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Dirg Gerner's debut album "Simple Man" is a soulful masterpiece and an essential addition to your collection, offering a much-needed introspective escape in these trying times. It’s timeless music, but with an old school feel and an eye on the sonic potentials of tomorrow. The elusive maverick, of Chilean and German descent, has previously gained recognition and support from renowned figures such as Benji B, The XX, Gilles Peterson and Ommas Keith. This new body of work, featuring jazz trumpeter Theo Croker, is serving jewel after jewel of silky harmonies and plain-spoken wisdom, which makes it a must-listen for anyone seeking authentic and soul- nourishing music.

This release heralds the launch of a new 7” series from Mr Bongo. In partnership with London-based DJ and digger, Miche, the series will feature his latest discoveries, as well as choice cuts, taken from his 'With Love' compilations. For the inaugural offering, we take a trip to hazy San Francisco, California, in 1977. Smoke, Inc. were an emerging band in the Greater San Francisco Bay area and a regular fixture in the buzzing live music scene. They had a strong following and were in rotation in most of the Bay area clubs, as well as opening for numerous prestigious acts such as Sly & The Family Stone, Taj Mahal, The Pointer Sisters and Toots and The Maytals. Members of the group worked with Jimi Hendrix, Stevie Wonder, Frank Zappa, Martha Reeves & The Vandellas, and many others considered the cream of the crop of the music world.

Smoke, Inc. featured Roy Schmall on keyboards and vocals, Stan Terry on lead vocals and harmonica, Michael 'Ollie' Schotka, on bass and vocals, Keith Stafford on drums and vocals, and Archie Williams Jr on guitar. They went on to release one 12" EP and two 7" singles. One of those 7’s included 'Waitin' For Love’. It was first released in 1977 and came out on the band's own self-titled imprint. It has gone on to become their rarest and most sought-after recording, now fetching up to an astonishing £2,500 on Discogs. It is a breezy, feel-good, modern/crossover soul beauty, with an infectious sing-along chorus, floaty flute solo, and packed with pure, uplifting dancefloor energy. The B-side features a cover version of the Holland Dozier & Holland-penned classic 'It's the Same Old Song’, made famous by the Four Tops.

Miche enthuses, “I included this gem on my first ‘With Love’ compilation and knew that it deserved its own dedicated reissue complete with original artwork. I’m delighted to get the chance to make that happen for this incredible, soulful AOR glide from a band that is well due another round of appreciation. It’s very rare, and consequently very expensive, so here it is for you all to spin and add to your record collections.”

46 years since its original release, it is our privilege to help Roy and the gang’s light shine once again and let a whole new audience relish the beautiful sounds of 'Waitin' For Love'.

The fourth EP from HOMO-CENTRIC Records presents GIDEÖN's broad musical vision, with tracks that span genres such as house and techno, as well as other influences, and includes his latest offering, “A Road Called Destiny”, his headiest offering yet and hot on the heels of previous anthem “Brighter Day”. This latest gospel belter has been tearing up dancefloors all summer and the track reaches euphoric heights comparable with the Baptist sermons featured in the house classics from the likes of Kerry Chandler and Robert Hood. "Hector’s Revenge" is a dark sleazy queer techno anthem already slaying Berghain’s main floor, "Vasquez Goes East" is a "raw basement cut that tips its hat to Junior Vasquez’s Sound Factory classic "Get Your Hands Off My Man” whilst “Fridays” serves up classic Swing 52 style chopped-up vocal cuts straight from vintage 90s NYC. Scope, range and diversity, but all quintessentially GIDEÖN

RIYL: Sigur Ros, Explosions in the Sky, Bark Psychosis, Caspian, Mogwai, This Will Destroy You. Exclusive vinyl colour (Opaque Mix Hellfire), limited to 1000 copies, and features a gatefold jacket, printed two-sided Euro sleeves, four art prints, and download code. Breaking from the strange monotony and abnormal norms that took hold during two years of pandemic life, Hammock returns with Love in the Void, an album that looks to the future, seizes the present, and unabashedly relishes the experiences and bonds that bring meaning to our days. Known for crafting orchestral works of stirring cinematic ambience, on Love in the Void the Nashville-based duo of Marc Byrd and Andrew Thompson bring guitar-forward, heart-pounding urgency to songs that shout through and shatter the static of complacency. Since forming as Hammock in 2003, Byrd and Thompson have released 14 critically-acclaimed albums and are renowned for their unique talent for bringing inexpressible emotion to life. The Covid-19 pandemic followed closely after one of Hammock’s career-defining works, the Mysterium, Universalis, and Silencia trilogy that chronicled the incomprehensible loss of Byrd’s 20-year old nephew. At their homes and apart, Byrd and Thompson then recorded Elsewhere, an album of shimmering ambience that channelled alienated longing and displacement into avenues that gave way to worlds and possibilities yet realized. Shaken awake and needing to break free of frustrations and longings, Love in the Void pulses with an unbridled spirit for action and experience and a burning desire for connection. Across songs that hammer home the keenly felt emotions of life’s highs and lows, Byrd and Thompson crest soaring crescendos awash in reverb and delve to keenly felt moments of quiet introspection, with unflinching lyrics on tracks like “Undoing” and “Denial of Endings’’ that weigh choices made and circumstances that can’t be changed. Lush and dramatic string orchestration from Matt Kidd (Slow Meadow) and emphatic drumming from Jake Finch heighten the stakes in play, and Christine Byrd’s (Lumenette) ethereal vocals leave mysteries lingering in the haze. Love in the Void is Hammock’s loudest album to date, embracing daring and vulnerability with palpable vitality at its core, and moving into an unknown future without fear.

Frankie Cosmos, Palehound, Jay Som, Helado Negro, Lala Lala, Mamalarky, Sword II. Atlanta three-piece Kibi James announce their debut full-length album, delusions, out August 25th on Bayonet Records. Mari (guitar, keys), MJ Corless (bass) and Pomi Abebe (drums) join forces in crafting intoxicatingly dreamy melodies, their soft, siren-like voices sweeping you into their world as they bilingually share reflections on love in its many forms – romantic, familial, self – but most prominently the love that comes from their friendship. Co-produced, recorded and mixed by Drew Vandenberg (Faye Webster, SPELLLING, Toro y Moi) at Chase Park Studios in Athens, GA, and mastered by Heba Kadry, delusions is laden with vividly lush portraits of the places they call home Atlanta, their music community, their physical house, and the sense of home they have in one another. While the outside world is often a source of chaos, Kibi James finds security and intimacy in their shared domestic life together – the details of which come in the form of the intimate narratives and memories that make up delusions. From the manifestation spell for their now-apartment that's included in the first verse of "mister g," to finding homely solace in loved ones on "right now" and "bender," the band's ultimate sense of home is both fluid and utterly unshakable, as long as they have each other. They harmonize in both English and Spanish as their voices softly intertwine, singing of their hopes for the future over hazy, treated guitars and the soft pattering of drums. Their strong sense of unconditional love and mutual camaraderie keep them grounded, preserving the warm, optimistic light that has shone through every aspect of the band since their genesis. Corless says, "We're proud of where we come from and where we're headed. We're absolutely going to keep these delusions going."

Frankie Cosmos, Palehound, Jay Som, Helado Negro, Lala Lala, Mamalarky, Sword II. Atlanta three-piece Kibi James announce their debut full-length album, delusions, out August 25th on Bayonet Records. Mari (guitar, keys), MJ Corless (bass) and Pomi Abebe (drums) join forces in crafting intoxicatingly dreamy melodies, their soft, siren-like voices sweeping you into their world as they bilingually share reflections on love in its many forms – romantic, familial, self – but most prominently the love that comes from their friendship. Co-produced, recorded and mixed by Drew Vandenberg (Faye Webster, SPELLLING, Toro y Moi) at Chase Park Studios in Athens, GA, and mastered by Heba Kadry, delusions is laden with vividly lush portraits of the places they call home Atlanta, their music community, their physical house, and the sense of home they have in one another. While the outside world is often a source of chaos, Kibi James finds security and intimacy in their shared domestic life together – the details of which come in the form of the intimate narratives and memories that make up delusions. From the manifestation spell for their now-apartment that's included in the first verse of "mister g," to finding homely solace in loved ones on "right now" and "bender," the band's ultimate sense of home is both fluid and utterly unshakable, as long as they have each other. They harmonize in both English and Spanish as their voices softly intertwine, singing of their hopes for the future over hazy, treated guitars and the soft pattering of drums. Their strong sense of unconditional love and mutual camaraderie keep them grounded, preserving the warm, optimistic light that has shone through every aspect of the band since their genesis. Corless says, "We're proud of where we come from and where we're headed. We're absolutely going to keep these delusions going."

A label sampler showcasing the best of Winspear’s releases from its early days to the present day. The sampler features cuts from Barrie, Divino Niño, Slow Pulp, Video Age, and more. Digital download included with the LP includes never before heard b-sides and rarities from across the label roster. Winspear Volume 01 is a label sampler from Winspear. It’s a collection of standout songs from the label’s catalog, spanning from their early years to the present day. Featuring tracks by Barrie, Divino Niño, Slow Pulp, Video Age, and more. The digital version of the label sampler (including the digital download that comes with each physical album purchase), will include never before heard demos, b-sides, and rarities from across the label roster. The release of the sampler will be celebrated at a label showcase at Thalia Hall in Chicago. The event, Winspear Review, is happening for the 4th time in the label’s history

: Daft Punk, SAULT, BADBADNOTGOOD, Surprise Chef. Eraserhood Sound's mysterious, intergalactic house band Fantasy 15 are finally ready to unleash their debut LP, Zoltandia. After years of rising anticipation which saw the group release a handful of now-sold out, highly sought-after 45s, Fantasy 15 have delivered a modern synth-funk opus. The album, named after the group's remote home planet, is a dazzling display, and features an audacious blend of soul, funk, disco, boogie, house, hip hop, New Wave, and much more. Zoltandia is a true sonic journey, a concept album that tells the fantastical tale of the beloved freedom fighters Fantasy 15. The group, whose true identity has always been a mystery, push the limits of their musical experimentation further than ever. Leading single "Interplanetary Lover" features the show-stopping Kendra Morris on lead vocals, and serves as the group’s first proper love song. Elsewhere, the title track "Zoltandia" features chanting group vocals and a disco-boogie groove that nods to legends like William Onyeabor and Kiki Gyan.

Odd Holiday are purveyors of a rare breed of hip hop, both anchored in golden-era lyrical dexterousness and aligned to the contemporary movement of minimal soulful production. Their music is deeply emotive, seasoned, and undeniable.
L.I.S.A is the debut release by the semi-nomadic duo consisting of Mattic, a Charlotte, NC native currently residing in France and producer Daylight Robbery! who has one foot in the burgeoning jazz scene of London, UK and the other in the boom bap foundation of Brooklyn, NY. L.I.S.A represents the meeting of two forces who are at the top of their game and supremely comfortable in their craft, merging into something which feels both timeless and brand new.

YMO DRUMMER YUKIHIRO TAKAHASHI'S SOPHISTICATED CITY FUNK CLASSIC FROM 1978 CO-PRODUCED BY RYUICHI SAKAMOTO AND FEATURING HARUOMI HOSONO, MINAKO YOSHIDA AND TATSURO YAMASHITA. RELEASED FOR THE FIRST TIME OUTSIDE OF JAPAN - WITH REMASTERED AUDIO, LP COMES WITH OBI AND FOUR PAGE INSERT

Wewantsounds is delighted to announce the release of Yukihiro Takahashi's debut solo album 'Saravah!'. One of the key Japanese albums of the 70s, it was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of Disco Funk, synth Pop, Ambient, French Exotica and Bossa Nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It’s the missing link between the City Pop scene of the late 70s and the synth sound of YMO which was about to revolutionise the world. Newly remastered by renowned engineer Mitsuo Koike, the LP features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes), a 4-page insert and a new Introduction by Benjamin Barouh (Saravah records).
The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record 'Saravah!' together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar Winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records.
'Saravah' starts off with a couple of French and Italian exotica classics ('Volare' and 'C'est Si Bon') with delicious touches of synth while 'Saravah!' a nod to Pierre Barouh, is a languid Bossa Nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with 'La Rosa' a superb mid tempo ambient funk featuring Takahashi's beat backed by Haruomi Hosono's bumping bass line, Sakamoto's Hammond Organ and Shigeru Suzuki's fluid guitar.
The first side ends with an amazing exotica-synth version of the standard 'Mood Indigo', announcing the midi revolution that was to come before things get funkier on Side Two starting with Ryuichi Sakamoto's superb up-tempo Disco instrumental ‘Elastic Dummy’ featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of ‘Sunset’ before switching back to Disco Funk with 'Back Street Midnight Queen’ which. like 'Elastic Dummy' has become a dancefloor cult classic over the years.' Saravah! ends on a perfect note with the beautiful 'Present' a perfectly crafted pop song which Takahashi wanted to do in a City Pop mode, featuring a superb melody and high-class arrangements. The perfect soundtrack to an early morning stroll in the Paris streets as illustrated by Masayoshi Sukita's photos featured on the album cover.
A sophisticated album full of glitz and fun, 'Saravah!' gives a unique insight into the versatility the YMO musicians and how funky they could play under Yukihiro Takahashi's influence. This was a key time when the three musicians were just transitioning to a sound that would be dominated by synthesizers and 'Saravah' catch them just at that fascinating moment.

The Skankin' Monks featuring Kenyatta Hill making a big tribute to his father, the legendary Culture vocalist, Mr. Joseph Hill. Babylon's Big Dog is a rearranged remake of the Culture classic from 1982's Lion Rock LP.

The Skankin' Monks are a reggae formation from Amsterdam that gets inspiration from several styles. In 2013, they had a big hit with singer 'CHEZIDEK's "ALL MY LIFE" - Since then they collaborated with artists like Eek-A-Mouse, Meta Dia, Kenyatta Hill & Christos DC etc.. The Monks meditate on the music they're creating & they have only one goal; to let everyone enjoy the musical zen in unity.

"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. T

hey were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare.

This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies.

While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.

Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness – the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.

As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album – making the mono mix all the more historically valuable and truthful.

Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.



As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.

Track List

Pierre-Alain Dahan & Slim Pezin's Neo Rythmiques is an absolute KILLER Tele Music library classic from 1976. It's absolutely sensational throughout, all scorching, uptempo jazzy soul funk that Mr James Brown himself would've been envious of. This is serious business with breaks for days. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet. With Neo Rhythmiques, he's joined by his eternal guitar colleague Slim Pezin (Voyage, Manu Dibango, Nino Ferrer), so you know this Be With reissue is fundamentally vital.

Opener "Soul Car" is a swaggering, horn-drenched jazz-funk beast whilst the slick JBs funk of "Happy Penalty" is just plain irresistible. Definitely influenced by American funk flavours, it stands alone on its own right as a brilliant piece of music, no question about that. The blazing "Kuzi-Kuza" is again horn-fuelled but has a more exotic, Latino feel, all loose grooves and bastard blues with funky organ and shredding guitars. The stomping, proto-disco of "Mercy Boa" is a guitar-sizzled Bohannon-esque hypno-groove for adventurous dance floors the world over. Outstanding. And if all that wasn't enough from one half of a 70s French library LP, the A side ends with the monumental, stratospheric "Slim Bertha"! I mean, what can you even say about this absolute monster?! Slo-motion, deep drama funk breaks with jazzy guitar and gleaming percussion. Just sensational.

Side B opens with "Country + Country", a rather forgettable slice of piano driven bluegrass funk (?!) Aaaaannyway, "Super Airship" follows and is a driving fuzz-guitar psych-rock workout of the highest order. We're back on track now. The brilliantly titled "Electronic Mutation" is a total highlight, the funk most definitely returning and, indeed, strong in this one with its deep clean breaks (with some particularly ace hi-hats), echoey effects and funky clavs. "Africa Semper" follows, all funky percussion, trippy echo and distorted, psychy guitar licks. To close out the set, "Neo Rythmiques 1 and 2" form a great salvo of top-tier, percussion-heavy synthy-funk-fusion. For our money, the bugged-out echoey space-soul of "N° 2" just about edges it.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member - alongside his partner here, Slim Pezin - in the legendary Arpadys, Disco & Co and Voyage. Dahan also featured in Tumblack (with Wally Badarou, Sauveur Mallia et al) and Jef Gilson Septet (alongside Henri Texier), whilst the CCCP Pezin backed, among others, Manu Dibango and Nino Ferrer. Some pedigree.

The audio for Neo Rythmiques has been 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 original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

A Tele Music CLASSIC from 1972, Pierre-Alain Dahan's Continental Pop Sound is of those library albums with something for everyone. Breaks? Check. Fuzz guitar? Check. Slower, jazzy stuff? Double check. It's a stunning collection of psychedelic rock, soulful funk and retro pop stylings that's currently going for over £200 on Discogs. And with good reason. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou and Sauveur Mallia) and Jef Gilson Septet. So, you know this Be With reissue is nailed on essential.

Skip the by-numbers opener "Rock Extra" and head straight to the deeeeeep, minimalist groove of "Slowrama", a humid masterclass in low-slung, creeping crime funk with weighty breaks and beefy bass complimented by hypnotic wah-wah and warm electric piano. Sensational. It was sampled by Prince Po in 2004 for his "Love Thang" track. The galloping "Latin Pop Sound" is a percussive, Santana-esque tour de force featuring fantastic guitar shreds over a bassline to die for. "Morning Melody" is a lightweight amble whereas the brief but deliciously psych-rock heavy "Islam Blues" is a must for your mixes when requiring short segue tracks. The A-Side closes out with "Phasing Drums N° 1, 2 & 3", all completely ace. For us, N° 3 is the pick of the bunch, with particularly slooooow and deliberate drums underpinned by a droning, sinister organ. Hip-hop, before hip-hop, no less.

The genuine monster "Pacific Rock" blasts out the gate to usher in Side B, a thrilling and unrelenting pop-rock instrumental that really drives. "Quasimodo Pop" contains great slow mo funk breaks and scratchy guitars that alternate with pretty heavy riffing to create a compelling base track. "Carmel Beach" is as beautiful as the location it's named after, as insouciant guitars glide over super slo-mo beats and dramatic organ before it breaks down to a laconic, reflective electric piano showcase. Sumptuous. "Auto Moto Rallye" is a brief driving funk gem, as you might expect, complete with revved up guitars tuned and played to emulate the irresistible sound of growling race cars.

The upbeat, piano-led rock stomper "V.S.O.P Rock" is all well and good but, what you might really be here for is the trio of tracks that ensure the LP ends on an almighty high. The three most famous tracks “Rythmiques 1, 2 & 3” all come complete with *ultra*-dope breaks. N° 2 is probably our favourite, with the shuffling bassline and breaks combo augmented by the wonderful cowbell. Though on any other day, it could be N° 3! This album is often considered as the “baby brother” to Tele Music's Rythmiques, and this triptych is all the proof you need. Outstanding.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Continental Pop Sound has been 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 original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

"Featuring Nate Morgan on piano, Jesse Sharps on reeds, Danny Cortez on trumpet, Rickey Kelly on vibes, Joel Ector on bass and Derek Roberts on drums. This music was recorded in Santa Barbara in July of 1987. Since the passing of the great pianist /composer / bandleader Horace Tapscott, the Nimbus West label has continued to document the underground L.A. jazz scene that Mr. Tapscott was once at the center of. A number of great musicians who once collaborated
with Tapscott, like Jesse Sharps & Nate Morgan, have recorded albums as leaders on Nimbus West. The short liner notes state that "trying to play serious music in an area as shallow & fad-driven as Los Angeles, were too much for this band to deal with..." so they didn't last too long. No doubt. This LP is proof that this collective's music was strong, spirited, original and had a great deal to offer. I
can't say that I've heard of any of the rhythm section players but all six members of the collective are excellent musicians nonetheless.
Nate Morgan's "Retribution, Reparation" is first and it has one of those McCoy Tyner-like 70's ensemble vibes with spirited piano and Trane-ish tenor sax sailing on top. The entire sextet is in great form with impressive solos from trumpeter Danny Cortez, vibist Rickey Kelly and pianist Nate Morgan. How musicians as incredible as this escaped notice, I will never understand. The sextet is ultra-tight and swings furiously throughout. Bassist John Ector's "Big Spliff" has a most memorable theme that had me smiling all the way through. The long & inspired soprano solo by Jesse Sharps and that great piano interplay & solo makes this piece even more special. The only cover on this LP is Monk's "Well You Needn't" and it too is done exuberantly. There are over 100 minutes of outstanding music on this wonderful release. Another buried treasure to add to your collection of great gifts from the gods." - Bruce Lee Gallanter, Downtown Music Gallery

The fifth release of Eclectic Beats Music is a collaborative project between Ruben Estevez (Bruk Boogie Kru + Afro Bruk Band) with Damian Botigue (Karmasound) and Rui Fradinho (Fradinho).

Based on their Iberian Peninsula origins and upbringing, they get together to revise and rework some of Ruben's beats and tracks, into an Afro Brazilian flavoured EP with Broken Beat and Bruk rhythms.
Ruben unveils some "lost" beats and tracks for Diamante, where Karmasound delivers some lush keys and Fradinho complements with synth bass and additional production (and a Bruk Remix from Fradinho too!). BBK's "Ile" gets a darker Peninsula Ibrukica Re-edit and Afro Bruk Band's "Vem Vai" a Fradinho Bruk Remix!

Original tracks produced by Ruben Estevez
Keys on Diamante (A1) by Damian Botigue
Bass, Editing, Remixing and Additional Production by Rui Fradinho

Raw Energy by JD Twitch showing Petersen's Trance (Not Trance) the way to the dancefloor.
Synths and sitars for eternal bliss on the flipside. Another pin glowing!

Back in 2017, Basso delved into his micro-press cassette collection to treat us to the first retrospective of kosmische wizard Trance. Spanning both the bucolic and galactic, ‚Tapes' (GBR010) suspended time and space, enveloping us in the nebulous beauty of Jürgen Petersen's misty ambience.

Among the appreciative audience for this mind expanding release was one JD Twitch aka Keith McIvor, one half of the mighty Optimo. Keith's vision of remixing Jurgen's ‚Purification' for the club was embraced by both the artist and the label guy with glowing eyes. Charting a course through progressive house, ambient techno and the weirder bits of the solar system, McIvor combines the celestial synthesis of the original with some tough and tracky drum programming, turning the intensity up to 11 in pursuit of early morning ascension. A sensitive arrangement allows space for Peterson's waveforms to work their magic, while laser fire and additional fx abuse unlock evolutionary abilities buried deep in your unconscious mind.
The previously unreleased, largely unheard ‚Contemplation' was originally intended to feature on the ‚Tapes' compilation, but fell off the edge of that flat Earth thanks to its maximal runtime. Too good to remain a secret, this crepuscular creation enjoys the entirety of the B-side, drifting through the eons via meditative electronics, delicate sitar and a touch of tapey flutter.
Embrace the almost 40 year old tape's flaws and imperfections that could not be restorated and dive into the immersive and unparalleled.
This is music for higher beings.

Following the success of Hiroshi Sato's reissue, Wewantsounds is proud to announce an ambitious programme to release Akiko Yano's albums outside of Japan starting with her 1981 synth-pop masterpiece 'Tadaima.', co-produced by Ryuichi Sakamoto and featuring YMO. The reissue includes original artwork by cult illustrator King Terry, a 2 page insert and OBI Strip (LP) plus a new introduction by renowned Electro DJ Joakim. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the 70s Japanese music scene along with HaruomiHosono, Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album "Japanese Girl" with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing Funk, Electro and City Pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. "Tadaima." ("I'm home" in Japanese) recorded in 1981 is Yano's fith studio album co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from YMO (HaruomiHosono, Yukihiro Takahashi and Sakamoto), the group she was touring with at the time. "Tadaima." is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early 80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima" "I Sing", "HarusakiKobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by Children. Contributors on Tadaima also include ShigesatoItoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator TeruhikoYumura - aka King Terry - who revolutionised underground manga in the 70s with his 'heta-uma' (bad-good) style, as showcased on the album's striking artwork. 'Tadaima.' is the perfect entry point to Akiko Yano's unique body or work.


The reissue comes with the original obi strip artwork, extensive liner notes and a new introduction from Joakim

Wewantsounds Is Pursuing Its Ambitious Akiko Yano Reissue Program With The Release Of "japanese Girl", Her Landmark Debut Album From 1976. Backed By Little Feat With Lowell George And By The Cream Of Japanese Musicians (including Haruomi Hosono), Japanese Girl Is One Of The Most Important Japanese Albums Of The 70s, Mixing Pop, Rock, Japanese Folk Together With Little Feat's Superb Classic Sound. This Is The Very First Time The Album Is Released Internationally. The Deluxe Lp Edition Includes Remastered Sound, Tip-on Lp Sleeve, Download Card Plus The Original 4-page Insert With Lyrics And Full Line-up!
When Akiko Suzuki Left Her Home Town Of Aomori For Tokyo In The Early 70s Aged Just 15 To Become A Professional Musician, She Quickly Started Making Waves On The Local Music Scene Performing At The Jazz Club Rob Roy. In 1973 She Released A 7" With The Group Zariba And Caught The Attention Of A&r Man Koki Miura. She Then Recorded One Song, "oinaru Shiino-ki" With Haruomi Hosono On Bass And Drummer Tatsuo Hayashi (who Features On Many Hosono Albums And Also Hiroshi Sato's 1979 Album Orient) With A Full Album In Mind.

After A Marriage With Musician/producer Makoto Yano And The Birth Of Her Son (named Fuuta), Yano And Her Team Resumed The Recording Of The Album And Decided To Pitch Little Feat For A Collaboration As She Loved The Group. Against All Odds They Said Yes And Yano Left Tokyo For Los Angeles In March 1976 To Record A Full Side With Them. The Legend Has It They Found It So Difficult To Keep Up With Yano's Compositions They Returned Some Of Their Fee. The Session Was Nevertheless Stunning And Lowell George Even Compared Yano To Stevie Wonder. The Little Feat Blend Of New Orleans Groove Matched Yano's Melodies Perfectly, As Witnessed On "funamachi-uta Part 2." Originally A Traditional Song From The Nebuta Festival In Her Hometown Of Aomori (part I On Side 2 Gives A Good Idea Of What The Original Form Sounds Like), The Little Feat Version Is A Formidable Slow-funk Workout Not Dissimilar To Their Classic, "spanish Moon", Serving Yano's Beautiful Vocals And Sense Of Groove To Perfection. The Whole Side Is A Match Made In Heaven, Showcasing The Classic Little Feat Line Up At Their Funkiest With Yano's Unique Japanese Twist.

The Japanese Side On The Album Gives A Great Snapshot Of The Tokyo Music Scene Of The 70s With Many Musicians Gravitating Around Haruomi Hosono (and Present On His 1973 Classic Album 'hosono House' Including Sound Engineer Kinji Yoshino) And Also Several Musicians From Japanese Band, The Moonriders.

Recorded At The Legendary Onkyo Haus Studio In Tokyo, The Sessions Mix Singer-songwriter Sensitivity And Pop With Traditional Japanese Sounds And Instruments Like The Shinobue Transverse Flute, The Koto String Instrument Or The Tsuzumi Hand Drum As Played On "hekoriputaa" By The Legendary Percussionist Kisaku Katada Who Was Appointed Living National Treasure By The Japanese State In 1999; Together They Create A Beautiful East-meets-west Mix Masterfully Driven By Yano's Creativity And Unique Talent.

A Breathtaking Debut Album That Made Akiko Yano One Of The Most Important Artists To Emerge From The 70s, Japanese Girl Has Since Become A Milestone In Japanese Music With A Recent Documentary On Nhk Tv Telling The Whole Story Behind This Classic. Wewantsounds Is Now Proud To Present This Essential Album To The Rest Of The World.

The ‘imaginary’ soundtrack to the adventures Of Kindaichi Kosuke, the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best 70s Japanese Funk musicians, the album is pure undiluted Disco Funk. This reissue is the album's first official release outside of Japan. Remastered from the original tapes, it features artwork by renowned illustrator Ichibun Sugimoto, OBI strip and a 4 page insert with a new introduction by British journalist Anton Spice.

Factory Benelux presents a special 35th anniversary edition of Here Comes Everybody, the highly-regarded second album by Scottish group The Wake, originally released by Factory Records in 1985. Just 800 copies will be made available for Record Store Day on 18 April 2020, pressed in crystal clear vinyl with a bonus 7-inch single + digital copy.

The Wake formed in Glasgow in 1981 after singer/guitarist Caesar left Altered Images. Joining Factory the following year, the group toured with New Order and released popular mini-album Harmony. Trailed by sprightly single Talk About the Past in 1984, second album Here Comes Everybody was eventually recorded as a trio, combining dreampop melodies and wistful lyricism typified by standout track O Pamela (later interpreted by artful French new wave covers project Nouvelle Vague).

Praise for Here Comes Everybody: “Holds up as a touchstone for aching, atmospheric synth-pop, all slinky guitars, crispy percussion, textured keyboards and limber bass" (Pitchfork); “The album stands as a pillar of moody synth pop, still bearing passing resemblance to New Order while retaining the bounce of the Postcard label bands and the cavernous production of Closer-era Joy Division, covering it all in some of the heaviest synth wash this side of Klaus Schulze" (Dusted)

Newly re-mastered for this special 35th anniversary edition, the original 8 track album is now augmented by companion singles Talk About the Past and Of the Matter, pressed on a bonus 7-inch single in a picture sleeve. Here Comes Everybody itself is pressed on clear vinyl, housed in a white reverse board sleeve with printed inner bag containing lyrics, images and liner notes by band members Carolyn Allen and Caesar.

RYUICHI SAKAMOTO'S LANDMARK 1981 ALBUM REISSUED FOR THE FIRST TIME IN DECADES OUTSIDE OF JAPAN. THE ALBUM WILL BE REISSUED IN ITS RARE JAPANESE EDITION TOGETHER WITH A 2-LP LIMITED EDITION FEATURING THE ALBUM PLUS A 2ND LP FEATURING ITS NEVER-RELEASED FULL INSTRUMENTAL MIX, ALL REMASTERED BY BERNIE GRUNDMAN.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix.
Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.
?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').
?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.
?The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.
Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears.
Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths.

The Whatnauts emerged from Baltimore in the late 60's and were produced by George Kerr & Michael Watson.

This 8-song original LP has become a classic 70s soul album, mixing ballads and groovy tracks. While "You forget too easy" could be played on any lowriders mixtape, "Im So Glad I Found You" featuring Linda Jones is the perfect Northern soul floor filler. The beatmakers & producers are given their share too, with the drum breaks of the groovy "Why Can't People Be Colors Too?" And to make this reissue even more collectable, Playoff Records added the 80s funky "Help is on the way" sampled by De La soul as the perfect bonus track. A must have for any diggers or soul music fans.

Der Soundtrack zur HBO-Serie "The Last of Us" basiert auf der beliebten Musik und Klangwelt des gleichnamigen Videospiels. Geschrieben wurde der Soundtrack vom mit einem Academy Award ausgezeichneten Komponisten Gustavo Santaolalla und von David Fleming.Die intime, gitarrenbetonte Klanglandschaft spiegelt die Emotionalität der Serie wider und nimmt die Hörer mit auf die ungewisse Reise durch die USA in einer postapokalyptischen Welt, zwanzig Jahre nach der Zerstörung der modernen Zivilisation durch eine, von einem Pilz verursachte Epidemie.

Based on the critically acclaimed video game of the same name developed by Naughty Dog for the PlayStation® platforms, The Last of Us is written and executive produced by co-creators Craig Mazin (Emmy® Award-winning creator of HBO’s “Chernobyl”) and Neil Druckmann (creator and writer of the award-winning “The Last of Us” franchise and Naughty Dog Co-President).


The Last of Us takes place twenty years after modern civilization
has been destroyed by a viral outbreak. Joel, a hardened survivor, is hired to smuggle Ellie, a 14-year-old girl, out of an oppressive quarantine zone. What starts as a small job soon becomes a brutal, heartbreaking journey, as they both must traverse the U.S. and depend on each other for survival.

The vinyl release to the acclaimed series contains soundtrack
highlights from the show. Featured are score tracks by composer Gustavo Santaolalla, with additional music by David Fleming as well as songs by Depeche Mode, Pearl Jam, Jessica Mazin & Nick Offerman.


The package contains 2x vinyl, standard weight at 140g, 1x green and 1x clear, a double-sided poster of the show’s key art, spot gloss and soft touch on the gatefold and an insert featuring liner notes by Neil Druckmann, Craig Mazin, Gustavo Santaolalla & David Fleming and images from the show.

Fatalism (Ltd. LP/Black w/Red Inkspot+White Splatter)

Angst: der große Spalter der Menschheit, aber auch ihr stärkster Vereiniger.

Es ist genau dieser Gedanke, der den Kern von POLARIS' drittem Album "Fatalism" ausmacht; eine Platte, die von dem Gefühl der Verzweiflung und Dystopie geprägt ist, das die Welt in den letzten Jahren erfasst hat, und von dem überwältigenden Gefühl, dass wir machtlos sind, den Kurs zu ändern.

Während der Vorgänger "The Death Of Me" aus dem Jahr 2020 eine ausgewogene Balance zwischen Licht und Schatten bot, stürzt sich "Fatalism" kopfüber in viel dunklere und schwerere Tendenzen und zeigt POLARIS in einem neuen, entschlossenen und aggressiven Licht, was zum großen Teil der akribischen Herangehensweise der Band bei der Gestaltung der Gitarrenarbeit und des Gesangs zu verdanken ist.

Fatalism (Ltd. LP/Black w/Red Inkspot+White Splatter)

Angst: der große Spalter der Menschheit, aber auch ihr stärkster Vereiniger.

Es ist genau dieser Gedanke, der den Kern von POLARIS' drittem Album "Fatalism" ausmacht; eine Platte, die von dem Gefühl der Verzweiflung und Dystopie geprägt ist, das die Welt in den letzten Jahren erfasst hat, und von dem überwältigenden Gefühl, dass wir machtlos sind, den Kurs zu ändern.

Während der Vorgänger "The Death Of Me" aus dem Jahr 2020 eine ausgewogene Balance zwischen Licht und Schatten bot, stürzt sich "Fatalism" kopfüber in viel dunklere und schwerere Tendenzen und zeigt POLARIS in einem neuen, entschlossenen und aggressiven Licht, was zum großen Teil der akribischen Herangehensweise der Band bei der Gestaltung der Gitarrenarbeit und des Gesangs zu verdanken ist.

Eclipse kehren zurück mit ihrem neunten Album "Megalomanium". Nach ihrem bisher erfolgreichsten Album "Paradigm" (das die massive Single "Viva La Victoria" enthält, die allein bisher über 26 Millionen Streams auf Spotify hat)) veröffentlichten die schwedischen Hard Rocker ihr letztes Album "Wired" Ende 2020 (Platz 23 der deutschen Charts). Trotz der fehlenden Tourneen gelang es ihnen, weiter zu wachsen. Das neue Album bietet den fröhlichen, hooklastigen und gitarrenorientierten Sound von Eclipse in seiner reinsten Form, 80er beeinflusster Melodic Hard Rock. Die Band ruht sich jedoch nicht auf Lorbeeren aus und bietet einige neue Elemente für einen Sound, der vor allem in Europa bereits Massen von Fans gewonnen hat. Während die erste Single "The Hardest Part is Losing You" einfach zeigt, dass die Inspiration intakt ist - eine der besten Hymnen von Eclipse überhaupt! - Songs wie "Got It!" oder das von Victor Crusner gesungene "High Road" zeigen, dass die Band sich nicht scheut, neue Wege zu gehen. Trotzdem können sie im hymnischen "Children of the Night" mit einem Riff, das die Erinnerungen an den besten Dio/Sabbath-Sound weckt, sehr hart rocken. Weitere Highlights sind das sofort erkennbare "Hearts Collide" und das treffend betitelte "Anthem", das die Fans, die die Shows der Band genießen, in Brand setzen wird. Megalomanium hat absolut alles, was man von den Jungs aus Stockholm erwarten würde, und noch mehr. Erik Martensson (auch W.E.T.) zeigt einmal mehr, warum er einer der gefragtesten Autoren und Produzenten der Szene ist. Sein Geschmack für Melodien, Songwriting und Harmonien ist absolut herausragend und wenn er sich mit Magnus Henrikssons Gitarren duelliert, ist absolute Magie da. Große Europa Tournee von Juni bis November.

'Brexit Music' ist kein politisches Album. Aber im Titel, der dem Künstler lange nach der Idee des Repertoires in den Sinn kam, steckt eine Vorliebe für britischen Spott: Am Ende soll die Kunst alle gesellschaftlichen Modeerscheinungen überleben. Der französische Pianist und sein Akustik Jazz-Trio wollten einen frischen, verspielten Sound, Groove und ein bisschen Humor. Ein beliebtes Lied zu covern ist für Jazzmusiker gängige Praxis, dennoch war die Idee eines ganzen Albums, das sich ausschließlich um britische Popmusik dreht, nicht selbstverständlich: Es war eine Herausforderung, ohne die Texte lebendig zu bleiben. So blieb oft das schlichte Material dieser Songs, auch wenn die meisten davon ein aufregender und freudiger Teil von Trotignon's Teenagerjahre waren. CD-Digipak und 180Gr. Doppel-LP mit vier Bonustracks!

Baptiste Trotignon - Piano, arrangements
Greg Hutchinson - Drums
Matt Penman - Upright bass

King Gizzard & the Lizard Wizard kündigen ihr 24. Album an: ”PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation”. Es ist der zweite Ausflug der Gruppe in das Thrash Genre - nach ”Infest The Rats’ Nest” aus dem Jahr 2019 -, doch wie zu erwarten, ist ”PetroDragonic Apocalypse” keine bloße Neuauflage von ”Rats’ Nest”, sondern ein ganz eigener evolutionärer Schritt.

teely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members.

They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but used them only for occasional overdubs, except for drums, where founding drummer Jim Hodder was reduced to a backing singer, replaced by Jim Gordon and Jeff Porcaro on the drum kit for all of the songs on the album. Steely Dan's Jeff "Skunk" Baxter played pedal steel guitar and hand drums.

Pretzel Logic has shorter songs and fewer instrumental jams than the group's 1973 album Countdown to Ecstasy. Steely Dan considered it the band's attempt at complete musical statements within the three-minute pop-song format. The album's music is characterized by harmonies, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.

Other standout tracks include "Any Major Dude Will Tell You," a reflective ballad with lush harmonies, and "Parker's Band," a playful ode to the jazz great Charlie Parker.

Lyrically, the album explores themes of nostalgia, lost love, and the struggles of the creative process. In "Barrytown," the band reflects on their early days as struggling musicians, while in "Through with Buzz," they offer a biting critique of the music industry and the pressure to conform to commercial expectations.

One of the defining characteristics of Pretzel Logic is its use of unusual chord progressions and unexpected musical twists and turns. The band's intricate arrangements and skilled musicianship are on full display throughout the album.

Rolling Stone praised the album, calling Steely Dan the "most improbable hit-singles band to emerge in ages."

"When the band doesn't undulate to samba rhythms (as it did on 'Do It Again,' its first Top Ten single), it pushes itself to a full gallop (as it did on 'Reelin' in the Years,' its second). These two rhythmic preferences persist and sometimes intermingle, as on 'Rikki Don't Lose That Number,' which jumps in mid-chorus from 'Hernando's Hideaway' into 'Honky Tonk Women.' Great transition." — the review said.

AllMusic gave the album 5 stars, with reviewer Stephen Thomas Erlewine noting that "instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date." Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay.

The album's cover photo featuring a New York pretzel vendor was taken by Raeanne Rubenstein, a photographer of musicians and Hollywood celebrities. She shot the photo on the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate."

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Overall, Pretzel Logic is a standout album in Steely Dan's discography. The album's blend of catchy hooks, complex arrangements, and thoughtful lyrics has made it a favorite among fans of classic rock and pop music.

“Orlando Furioso is a haunting, one-of-a-kind statement, from an important new voice in improvised music.” - Steve Lehman

“…imagining instruments that haven’t been invented yet: space harps, cosmic gamelan, Venusian banjo. It’s the purest distillation of Atria’s musical language, simultaneously grounded and unearthly.” - Stewart Smith for The Wire (November 2022)

“Making liberal use of microtonal harmony and hypnotic, ostinato rhythms – as well as the occasional stylistic smash-cut, reminiscent of John Zorn – Orlando Furioso announced itself on Wednesday as a punchy, creative force on the New York scene. (…) Atria’s rhythms had a welcoming, social propulsion, and the microtonality of his writing for keyboard proposed an individual – even insular – language.” - Seth Colter Walls for The New York Times.

Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st-century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer.

Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands.

Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose - more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence. When every corner of the map has been charted, it becomes difficult to find a new direction in which to travel. One solution I hope to see more often is the one pursued on this record: breaking down distinct musical worlds into component parts and reassembling them into a language. When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own. - Mat Muntz

Orlando Furioso is led by Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance which The New York Times heralded as "virtuosic", "punchy, creative" and "even revelatory."

Winner of the Deutscher Jazz Preis: Best International Debut Album 2023

The West Indian-born alto saxophonist Joe Harriott was one of the most convincing boppers outside of the USA, though by the end of the 1950s he was exploring freer musical pastures, and the quintet with which he undertook the exploration was an outgrowth of the hard bop band with which he'd made a name on the British scene.

Often in the past the group's music, in which trumpet and flugelhorn player Shake Keane figured alongside Harriott in the front line, has been compared with that of the early Ornette Coleman quartets, but here it's far more interactive, a fact borne out most obviously by the lack of soloists. Here on Free Form (1961) is where the rhythm of that indigenously West Indian form is extraordinarily maintained in the midst of characteristic group exchanges.

Matching expansive ambience with environmental sound, Chihei Hatakeyama’s new album continues Field Records’ exploration of Japan and the Netherland’s shared approach to water management. As with Sugai Ken’s 2020 album Tone River, a specific project becomes Hatakeyama’s area of focus - in this case the Hachirōgata Lake in Akita Prefecture.

Previously the second largest body of water in Japan, the government ordered extensive drainage work of Hachirōgata Lake after the second world war with the help of Dutch engineers Pieter Jansen and Adriaan Volker. After the project was completed in 1977, reclaimed land took up eighty percent of Hachirōgata Lake’s total size. As a result, a new ecosystem was established as plants spread from surrounding areas, bringing with them a wider variety of birds and other wildlife.

Hatakeyama’s approach to this unique subject matter took in field recordings from particular locations around the lake - the drainage channels, the Ogata bridge, grassland conservation reserves and other key areas. The aquatic subject matter and sonic material is a natural fit for Hatakeyama’s accomplished sound, which has featured on numerous solo works for labels including Kranky, Room40 and his self-run White Paddy Mountain.

From the intimate intricacies of the sampled material to the glacial expanses of droning synthesis and languid guitar, Hatakeyama creates a tangible environment which at once reflects the settings around Hachirōgata Lake, while offering the listener any number of imagined scenes to observe in their mind’s eye.

Whispers is the first proper P.G. Six album since 2011"s Starry Mind. Time passes slowly, as they"ve been known to say out in the country, and before you know it, there"s a bunch of it behind you. After five releases in the first decade of P.G. Six, it may seem a bit of a surprise to have not heard something new in the past twelve years - but a cursory listen to Murmurs & Whispers will answer why, as the deep acoustic focus of the tracks imply an investment of the type of compassion and understanding that takes time and concentrated effort to conjure. Additionally, Pat Gubler"s always got a few pots going at once in his ever-expanding musical universe. He"s been active since the mid-90s, first with Memphis Luxure and Tower Recordings, then as P.G. Six, and as a member of Metal Mountains, Wet Tuna, Garcia Peoples and Weeping Bong Band. Additionally, some time was spent making collaborative records with Dan Melchior (in 2019) and Louise Bock (in 2021). Pat"s been playing the harp for more years than he"s been in bands, but when he realized that he was writing a set of songs centered around harp compositions, he spent some time in the woodshed with his instrument, a late 80s model Triplett Celtic 34 String Harp (which replaced a lovely Paraguayan harp he"d played for years previously). After the previous P.G. albums of electric band arrangements, he was in a place of writing songs with more silence in them. He ended up playing a lot of the parts himself on Murmurs & Whispers, adding guitar, bass, keyboards, recorder and hurdy gurdy, in addition to his harp and vocals. Clark Griffin and Wednesday Knudson, who Pat plays with in Weeping Bong Band, played and sang a bit themselves, and the record was recorded piece by piece in houses around upstate New York by Mike Fellows. Returning to the quiet acoustic sound of the first couple of P.G. Six albums, Parlor Tricks and Porch Favorites (which has seen a much-needed reissue in the past year after too many years OOP) and The Well of Memory, Murmurs & Whispers is more straightforward in expressing its vision of rural celestial wonder. Bucolic and comfortably lived in, Murmurs & Whispers nonetheless projects the transcendent heart of P.G. Six once again, and as ever, it is magnificent to hear it passing through us.

NOTE. WITH THE PURCHASE OF THE VINYL YOU WILL ALSO RECEIVE THE TRACKS OF THE TOTAL 23 DIGITAL VERSION AS A DIGITAL DOWNLOAD. THE DOWNLOAD CODE CARD CONTAINS ALSO ALL TRACKS OF THE CD.

Okay, you’re listening to the 23rd edition of Kompakt’s annual compilation series TOTAL… hold on… 23??? It’s impossible to look at this number without thinking of William S. Burrough’s Captain Clark anecdote, the Illuminatus trilogy and the Justified Ancients of Mu Mu. But don’t you worry, we’re not giving in to eikositriophobia. We’re enlighted folks, after all.

Total 23 kicks off in a disco mood with a well tempered double punch from label co-founders Michael Mayer and Jürgen Paape. Jörg Burger calls out a trippy new genre named Cinematic Dance before C.A.R. and Patrice Bäumel resurface with a club mix of their early 2023 single ‘Four Down’. Sofia Kourtesis’ sultry remix of Perel ‘Matrix’ finally gets a well deserved vinyl release. ‘Ice Cream Cake’ by Cologne’s newcomer M.A.P.E. helps cooling things down a bit before another debutante, Argia from Madrid makes her first entry to the Kompakt catalogue. Gui Boratto’s recent single ‘Drink In Paris’ raises the energy levels just in time for Reinhard Voigt’s ruthless closing track ‘Endlich XXL’, an ode to some of the best things in this world: Beer and techno.

Okay, du hörst die 23. Ausgabe der jährlichen Kompilationsreihe TOTAL von Kompakt. Moment mal… 23??? Man kann diese Zahl unmöglich betrachten, ohne an William S. Burroughs’ Anekdote über Captain Clark, die Illuminatus-Trilogie und die Justified Ancients of Mu Mu zu denken. Aber keine Sorge, wir erliegen nicht der Eikositriophobie. Immerhin sind wir aufgeklärte Leute.

Total 23 beginnt in Discostimmung und einem wohltemperierten Doppelschlag von den Mitbegründern des Labels, Michael Mayer und Jürgen Paape. Jörg Burger ruft ein psychedelisches neues Genre namens Cinematic Dance aus, bevor C.A.R. und Patrice Bäumel mit einem Club-Mix ihrer Single ‘Four Down’ aus dem Frühjahr 2023 wieder auftauchen. Der tropisch-schwüle Sofia Kourtesis Remix von Perels ‘Matrix’ erhält endlich eine verdiente Vinyl-Veröffentlichung. ‘Ice Cream Cake’ von M.A.P.E., einem Newcomer aus Köln, sorgt für etwas Abkühlung, bevor mit Argia aus Madrid eine weitere Debütantin ihre ersten Spuren im Kompakt Katalog hinterlässt. Gui Borattos aktuelle Single ‘Drink In Paris’ steigert rechtzeitig das Energielevel für Reinhard Voigts gnadenlosen Schlusstrack ‘Endlich XXL’, eine feierliche Ode an einige der besten Dinge dieser Welt: Bier und Techno.

Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Rythmiques has been 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 original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

16 moderne krautige elektronische Tracks inspiriert von Kraftwerk, CAN, Neu, Rother Klaus Schulze und Konsorten. Kuratiert und kompiliert von Compost Künstler Fred und Luna. Seine Auswahl (mit sechs exklusiven Stücken!) zeigt, wie gut jüngere Künstler die Kraut-Szene beleben. Die langjährig Bekannteren wie Pyrolator, Sankt Otten, I:Cube, sowieso. Und Vol. 2 ist auch schon in der Mache, folgt im Winter 2023. Die Collage auf dem Cover ist von der fantastischen Künstlerin Norika Nienstedt extra für die FSOK angefertigt worden. Sie lebt in der Kraut Metropole Düsseldorf.

Intro: Future sounds of Kraut, what’s it all about? Keine Ahnung, I don’t know. Überraschung, where we go...Alles andere als einfach oder im Grunde unmöglich, die Begriffe „Krautrock“ oder „Kraut“ zu definieren. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er und 1980er Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken. Auf „Future Sounds Of Kraut, Vol. 1“ präsentieren die beiden Kuratoren Fred und Luna als erste „Forschungsergebnisse“ hauptsächlich Bands, die vom repetitiven Charakter vergangener deutscher Elektronika à la Kraftwerk, Can, Neu!, Harmonia und Cluster, beeinflusst sind.

Viel Vergnügen und erfolgreiches Krautifizieren!