Buscar:jus

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

Particles of the oxymoron walking on a basalt canal, dazzled by the riot’s rays stilled, yet unsure.

A telepath counts the voices, a transparent monk whispers; and a silver nettle-bush dances, shivering in its quiet flame. All creatures born of love belong to Quanteen. W&P and produced by MYKI Vocals on Quanteen by Yaara Haim Artwork by O.neblina Mastered by Justin Drake Manufactured by KPM Distributed by KMA60

Jazz-fusion, disco-funk, Latin jazz and batucada rhythms get the Filipino treatment onAfter Midnight, the sublime second album from keyboardist Boy Katindig. Originally released in 1980, After Midnight draws heavy influence from soul and funk contemporaries in the US as well as Latin America, in particular the famed Brazilian percussionist Paulinho da Costa.

It’s a testament to his musical prowess that Katindig weaves effortlessly between styles and tempos. His reverence for Paulinho da Costa extends far, with covers of several songs from the latter’s 1979 Happy People album. This includes slow-burner ‘Déjà Vu’ written by Isaac Hayes originally for Dionne Warwick; on the Filipino instrumental version, local legends Jun Regalado and Roger Herrera (from Regalado’s ‘Pinoy Funk’ single) are reunited on drums and bass respectively.

But Katindig’s original compositions hold just as much weight and unique personality: title track ‘After Midnight’ opens with a sultry funk serenade reminiscent of The Isley Brothers, and quickly transforms into a catchy, blistering, saxophone chorus that brims with swagger. Hidden B-side gem ‘Got The Need’ is an uptempo tribute to batucada that would not be out of place in a jazzy house set, and boasts increasingly elaborate and psychedelic solos from Katindig on keys and Ben Concepcion on soprano sax.

Meanwhile, ‘Love Till the End of Time’ is a masterclass in instrumental disco funk, penned by the prolific Greg Phillanganes who at that same time was writing for many of the greats including Chaka Khan, George Benson, Stevie Wonder, The Jacksons and Cheryl Lynn.

This album is lovingly reissued by Sama Sama Records, a boutique label from DJ and collector Norsicaa, who ran the esteemed Soundway Records for 8 years and released the compilation Ayo Ke Disco in late 2024.

Back on Celestial Echo Records with a true modern soul classic — Jan Jones “Independent Woman”, finally given the treatment it deserves.

A record that’s been circulating in DJ sets and collector circles for years, often via bootlegged pressings as the originals are incredibly rare, this is the first fully licensed reissue, presented properly and with both sides intact - something the bootleggers didn’t do.

A-side Part 1 delivers the track in its purest form — tight, uplifting, and driven by that unmistakable modern soul groove. On the flip, Part 2 stretches things out into a longer, more open version, letting the arrangement breathe and giving the dancefloor the 6 minutes it deserves.

Musically, it sits right in that sweet spot for us — rich vocals, warm keys, and a rhythm section that just grooves. It’s one of the ultimate modern soul tracks.

Licensed officially, as always. Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.

A great name. A great cover. And - of course - outstanding library music.

Soul City Orchestra's Meal Ticket houses titanic funk, mellow groove and symphonic disco-soul.

Released in 1977 on Rouge, a subsidiary of the prestigious and long-established British library label Music De Wolfe, Meal Ticket was crafted by the studio band Soul City Orchestra (a pseudonym for the De Wolfe in-house composers Chris Rae & Franck McDonald).

The driving instrumental funk-rock of the A Side is enhanced with strings and no little drama. However, it's undoubtedly the peerless flipside that makes this record an essential part of any collection.

Head straight to highlight "Chamber Maid"; insistent, conga-driven funky rock with lashings of string-heightened drama. It's sophisticated, classical and deeply classy.

The majestic, powerfully emotive "Sore Head" contains an excellent intro drum break and sultry slo-mo disco breaks throughout. It's low-key stunning. With a few melodic switch-ups, it's symphonic soul heaven and is comfortably the best and most beautifully crucial track on Side A.

The breezy, Philly soul-tinged "Short Change", its intense strings reminiscent of the Salsoul Orchestra and TSOP, presents an easy-glide funk that's just irresistible.

The funky, cool and slick AF "Wheeling And Dealing" is laconic flute and string-propelled sophisticated mid-tempo disco soul. It's worth the price of admission alone.

The breezy, mellowed out disco-funk workout "The Jam" is a deliciously slinky and sophisticated soul strut. Try not swaggering into the club with this in your head next time you venture into the murky world of "the night". Just ace.

The crowning glory is the sweeping, sublime symphonic disco breaks of horn-infused "Soul City Drive", an absolute monster of radiant heavy soul-funk à la Barry White with great string & brass arrangement.

Basically, this is essential for all groove-aficionados.

The audio for Meal Ticket has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Back To Life EP marks the rebirth of a seasoned artist stepping into a fresh chapter as
Just Marco. This first record in the Bending Body series comes after a long run of
exploration and self-reset, chasing raw honesty and identity built for vinyl-only cuts.
The record links past and present: rough drum work, evocative pads, bright acid lines, all
pressed on wax to echo the moments and people that shaped Marco along the way.
Musically, Back To Life it’s a blend where nothing is forced, where unusual choices and
imperfections are embraced as part of a renewed creative philosophy. It’s a return to the
music life where intuition leads and authenticity sets the tone.
Enjoy.

Stepping up for Punctuality number 8 is the dynamic duo of Ciel and Matthis Ruffing. Needing little introduction, both artists are prolific producers and collaborators across tempos and genres. Toronto-based Ciel has released music on labels like NAFF, Peach Discs, and !K7, while Berliner Matthis Ruffing’s work can be found on International Chrome, Infinite Drift, and Strictly Strictly, to name just a few.

Bonding over a shared love for the techno stylings of Claude Young and early 2000s tech/prog house from labels like Future Groove and Slide, the duo’s collaboration began with a spontaneous jam in Ruffing’s Berlin studio during the summer of 2022. With an organic studio chemistry, the pair continued to jam over the following years. Hot Squid is the result of these studio experiments: five tracks of sleek, muscular, contemporary tech house that fluidly distill the creative visions of both artists—slick, shimmering grooves, heavily weighted for the dancefloor.

The title track, Hot Squid, weaves dubbed-out waves of FX and low-end sonics around metallic, staccato drum bursts, sci-fi pads, stuttered vocals, and syncopated snares that flit and flicker around a rolling bassline reminiscent of golden-era UK tech house from the late ’90s. Roza Terenzi’s remix flips the original into a modern, low-stepping tek roller—a mind-bending re-fix that puts more focus on the snaking vocal groove and a sparser percussion arrangement, filled out with lustrous textures and razor-precise sound design.

On Little Voice, glossy synths and spiraling atmospherics cascade around a mesmeric vocal line, while tightly wound, minimal drum loops give way to a swaggering bassline that barely relents throughout the track. The result is a satisfyingly boshy, groove-driven roller, fit for the dancefloor at any time of day.
Late Summer maintains the EP’s high-grade production standard in the form of a dreamy, electro-leaning tech house number, resplendent with deep, pummeling kick drums, woozy low-end, and organic sonics. Its plucked melody and introspective pads nod to halcyon-era IDM and the Detroit techno that inspired the duo in creating Hot Squid.

The release culminates in Bong Bong—a meditative dancefloor tool suffused with ASMR-like nature documentary samples that lend the track a psychedelic intimacy. Careening percussion lines and swooning chord stabs anchor the rhythm, while the title’s “Bong Bong” mantra hums beneath the surface, carried along by barely perceptible sub fills and ultra-processed percussion. A cohesive, unique, and enduring take on seminal tech house and Detroit techno from Ciel and Matthis Ruffing.

Saxophonist and producer Ben Vince announces the release of his sixth album, Street Druid, the first in almost six years via AD 93.

Street Druid merges acoustic, manipulated and electronic sound and it has saxophone, synth, voice, guitars and drum machine, and features drum kit from Moses Boyd. It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.

A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia’s rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.

Making a welcome return nine years on from his last outing on Dekmantel, Makam offers up a generous helping of wayward grooves that take his curious spirit even further into unmarked territory. With a strong dub sensibility grounding his rich tapestry of percussion and instrumentation, Guy Blanken follows his own path to arrive at an album that embodies house music as a launchpad for experimentation.

Blanken says himself he was determined to approach his first Makam productions in years from a place of total freedom — "It's not a single direction, but rather a landscape of sounds, moments, and textures. TARP feels like a new beginning, a free project that just had to happen naturally." The steady pulse of the club remains a guiding principle boldly manifested on heads down roller 'Static Shade', but even in the lilting organic loops and tumbling percussion of 'Forgive' there is a funkiness that's beholden to continuous movement.

At times the direct thump of 4/4 disco juts out as a call to dance, not least on 'Flying Birds' and 'La Tuna', but elsewhere the rhythms are more slippery. 'Dub In Loen' plots a delicate path through dub techno and 'Lummel Spirit' casts off into pattering Balearic bliss. The pervasive dub mood of the record comes to the fore on expertly crafted stepper 'Diagonal Rain' and crooked album opener 'Clear Skies'. 'Jackie B' lands as a love letter to quintessential deep house, and yet still there's a left-of-centre charm that gives the track a personality that is pure Makam.

Exuding warmth and imagination at every turn, TARP is the perfect example of how to make a groove-oriented album a rich home listening experience. There are ample moments primed for the spectacle of the dancefloor, but the mellow hue and broad sweep of approaches make Makam's welcome return utterly compelling from end to end.

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.

Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines.

As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music". If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore - her depth, richness, sophistication and warmth - will see you just right.

The gigantic title track, "Bright And Shining", gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Worth the price of admission alone. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals (aside from the refrain of the title) alongside breezy alto sax and electric guitar. Pastoral and perfect. The slow'n'sultry "Affluence" presents a moody elegance, a classical "downlifting" gem. Another crucial highlight is the breezy "Going On Holiday". It's happy. It's sunny. It's lively. It's cool and happy. Did we say happy? A mid-tempo, romantic sax workout, "Alto Sex"presents smooth jazzy funk before the first side closes out with the soaring, jazzy "Stay With Me". Seriously uplifting.

Side B opens with "Feel Fine", an excellent uptempo and bright jazz groove. Up next, "Canon" is wracked with refinement, a peaceful, smooth vocal harmony over repeating bass making for an elegant, late-night classic. It's followed by the laconic "Smooth And Soft", a laidback, casual sophisticated soul and easy-feeling jazz gem. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support! To close, the carefree "Feeling Free" is a pleasant, light and breezy mid-tempo groove.

The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. We'll grant the final word to MillionDollars. on discogs from about 10 years ago: "If you listen to the record on a sunny day you feel like going out surfing in a white linen suit with a blunt on your lips, catching a cool breeze."

Samurai Music offshoot SAIBAI welcomes legendary producer ASC to expand upon the label's widescreen strain of electronic music plumbing the depths between techno, electronica and broken beat.

ASC is the flagship project for James Clements, a prolific veteran of the scene who started releasing his distinctive twist on drum & bass back in the late 90s. Across a variety of aliases and many different label projects and collaborations, Clements has retained a strong artistic identity defined by steely atmospherics, rhythmic intrigue and precisely sculpted sound design. He brings those qualities to SAIBAI3.

On 'Raijin' the tempo prowls at 90 BPM, all the better to carry the bass snarls and haunted melodies hovering in the middle distance. 'Rasetsu' meanwhile hides its much sprightlier 150 pace behind a half time construction punctuated by a tactile, almost organic set of percussion. 'Kyubi' sinks into a deep, inky well of spatial sound design with just a light smattering of percussion and a weighty kick for guidance. 'Shigure' completes the picture with a mesmeric tapestry of shifting textures and brooding melancholy.

Clements has devoted much time recently to his ambient output, and it shows in the richness of the space he shapes around his needlepoint patterns, while his roots in more propulsive club music show their hand in subtle, understated ways. It's this balance that makes the release the perfect addition to SAIBAI's evolving story.

Limited to 200 copies

Shep is back on his People Pleaser's label with a fourth transmission of groovy tech house that blends drive, cosmic atmospheres and just the right amount of vocal and melodic hookiness. 'Reach For The Tongs' is warm and dubby, one to get the head down and lock into. 'Pulver Zimmer' has warped synths and glassy percussion, bringing the early Terry Francis style drums to life and 'Rave Gravel Drive' gets more unhinged. The synths are wonky, the sound designs more trippy and abstract and the groove is minimal and synthetic. 'Mutzki' closes with a subtle, warming rush of low-key joy thanks to the muted chords that ride a slick groove.

Dream Select is the sequel to Pizza Hotline’s 2022 genre-defining album Level Select, continuing his signature blend of nostalgic, video game-inspired drum & bass with a melodic and uplifting edge.

The album continues the UK based producer's journey into the fusion of Y2K video game aesthetics with modern breakbeat music. As the name suggests, DREAM SELECT is a collection of dreamy, hypnotic, and emotionally-charged tracks — built to feel like they’re from a forgotten 2000s video game that never existed. It draws heavily on the sound and spirit of the PS1, PS2, Dreamcast, and N64 eras and games such as Wipeout and Ape Escape.

Pizza Hotline wrote and produced the album throughout 2024 in his North London studio, with just a computer and a few 90s outboard synths and samplers. The sound relies on obscure and dated 90s sample CDs, as well as hunting through ROMplers and digital synths of the era to find crystalline, artificial, and precise sounds that have come to define Pizza hotline's sound. The result is a focused, minimalistic, and deeply nostalgic record — one that balances texture, emotion, and groove in equal measure.

ALBUM Obongjayar's forthcoming sophomore ‘Paradise Now’, is an ambitiously fresh global prospect, with roots grounded in his own wide-ranging world of influences. It’s everything from pop to punk, dance to Afrobeat, funk to folk, refracted through a thrilling new perspective. “I wanted an album that I could listen to from start to finish on a night out.” But he still considers it something of a Trojan Horse. Recorded between London and LA with UK alt-rap mainstay Kwes Darko ( Pa Salieu, John Glacier) and Grammy-winning production trio Beach Noise (Kendrick Lamar, Baby Keem, Bakar), the record is as emotionally complex and broad as Obongjayar has ever been, even within its contagious candy coating.

Released in 1973 on Motown’s label, Share My Love is a richly layered and deeply expressive record that captures Gloria Jones at a creative crossroads. After years working behind the scenes as a songwriter and session vocalist, penning material for The Tams, The Marvellettes, and others, Jones finally takes center stage with a collection that radiates confidence, vulnerability, and undeniable soul.
Known to many for her original 1964 version of “Tainted Love,” later immortalized by Soft Cell, Jones brought to Share My Love a seasoned understanding of both the heartbreak and hope that lie at the core of great soul music.
More than just a product of its time, Share My Love feels like a declaration, a turning point where one of soul’s great, often-overlooked voices stepped into her own light. It remains a moving document of artistic self-assurance and one of the most heartfelt releases to emerge from Motown’s early ’70s era.

Tauceti (Lilou Chelal) is a DJ / producer / composer from Lyon. As a DJ Chelal distills a dark, tropical and sensual techno with percussive and vaporous rhythms in her mix. She stands for a very particular elegance and a certain, clearly audible maturity, which makes her stand out. "Guanyin" is her very first full length - where she transfers the elegance of her sound into a very personal and unique journey.

Tauceti about "Guanyin":

I am pleased to announce the release of my very first ambient album on the Denovali label. This is probably the most personal record I produced so far, because it is in a way a tribute to my Middle Eastern and Asian origins. It is a hybrid and intimate object, at the border between futurism and cultural heritage, with a desire to approach a more contemporary environment at the limit of classical. I used traditional instrument patterns, sounds intimately linked to oriental instruments, all the while using my electronic touch composed of drone/ ambient and sound distortions. This is the result of a year of reflection and increased exploration of new frontiers in the studio, which has gradually evolved into a desire to make an album concrete. Composed of eight tracks, some of you may have heard some of them during my ambient set during the last edition of Nuits Sonores, just before Vail and Rodhad’s magnificent live performance. It’s a kind of homecoming for me, the very first tracks I produced years ago already being part of the ambient register. This is an opportunity for me to reaffirm the multi-faceted aspect of my artistic project, drawing on various aesthetic registers, between ambient and techno. I would like to warmly thank the Denovali label for their trust here, and with whom I will have the chance and the opportunity to maintain a privileged relationship for the next years.

Phosphor’s fourth release connects two promising talents from Barcelona’s underground scene: French producer Vince Void and Mexican DJ Gamba. Together, they deliver a finely crafted EP that blends punchy club dynamics with dreamy, psychedelic touches. From electro with 80s Italian accents to glitchy grooves and spacey breaks, PHP004 stands as a floor-ready release, moving with a subtle balance of tension and elevation.

Vince Void takes the A-side with two effective cuts. “Thunder” builds on a saturated Italo-style bassline and crisp, stripped-back drums, creating a steady tension that works perfectly at the start of a set. “Fashion Victim” switches the mood with acid-tinged grooves, glitchy stabs and a playful swing. It’s less linear but just as effective, adding contrast and movement to any DJ set.

On the B-side, DJ Gamba goes deeper. “The Universe”, in collaboration with Quim, weaves lush pads and shimmering arps into a rolling club structure, with subtle breakbeat accents that add lift and fluidity. To close, “Your Vision” slows the pulse slightly, blending filtered melodies, melancholic textures and a steady groove, locking in emotion without losing the club energy.

Natural Goofy & TC80, two close friends and respected producers, have been spending time together in the studio in Barcelona.

No rules, no timeline, just jamming with machines and letting the sound flow in the moment.

The result is NO PLAN EP: a snapshot of instinct over intent, a record shaped by presence rather than plans. A raw dialogue between friends, gear and the dancefloor.

Made with love, for the music.

Released as a limited vinyl-only edition within the Planka Records series, continuing the label’s mission of capturing underground sounds and sharing them with those who listen deep.

Incredible new production from TERRANCE MCDONALD following up his MIND OVER MATTER reissue. This blend of Chicago House and Detroit Techno is guaranteed to take over dance floors across the Globe. No wild BPMs here just the right vibe, sound, and feeling.

Originally released in 1981 on the New Jersey-based Debbie Label, Sweet Magic is the one and only album by Lee McDonald. Produced by Ron Foster -
best known as a member of Ecstasy, Passion & Pain—the album is widely regarded as a standout modern soul classic, covering everything from uplifting
Philly-style dancers to sweet and mellow slow jams.

The album also features superb arrangements that update well-known classics into vibrant Philly soul, including The Carpenters’ smash hit “We’ve Only Just
Begun” and Ecstasy, Passion & Pain’s “I’ll Do Anything For You.” This reissue is pressed on limited yellow-colored vinyl inspired by the album’s iconic
illustrated sleeve, long cherished by rare groove collectors.