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After turning heads with the densely orchestrated Riddles, produced by Dan Deacon, the Baltimore-based duo Ed Schrader’s Music Beat have given us another giant leap forward with their fourth record Nightclub Daydreaming. The whiplash-inducing stylistic shifts between aggressive noise rock and operatic gloom pop that have become the band’s trademark have given way to a single aesthetic that fuses both impulses. On Nightclub Daydreaming, menace teems just below the surface as propulsive, stark arrangements leave space that Schrader fills with strident, reverb-soaked narration.

LIMITED GOLD VINYL w/ Download Card

When Ed Schrader and Devlin Rice began writing the record in 2019, the idea was to make a fun, danceable album, but an underlying moodiness proved unshakeable. As Schrader puts it, “The cave followed us into the discotheque.”

The duo road-tested the songs “This Thirst,” “Echo Base” and “Black Pearl” with drummer Kevin O’Meara on tour with Dan Deacon in February 2020. COVID restrictions cut the tour short, squashed plans to go immediately into the studio and sent the touring party on a sprint from LA to Baltimore. “We broke down outside Roswell,” Schrader recalls. “And these cops laughed at our dumb asses as we used all our pent-up stress and fear to propel our half-submerged bus out of the muck, yelling epithets to the sky.”

It was one of the last experiences they had with O’Meara, whose death in October 2020 weighed heavily on Rice and Schrader’s minds as they worked on the record. It was also a cathartic moment that presaged the aesthetic that would permeate the songs on Nightclub Daydreaming: “mad euphoria in the face of doom,” as Schrader puts it.

“This Thirst” is an alienation-fueled barn burner barely restraining itself through musically sparse, lyrically dense verses to culminate in a howling, synth-saturated chorus that beats horror punk at its own game. “Came from the north with a twisted planetarium, rock salt, nervous tic and novocaine,” Schrader sings, assuming the guise of a vagrant whose irresistible urges lead him through a fever dream of chemicals, back-alley bartering and existential threats.

The hyperactive “Echo Base” exudes agitated-cool, with breakneck drum fills and a relentless bass line. The narrator is stranded in a frozen landscape and running out of options. “She is just a night train away,” we are assured, and yet we sense that may not be an altogether good thing.

The band recorded and mixed Nightclub Daydreaming over a two-week period with Craig Bowen at Tempo House in Baltimore with David Jacober on drums, turning demos with artificial sounds and placeholder melodies into fully realized songs playable by a live band. The end result is not the album of “sunny disco bangers” that Rice says the band set out for, but something deeper, darker and more rewarding.

Ltd. Gtf. Yellow Pink/ Yellow Blue 2 LP + Poster & Sticker.Kamille Sharapodinov: "Unsere Frühjahrstour 2020 wurde abgesagt (16 Gigs in 18 Tagen) wegen der Pandemie dieses bösen Virus und das war ein echter Mist für eine kleine und unabhängige Band wie The Legendary Flower Punk, weil wir es lange geplant hatten und mehr als acht Monate damit verbracht hatten, es zu buchen. Aber um positiv zu bleiben, kamen wir mit einer eleganten Lösung! Buchstäblich in den letzten Stunden vor Quarantäne und Selbstisolation versammelten wir uns in unserem Proberaum, stellten das Aufnahmerigg ein und jammten und jammten und jammten. Danach hat unser Toningenieur Igor alles gemischt und gemastert und wir haben das Ganze in 16 Sets geschnitten (nach der Anzahl der Shows, die wir spielen wollten). "Beatroot 2020" ist eine Zusammenstellung der schönsten Momente dieser Jam-Sessions."

'Agua de Jamaica' is the first collaborative project between producer,
multi-instrumentalist, composer and arranger Sly5thAve and pianist and composer Roberto Verástegui

Recorded during lockdown in Mexico, the LP is built from a passionate and comprehensive understanding of Jazz, a love of Hip Hop and Mexico City's evervibrant artistic culture, Latin flavours, and the African roots from which these sounds grew. At the heart of 'Agua de Jamaica' is the title track; the moment Sly5thAve and Roberto realised they had something to pursue. The pair originally met whilst
studying Jazz in Texas and began piecing together the release on Sly5thAve's first visit to Mexico, over a drink of Agua de Jamaica. Thought of by both Sly5thAve and Roberto as the fullest collaboration on the release, "Agua de Jamaica" considers the constant artistic and cultural exchange between the US and Mexico, despite the politically differences. It draws the listener in with looping Hip Hop groove intertwined with hypnotic vocals from local artist Silvana Estrada.
Having moved to Mexico City at the beginning of 2020, Sly5thAve stayed with Roberto and his wife Yuki during the first Covid-19 lockdown. This time allowed for the pair to build on their ideas and explorations of different sounds and places centred around Jazz. Continuing in the Jazz traditions, 'Agua de Jamaica' is littered with signature Sly5thAve interludes, weaved together like a symphony
using album outtakes; "it's my favourite thing about making a record – making a complete piece from start to finish".

Limited Edition 3-panel digipak CD compilation of 26 of Juliette Gréco's most famous recordings, including the complete contents of her legendary LP Nº7 (Philips B 76 515 R), which was selected by MOJO Magazine as her best album.

An emblematic figure of French song with a career spanning seven decades, Juliette Gréco (1927-2020) is famous for having given the most celebrated performances of songs by authors such as Raymond Queneau, Jacques Prévert, Léo Ferré, Boris Vian and Serge Gainsbourg.
"Resistance activist, fashion trendsetter, singer, beatnik, talent scout, actress, lover and, as she said, 'famous before she had done anything', Juliette Greco will be remembered as the first and the last of her kind, and among the most influential people of the 20th century, even for those unable to name a single song to which her name would be linked." - David Hutcheon, MOJO Magazine, 2020

[a] 1 Sous Le Ciel De Paris [1959 Version]










[l] Sous Le Ciel De Paris [1951 Version]

TV on the Radio's "Province" and Beverly Glenn-Copeland's "Ever New" were released more than 20 years apart, with little in common sonically, but here, they’re intrinsically linked as studies in formative musical heroes for artists with dazzling voices. For Bartees Strange, TV on the Radio is an inspiration for where he could take his own genre-bending brand of guitar-driven rock. For Anjimile Chithambo, Glenn-Copeland is a reflection of themself in every way - a Black trans musician writing profoundly resonant songs focused on identity and rebirth, and the expansiveness you can find within. "Province" began with Eric Slick, who was the producer behind the track. The multi-instrumentalist, solo musician, and Dr. Dog drummer had been obsessed with Return to Cookie Mountain, TVOTR's third record, as a kid, and found himself revisiting it again and again. This past year, he made his own rough acoustic cover of "Province," before deciding to reach out to Bartees Strange and having him contribute vocals. TV on the Radio was pivotal for Bartees -- the moment he saw the band perform is seared into his memory. He came across their performance on The Late Show with David Letterman while channel surfing one night when he was a kid, and was immediately enraptured by their performance. He hadn't known what he wanted to do musically until he saw them perform, and it changed the possibilities of his life. Here, in his interpretation of the song, his voice is cavernous here, fleshed out atop a bed of Mellotron, Moog, and MPC instrumentations from Slick and celestial swells added by Ohmme's Sima Cunningham and Macie Stewart. Anjimile's interpretation of Glenn-Copeland's "Ever New" came together in a more solitary way, recorded alone in their Boston apartment. In his cover, the original seven-minute new age ballad from Glenn-Copeland's revolutionary 1986 album Keyboard Fantasies is trimmed down, sonically simplified to its core. Anjimile moves it more into a folk territory, building out the sonic world with the delicate, tender acoustic guitar lines and finger picking that's been an identifier across their own catalog. It's a more muted, subtle palette translating Glenn-Copeland's epic of springtime bloom and rebirth, but emanates that same tenderness. Anjimile's stunning vocal performance ushering the hymn into new direct clarity.

First single in three years from Belfast’s Robocobra Quartet.

For fans of Black Country, New Road, Black Midi, Squid, Fugazi, Dry Cleaning.

“Fugazi meets Mingus.” - Drowned in Sound
“Exploratory pioneers.” - BBC Radio 3 Late Junction
“A cunning marriage of jazz, spoken word and punk” - The Quietus

Improvisation and experimentation is at the core of Robocobra Quartet's DNA, almost intentionally at odds with their roots as a post-punk band. Including members with no musical training alongside
European music conservatoire innovators, the result is a groove-driven but cerebral blast, invoking the likes of Fugazi, Talking Heads and contemporaries such as Squid and Black Country, New Road.

The eclectic free nature of their live shows allows them to channel-hop from moments of joy and playfulness to periods of intense fury, creating a unique sound that has earned them invitations to Montreux Jazz Festival, Latitude and as far out as the Inversia Festival in the polar north of Russia.

Extensive live UK and Europe dates and album launch tour to be announced.

Ruth B is releasing her sophomore album "Moments In Between" via Downtown Records. With the breakout success of her debut single “Lost Boy,” Ruth B. emerged as an immediately captivating artist who drifts between moody realism and a dreamworld of her own making. An occasional poet who created her own storybooks as a child, the Canadian- Ethiopian singer/songwriter/pianist infuses all her songs with a raw emotional honesty, even as she lets her imagination wander into fantastically charmed terrain. On her sophomore album Moments In Between, Ruth pushes that dynamic to a new level of boldness and sophistication, embracing her most beautifully strange impulses while delivering her most impactful work to date. As the daughter of immigrants from Ethiopia, Ruth grew up on music from her parents’ native country and later discovered the artists who would become formative influences on her songwriting, such as Stevie Wonder and Lauryn Hill. After taking up piano at the age of eight and singing her entire life, Ruth began writing songs in her late teens and soon came up with “Lost Boy.” Initially posted on Vine in 2015, the Peter Pan-inspired piano ballad quickly went viral, with listeners undeniably drawn to Ruth’s heart-on-sleeve storytelling. By the end of 2015, she’d released her gold-certified debut EP The Intro, which led to such triumphs as winning Breakthrough Artist of the Year at the 2017 Juno Awards. Made with producers like Joel Little (Lorde, Taylor Swift) and Mike Elizondo (Fiona Apple, Regina Spektor), her gold-certified full-length debut Safe Haven arrived in 2017 and earned her three Juno nominations, including Album of the Year and Artist of the Year. Executive-produced by Patrick Wimberly (Solange, Blood Orange, Ellie Goulding), Moments In Between finds Ruth also working with producers like Ido Zmishlany (Demi Lovato, Shawn Mendes), Justin Raisen (Angel Olsen, Santigold), Doug Schadt (Maggie Rogers, Ashe), and D’Mile (a five-time Grammy Award-winner known for his work with Khalid and Ty Dolla $ign). In a departure from the minimalist alt-pop of Safe Haven, the album unfolds in a more elaborate and kaleidoscopic sound, yet never overshadows the understated power of Ruth’s vocals or the pure vulnerability of her songwriting. “For me writing songs has always been therapeutic, and I hope that hearing my songs helps other people in the same way,” she says. “Whether they’re feeling lonely or heartbroken or happy, I want them to know that someone else understands what they’re going through.”

Jonathan Kusuma makes his return to Cocktail d'Amore with a love letter to his Indonesian homeland. Each song is steeped in the ancient textures and timbres of the gamelan, brought to life through modular synthesis. 'Awalan' opens the EP with a delicate touch - otherworldly chirps and aural colours of an early morning sunrise. 'Roda Rodi' as Mr. Kusuma explains is his interpretation of interlocking as a traditional Indonesian way of life - "Gotong Royong" or "Mutual Assistance". The idea of mutual assistance is the sharing of burdens between the member of community. Modular sequences tightly fitting into one another, helping to support one another in the structure of their momentary existence. 'Kerontang' and 'Racacak' are two cuts which have Jonathan's signature sound design printed all over them. Big, booming and full of enraptured percussion. We're treated to a haunting close on 'Lorong K'. Menaced tones rising and falling, small fragments piercing through as to be bits of disintegrating concrete falling off the walls of a lost city.

If we are to accept spiritual reincarnation, why not cultural ?

A rebirth of the cool, the sonic samsara of enlightened, hedonistic moments...

Two absolute Vince Watson classics from the late '90s and early '00s, that show just how accomplished a producer he is. A double dose of some of Watson's most cherished, ethereal, Detroit-channelling cuts, that have caused euphoria on countless dancefloors since.

Re-edited and remastered for the VW20 Introspection album that celebrates Watson's first 20 years making music, this is also the first outing for 'Moments In Time' on a 12 inch.

Live radio broadcast recording of their 1991concert from the legendary Quartier Latin Club during The Berlin Independence Days.
This 300 limited edition vinyl only release with double sided A3 poster captures BOB at the peak of their powers.
Includes tracks from their Indie top 10 album ‘Leave The Straight Life Behind’ , Singles, and the previously unreleased ‘You Can Stop That For A Start’.
When BOB hit the stage at the legendary Quartier Latin club during the Berlin Independence Days on October 21 1991, they were talking loud and saying something.
BOB had been touring relentlessly for five years. All over the UK and Europe. Headlining their own shows and supporting some of the biggest names in indie rock, but this gig was something else. It couldn’t have happened in any other place, or, at any other time.
In Berlin, the wall had come down two years previous.Things were changing. There was a freedom of movement, unknown for many decades. You could grasp the spirit of creativity.
In London, the underground indie scene of the mid to late 80’s was being replaced by the corporate music marketing machine they called Britpop.
On this recording we capture a milestone moment of this time.

South London-based 8-piece band Don't Problem is proud to present their their new album ' Liminality' planned for October 2021.

Their first three singles 'King Kong' 'Whale' and 'CD's Lament' gathered very strong media support with coverage from the likes of Mary Anne Hobbs, Jamz Supernova, Tom Robinson, WorldWide FM, BBC London, Jazz FM, Soho Radio, Amazing Radio, Radio Nova, Fip and more.

With their new album, the combo challenges the common perception of a "covers" brass band, exclusively writing original material and adding electronics, synths & strings, a reflection of their wide encompassing interests. They introduce us to a very personal journey; the moment in time where a brass band affirms their love for club culture and delivers an album that travels from heavy funk to psychedelic jazz and UK dance music.

"As 8 people writing music together, sometimes it can take a while for a tune to fully take shape. This tune came into itself in the studio which gave us the space to explore the production, sonic possibilities and instrumentation. The opening section leads to a beautiful first-take flugelhorn solo driven by lush strings, pulsing horns and electronics before reaching its soaring conclusion. The title ‘Whale’ is in reference to the Whale emoji which we use as a way to express a greatness or joy for which words can't be found."

Don't Problem's debut 'DP EP' combined the heavy funk and raw psychedelic sound of brass and drums with ferocious grime-inspired improvisation to deliver original and fresh music, aimed squarely at the dance floor. The band is comprised of 8 musicians who've played with everyone from Tenderlonius, Emma Jean Thackray, Alfa Mist, Tom Misch and Ruby Rushton to Riot Jazz.

* A welcome reissue of Jah Warrior’s 1998 album `Dub From the Heart Part 2’.
* A venture into raw dub-wise territory with samples galore and weighty bass-lines built for sound system and annoying the neighbours.
* Produced by Jah Warrior and mixed by Dougie Wardrop from Conscious Sounds studio,
* Limited to 500 copies only.

Split remix record with Visitor strictly limited to 200 copies. Remixers include Kontravoid, Morah, Xarah Dion, Sarin, Qual, Visitor, Filmmaker, and Oliver. Mastering at Dadub Studio Distributed by ReadyMade Distribution Side A Graphic Design by Jean Lorenzo Side B Graphic Design by Nicolas Zupfer Braid Records 2022

Sunny side up » is the first solo EP of JL., Paris based artist and Reshuffle music / Momo's Basement resident. The EP embraces a solar energy spread in four refreshing tracks, between house and techno. It has this sunrise galvanizing vibe, that you can enjoy either when partying late or waking up at dawn to welcome a new day. A game of contrast and textures, definitely positive.

'Dwell Time' focuses on the moments in between. Expanding on Satie's Furniture Music, which explores the role of music as a backdrop, Dwell Time explores the moments in between active and passive listening. A sound that maintains a unique balance of properties can start as an active relationship that slowly dissolves into the background and accompanies a listener over its course. The Dwell Time signal remains completely analog, utilizing homemade tape samples and hardware synthesizers to encourage the listener to move between the different states of listening. Produced by Rafael Anton Irisarri and Mastered by Taylor Deupree.

Repress!

Blue Train is a studio album by John Coltrane, released in January 1958 on Blue Note Records.


Recorded at the Van Gelder Studio in Hackensack, New Jersey, it is the onlyBlue Note recording by Coltrane as session leader. The bonus CD with this package

includes the complete “Blue Train” album plus the complete album “Lush Life”.

“Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane’s career, but of the entire genre of

jazz music as well.” - Lindsay Planer, AllMusic

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

Cypress Hill shifts culture. Since releasing its eponymous debut album in 1991, the California rap group has regularly revolutionized rap. B-Real and Sen Dog’s innovative lyrics, distinctive voices and poignant street-centered subject matter catapulted the group to superstar status. Its first LP sold more than 2 million units and its second album, 1993’s Black Sunday, pushed another 3 million units thanks to the Grammy-nominated singles “Insane In The Brain” and “I Ain’t Goin’ Out Like That”.

Along the way, Cypress Hill earned a star on the Hollywood Walk of Fame, sold more than 9 million albums, and were nominated for three Grammy Awards. During a time increasingly defined by singles of the moment, rappers B-Real and Sen Dog wanted to make a statement by releasing an album. Back in Black, the group’s forthcoming tenth studio project, finds the group flexing its musical muscles and pushing itself creatively. With a mesmerizing mix of celebratory, confrontational, inspirational, reflective, and rugged songs, Cypress Hill shines throughout Back in Black. Entirely produced by Black Milk (Slum Village, Lloyd Banks, Pharoahe Monch), the LP is an homage to Cypress Hill’s return and its collaboration with Black Milk.

Elektro Guzzi from Vienna are back with their new, their ninth album »Triangle«. Since their first, self-titled album in 2010, Elektro Guzzi have been working on a variety of techno that is not programmed on a computer or sequencer, but rather analogously performed by using
electric bass (Jakob Schneidewind), drums (Bernhard Breuer) and electric guitar (Bernhard Hammer) and it is techno-music, that arises in the moment of interaction - a music that often develops in the direction of cosmic music. On »Triangle«, Elektro Guzzi overcame the
natural, »learned« sound of their instruments. The futuristic concept of techno shines through all the more as a role model - that there is precisely this clear idea of transcending the present by playing a hypnotic, interlocking music of the future. »Triangle« is the logical
next step for a band that is always looking for »more«, for departure, for consistency. The forced break of the lockdowns 2020/2021 and the restrictions in the context of the crisis made the band move closer together; on »Triangle«, Elektro Guzzi increased their efficiency to the unbelievable.