totality won Album of the Year at the 2012 Revolver Golden Gods Awards. This was Korn's first victory at the Golden Gods Awards, a ceremony that celebrates the best in hard rock and heavy metal music. Korn was also inducted into the Kerrang! Hall of Fame during the 2011 Kerrang! Awards.

Available on vinyl for the first time, the first 2500 individually numbered copies are pressed on coloured (silver and black mixed) vinyl! Strictly limited!

Rickard Jäverlings music can deservedly be described as playful and searching but for that sake not fumbling or too loose around the edges. On Album 4, the second album release from Jäverling on Höga Nord Rekords, he dwells more in dub than on his prior album release, and Jäverlings skillful songwriting is carried smoothly by the soft and fluffy production: the rhythm section sounds as if resting upon a sun warm bed of moss and elements flows in and out of the production like a freshly rippling stream of water deep in the summer forest. Echoes shoots through the pines, the hills and the valleys and makes the album a premium dub experience which dominates large parts of the album.

Aside the obvious references to nature that comes in mind listening to Jäverlings music, this album is more than a romantic view on the Swedish wilderness. It flirts, like all quality dub from the seventies and eighties with science fiction and space with broad synthesizer sweeps and delay drenched clouds like imploding and exploding stars somewhere in the outskirts of the Milky way, spreading dust over the Swedish forest. On the final three tracks, Ganjaman_72 takes the album out of the galaxy with spaced out-remixes on some of the songs.

With his feet steadily grounded in jamaican music tradition whit a non sentimental and curious view on production, Rickard Jäverling have together with Johan Holmegård (Dungen, Goran Kajfes), Andreas Söderström (ASS, Goran Kajfes) och Ganjaman_72 created the natural follow up to Album 3.

"Imagine the opposite of a snake shedding its skin: a body slithering among the debris of 21st-century music; a porous, viscid body, its skin an adhesive, lodging onto itself bits and pieces along the way. Some are scraps, rusted, discarded parts. Some are the jewels of crowns, unglued and fallen from grace, now re-attached on this makeshift contraption. Where does a body end? Does it end where these prostheses begin?

Jay Glass Dubs’ Soma (“body” in Greek) is a palimpsest. Look closely and you can find all sorts of DNA microarrays on the body’s skin – Bristol voices, Detroit electro hums, the amen break, the all-encompassing dub haze – but, as with all palimpsests, they are simultaneously one and a multitude. The body lives, its prostheses live.

The body moves."

"Lugar Alto's newest project is the idiosyncratic album MUMIA (portuguese for MUMMY). Never released before, it is a work that was originally recorded on cassette and combines elements of post-punk, industrial and ambient music.

Kodiak Bachine and Celso Alves formed the ephemeral and eponymous duo in 1988. The partnership resulted in a single recording derived from improvised sessions using minimal amounts of electronic equipment at Celso's country house, located in the interior of São Paulo.

Bachine was an important figure in the São Paulo underground. His most renowned project was the band Agentss from 1981, which also consisted of Miguel Barella, Eduardo Amarante, Elias Glik and Lyses Pupo (later replaced by Thomas Susemihl). In its brief duration, the band released only two seven inches that were considered seminal artifacts in the Brazilian post-punk scene: “Agentes / Angra” from 1982 and “Professor Digital / Cidade Industrial” from 1983. These two rare records are highly sought after by collectors and DJs from around the world for their inventiveness and originality.

Similar to Agentss, MUMIA brings with it extreme authenticity, managing to extrapolate the barriers of more traditional Brazilian music and interact with unorthodox elements. The lyrics are a mixture of Portuguese and English and it is still possible to identify picturesque fragments of Spanish, French and German. In addition, sonically, the record portrays aesthetics from the eighties and dialogues with themes relating to LSD. Another notable feature is the fixation on Egyptian post-mortem themes, providing a cinematic and lysergic experience of the desert landscapes from the African country.

It is a recording with comic passages which provokes an unpretentious reaction from the listener. However, it still has more ethereal and atmospheric moments, such as the opening song “Ave do Deserto”. In the final two tracks, it is possible to enjoy a darker MUMIA, which with “Massacre da Serra Elétrica I” and “Massacre da Serra Elétrica II”, provide a sound experience capable of accompanying intense scenes from the macabre productions by Tobe Hooper and George Romero.

The striking new artwork was created by the Sometimes Always studio, a partner of Lugar Alto and responsible for diverse graphic collaborations with artists, venues and parties in Brazil. The album, mastered by the prolific Arthur Joly, also has a booklet containing Kodiak’s texts in Portuguese and English, in addition to the lyrics, which serve as a logical exercise for further understanding of the album.

MUMIA was unearthed by the renowned Brazilian DJ Millos Kaiser, who in addition to kindly curating this album, put together the compilation “Onda de Amor: Synthesized Brazilian Hits That Never Were (1984-94)”, released by Soundway Records.

Now, after 32 years in its tomb, the MUMIA has risen and thanks to Lugar Alto it can finally be celebrated and appreciated."

“After a banner year that witnessed Lafawndah release her first album Ancestor Boy, the debut of her soundsystem Fara Fara, and further incursions into film, contemporary art and fashion, the ceaseless artist returns with another plot twist: The Fifth Season.

Inspired by her encounter with author NK Jemisin’s Broken Earth trilogy, Lafawndah both pays homage to and extends further the elemental, emotionally charged myths of Jemisin’s books. These are stories where a broken heart can tear apart a continent. In contrast to the precision- tuned industrial productions of Ancestor Boy, The Fifth Season breathes a different kind of volatility. Inviting a new degree of spontaneity and freedom into her process, Lafawndah’s collaborators - Theon Cross (tuba), Nathaniel Cross (trombone), Valentina Magaletti (percussions), and Nick Weiss (keyboards) - encircle her confrontational character studies with iridescent, cinematic chamber-bass moves.

These are torch songs for when it rains ash, creation ballads for when the earth turns inside out. Ghosts of Art Ensemble of Chicago and Rahsaan Roland Kirk color the air, yet Lafawndah’s mastery of pop songcraft, vocal production and razor-honed clarity of purpose cut through. In addition to the Lafawndah originals, The Fifth Season features interpretations of hybrid-folk godfather Beverly Glenn Copeland’s “Don’t Despair” and acid-impressionist prodigy Lili Boulanger’s “Old Buddhist Prayer.” Album highlight “You, at the End” deploys a poem by poet-performer Kae Tempest to aching, rift-tearing ends, and french dream-trap wraith Lala &ce features on “Le Malentendu”.

The Fifth Season anchors Lafawndah as a descendent of forebearers Brigitte Fontaine and Scott Walker - a born theatric whose acid humor warps the sub-continental undertow of her emotive storytelling. Lafawndah’s elementalism on The Fifth Season finds her imagination more agile than ever, and recent live shows have evinced a drive to push these compositions further out, deeper, and more aflame.”

Mysterious and masked techno talent Paul Villard unveils more of his musical weaponry on the Lone Romantic label this August.

Nothing is known about this artist but from the fact that, “strange and unusual superhuman powers and abilities” came to him after a “gamma accident.” He has released on Blind Allies and Applied Research, remixed Carl Finlow and is a producer with a cinematic electro sound.

Futuristic opener 'Side Effects’ is a bumping electro cut with a stuttering drum pattern and squelchy synth funk from another planet. ‘Submarine Limousine’ keeps up the cyborg styles with a crisp electro groove that is run through by sci-fi vocals and effects, while ’Fluid Dynamics’ is all watery synth droplets and fractured vocals panning about the mix. Taught bass stabs keep you on your toes and make for an otherwordly robot disco vibe.

The second half of this well-crafted EP starts with the glowing pads and creepy atmospheres of
‘Bioluminescence’, a classic Drexcyian electro jam that charges hard and deep into the cosmos. ‘Neon Death’ is an explosion of coruscated synth lines and bumping bass, tripped out machine sounds and warped electro-techno before closer ‘C.A.R.R.I.O.N.’ zones you out with intense ambient pads and modulated synths that are restless and paranoid.

With this majestic EP, Paul Villard paints and vivid picture of some distant interplanetary world.

Repress!

For its second release, Radiant Love sticks to family values. Paying homage to the party and label’s co-director and resident Byron Yeates, Byron’s Theme comes from the likes of Vani-T (one half of Berlin’s forceful, femme party Climax) and D. Tiffany (who threw down a ruthless remix on the label’s first release by Fio Fa). Together, they take the name of Pillow Queen – a semi-pejorative term for the kind of sub who expects to receive pleasure like a well catches rainwater. No reciprocation, just a reign of sexual passivity.


Their tracks, however, give plenty. “Byron’s Theme” presents a rich palette in its 2-minute buildup: a dry trance hook, high-end synths buzzing and wavering, pitch-shifted voice samples and a pan-flute ran through with tremolo. Throbbing, the 303 bassline picks up after a breakdown at the 4-minute mark, and only then does one realise the song’s still building. There’s still room in the last 40 seconds for some percussion modeled on a breakbeat loop – which is to say, the track is incredibly cheeky and hard-hitting – all that I would hope for in any lover.

While the EP’s first track feels wide, rangy, “Estrel Nights” opens the EP’s B-side in a much closer, tighter space. The build is percussive: bongo taps, claps, cowbell; then a hi-hat snaps things into shape, and in lopes the kick drum. And rhythm remains the central player here. It’s not until 3 minutes in that the percussion finds a melodic backdrop – a dreamy, detuned pad, choral, like a moan.

Ex-Terrestrial’s remix of “Byron’s Theme” repositions some of the elements and ratchets up the tempo of the original, but maintains its respiration: the energy and erotics flow into a different structure, closer to traditional trance, with sharp hi-hats and loopy arpeggios that phase in and out of syncopation, measure to measure. Diagonal, we incline to a climax that dizzily plateaus at 6 minutes, de-escalates and breaks down over the next 2, glows until it’s just a kick drum, slower, slower still; we’re catching our breath.

Best before 2021 is a compilation of break tracks bringing together producers from different emerging electronic music scenes. Paris, Geneva, Tbilissi & Saint Petersbourg’s finest underground artists presenting what they do best : Sexy disco samples, low, distorted 808 basses & kicks marked with rolling break loops.

This collaboration hits a new step in the Sample Delivery catalog aiming to open up the label by showing diverse artists from across the globe.

If you haven’t heard of SD before, you can’t miss on us this time. Grab your copy and run that shit worldwide. Peace, Stay Safe

We are thrilled to welcome Phaction back to the label for a follow up to last years debut Metalheadz EP, one which garnered support far and wide.

This time jumping over to Metalheadz Platinum for the 'Ubiquitous EP', Phaction has conjured up 4 uncompromising solo cuts that combine his passion for creativity and discernible production talents. The Cypriot-born producer has taken the word 'ubiquitous' quite literally with an overarching soundscape bound to fit the dancefloor as much as anywhere else, constructing a body of work that impresses from start to finish.

Barcelona to Brooklyn via UK: following two very special releases from Beartrax, for their third release (and second of 2020) hot new NYC label Melodize welcome one of Spain’s most consistent electronic ambassadors, Factor City co-boss Undo, and Cin Cin bossman Fort Romeau for remix duties.

Hot on the heels of his stunning ‘Dark Woods’ EP earlier this summer, Undo comes packing some stunning electronic tackle. Sitting somewhere between Border Community and Underworld, both cuts are lavishly layered as myriad synths bubble and ripple away in their own little co-existing worlds.

Baggy, charming and just nicely off-grid, both sides of the coin can be flipped; those looking for a darker jam will be all over ‘Sixty Days’, a powerful cut where the basses melt into swaggering loose kicks. Need things even darker? Then jump on Fort Romeau’s remix where the kicks are cemented into place with a stark acidic twist.

Meanwhile those of us hungrier for more of a cosmic head trip will find serious pots of gold at the end of the rainbow that is ‘Just One Day’. A twinkling, shimmering odyssey, tracks like these don’t come round all that often. Melodize realise total bliss once again.

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend, and Listen To The Wind, his iconic debut album, is simply a superb modern-soul/boogie album. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay was also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Given his decades of work behind the scenes, it’s no surprise that it took until 1982 for Caiphus to get around to putting out the first album of his own. But all that experience shows. Listen To The Wind is a deeply impressive synthesis of early 80s US production and instrumentation together with his traditional South African musical roots.

It’s stylistically diverse but the ingredients are never diluted. There are elements of boogie, soul, funk and jazz, all shot through with pan-African flavour, and moving effortlessly from uptempo floor fillers to more meditative, slower soulful tracks. Produced by Caiphus himself, he makes full use of a stellar line up of session musicians including Nathan East, Michael Stanton, Sonny Burke and Paulinho DaCosta. And of course, there are Letta’s show-stopping vocals. To our ears, Listen To The Wind is just one big party, and lord knows we need that more than ever right now.

Opener “Angelina” is one of Caiphus’s most beloved tracks at Be With HQ. It’s a breezy, feel-good SA boogie-funk classic. Harmonic and horn heavy, it sounds as fresh today as it would’ve done in the early 80s. If this one doesn’t make you move, you may need your pulse taking. The drum breakdown alone, a little over halfway through, is sensational.

It’s followed by the gentle reggae lilt of “Play With Fire”. A real melodic slo-mo delight, carried by the tropical vibes and, above all else, by the extraordinary performance of Caiphus himself and his backing singers.

Closing out side one, the spectacular “Umoya” is driven by triumphant horns and slick bass. With its proto-Graceland vibes, we reckon Paul Simon must’ve been listening. Hard. Caiphus trades verses with the unmistakable tones of Letta, and it sounds divine. Yes, it’s as good as anything on Letta’s canonical In The Music… The Village Never Ends. A wide-eyed wonder, made for unity and togetherness, it’s all infectious, smiling faces for nearly nine minutes. But never mind nine, we could party to this for ninety minutes and “Umoya” would leave us re-energised for ninety more.

Elegantly firing up side two is perhaps the album’s best known track. “Without You” is a heavenly slice of modern soul, an end-of-nighter to end them all. Smooth strutting, disco-fied funk with that unmistakably South African sound, it’s just sublime, with those lyrics that keep coming back to smiling faces and community, “without You the sun won’t shine”. Big with the likes of Rush Hour’s Antal, this is aural perfection.

“Ziph’inkomo” is a soul-soothing, swooning epic. Gently building throughout, its final few minutes are genuinely stirring as the backing vocals and instrumentation swell. Jaw-dropping. The irresistible groove of frantic, percussive workout “Gumba Boogie” closes out what must surely be one of the greatest artistic statements of the 1980s. If his friend Quincy wasn’t feverishly taking notes for Thriller, then you could’ve fooled us.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The cover art, as breezy as the music, has been faithfully restored. All that’s missing is you.

Marilyn Manson returns with his eleventh studio album WE ARE CHAOS via Loma Vista Recordings. Co-produced by Manson and GRAMMY® Award winner Shooter Jennings Brandi Carlile, Tanya Tucker, the ten-track opus was written, recorded, and finished before the global pandemic. Manson heralds the record’s arrival with the title track and lead single “WE ARE CHAOS.”

Manson’s painting, Infinite Darkness, which can be seen on the album cover, was specifically created to accompany the music. His fine art paintings continue to be shown all over the world, including gallery and museum exhibitions from Miami to Vienna to Moscow.

Manson says of the album, “When I listen to WE ARE CHAOS now, it seems like just yesterday or as if the world repeated itself, as it always does, making the title track and the stories seem as if we wrote them today. This was recorded to its completion without anyone hearing it until it was finished. There is most definitely a side A and side B in the traditional sense. But just like an LP, it is a flat circle and it’s up to the listener to put the last piece of the puzzle into the picture of songs.

“This concept album is the mirror Shooter and I built for the listener - it’s the one we won’t stare into. There are so many rooms, closets, safes and drawers. But in the soul or your museum of memories, the worst are always the mirrors. Shards and slivers of ghosts haunted my hands when I wrote most of these lyrics.

“Making this record, I had to think to myself: ‘Tame your crazy, stitch your suit. And try to pretend that you are not an animal’ but I knew that mankind is the worst of them all. Making mercy is like making murder. Tears are the human body’s largest export.”

7"
On the A side we find the track “Livity" written and produced by Ojah who has played the melodica on this one as well. It was first recorded as a dubplate in 2013 but the recording itself was a bit rough, and since a few of the Alchemy Dubs team’s members where insisting on putting it out as part of the Melodica Trilogy, the melodica was re-recorded again in 2016 (as well as some of the percussion) and the track was given a new mix and new dubs.

On the B side we find a very stripped-down dub version that breaks the original structure and brings to the foreground elements that were part of the background before, and that features heavy manipulation of the analog fx, performed and executed live in one take by Ojah at Alchemy Dubs Studio.

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

We present to you our eleventh release on 7” format, a collaboration between Ojah and UK singer Dan Bowskill, a.k.a. Danny Vibes.

The A side contains the track “Rebels”, a modern roots vocal performance by Dan over a new steppers riddim. These lyrics first appeared on his collaboration with Russ Disciples in 2014 and is now given a completely new perspective and delivery over this riddim.
On the B side we find a dub version as usual, in this case an instrumental dub,
mixed live in analog by Ojah at his studio in London.

Rabo & Snob explore the forgotten jams from the outer limits of their city Tel Aviv's music scene in the 1980's on this super fine EP.

While the sounds of new wave and synth wave mainly dominated in the clubs of the city at that time, some artists also experimented with Italo music.

On this EP Rabo & Snob pay tribute to those early pioneers of a new and different Disco-inspired electronic sound, and sprinkle some of their own magic dust upon it to make it both interesting and fresh.

Enjoy the trip.