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Back in 2018, Argentinian producer Fernando Pulichino released ‘Search of Indigo’ on Leng, a shuffling slab of colourful, Balearic-adjacent dub disco featuring his own distinctive lead vocals and backing vocals from Luca Gasparini. Six years on, the track returns renewed and refreshed thanks to a string of new floor-friendly reworks by LTJ Xperience and Pulichino himself. Fernando kicks off the EP with his ‘AM Mix’, an inspired re-invention that re-frames the song as a hard-wired, acid-fired chugger – all restless, razor-sharp TB-303 lines, low-slung bass guitar and sparkling piano riffs. On the digital version of the EP Pulichino has also offered up his ‘PM Mix’, a deliciously Balearic disco dub rich in colourful synth sounds, elastic bass, flanged guitars and sun-bright piano licks. It's LTJ Xperience’s trio of remixes that lie at the heart of the EP though. The Italian producer, real name Luca Trevisi, initially made his name as a downtempo and nu-jazz producer before perfecting a trademark style of chugging, slow-motion hedonism that draws influence from both deep house and nu-disco. His main Remix foregrounds many of these trademark elements, in the process delivering a bongo-rich chugger laden with delayheavy bass guitar sounds, head-nodding drums, heady guitar loops and echoing vocal snippets. On the Dirty Mix, Trevisi reaches for tight, short TB-303 ‘acid’ loops, a more sparse and heavy rhythm track offering a more heads-down, dubbed-out affair that should delight those who love late night and early morning hypnotism with flashes of wide-eyed sonic bliss. Then, to round things off, Trevisi delivers a heady, atmospheric and spaced-out Dub full of jazz guitar licks, bubbling electronics, vocal snippets and effects-laden bass. It’s a winning combination.

Jorge Ben is surely one of the world’s greatest all-round musical artists. He is internationally renowned and vastly influential as a vocalist, musician, performer and phenomenal songwriter. Famed for penning ‘Taj Mahal’, which was the source for Rod Stewart’s ‘Do You Think I’m Sexy?’, and also ‘Mas Que Nada’, one of Brazil’s most iconic anthems, Jorge Ben is a powerful musical force. A simple glance at his impressive back catalogue reveals a master of his craft, with a depth and quality that is seldom paralleled.

For 'Tudo Ben' we take a side-step, focusing on Jorge Ben’s songs that have been performed by other artists. Complied by Mr Bongo, Greg Caz and Sean Marquand, this collection features the Brazilian legends Elza Soares, Claudette Soares, and Wilson Simonal, alongside prodigious artists such as Marijô, Os Brazoes, and Doris Monteiro to name but a few. The selection covers a wide range of genres including samba, bossa nova, MPB and batacuda workouts. Many of the songs featured have become staples in Mr Bongo DJ sets over the years and are some of our most loved classics. As with many of history’s great songwriters, Jorge Ben’s songs transcend genres and styles, they can be covered and reinterpreted, yet the quality of the writing holds up to the standard of the original.

In the dark days of the mid to late 2000s when the end of vinyl seemed inevitable, Mr Bongo released 'Tudo Ben' on CD only. Years later, we finally get to put this right and present it for the first time on vinyl with alternative artwork by Mr Krum.

Dutch musicians Han Litz & Olivier Schreuder found each other again, after their initial collaboration in a John Coltrane tribute with the Kindred Spirits Ensemble, in their wish to create spiritual animistic music inspired by nature. Together with Thai-Dutch musician and visual artist Angkanang Pimwankum they start making audiovisual improvisations in which they are lead by fieldrecordings made by Schreuder, and their intuition.

Cosmic Breeze takes listeners on a neverending love trip through the cosmos, channeling the warmth of 70s funk grooves, the lush textures of modern Indie-Rock, and Knowsum's signature experimental flair. With it's infectious rhythms, raw synths, and psychedelic melodies, the album creates a soundscape that feels both nostalgic and futuristic.

Über 45 Jahre existiert die englische Hardrock Gruppe IRON MAIDEN bereits. Die Band um Sänger Bruce Dickinson gehören zu den weltweit erfolgreichsten Bands mit unzähligen Hits, ausverkauften Welttourneen und No. 1 Hitsingles. Diese im Jahr 2000 vom lokalen niederländischen Radio
übertragenen Live-Aufnahmen erinnern daran, wie mächtig und dynamisch IRON MAIDEN den Fans Live einheizen.

Music To Varnish Owls By. Does Geoff Bastow have a claim for the best album title of all time? It's certainly up there. It's also one of the hardest to find library funk records. But don't let the eye-catching name fool you into thinking this isn't serious business.

As a key member of Giorgio Moroder's team, the legendary Geoff Bastow shouldn't need any introduction. You'll be familiar with his singular brilliance as the brains behind the much-sampled boogie/disco classics "You Don't Like My Music (Hupendi Muziki Wangu?!)" and "Don't Stop", released by his group, K.I.D.

But 1975's Music To Varnish Owls By is where it all began for our hero.

It's packed with incredibly soulful, soothing music that - despite being utilised a few times by Knxwledge - remains still largely un-mined. So, beat-makers, get cracking. And instead of that hyper-rare original, spend that £300 on something else.

Born in 1949, Bastow was a Munich-based English songwriter and record producer. Originally working as a guitarist and pianist in dance bands around his home county of Yorkshire, he moved to London in the early 1970s and then Munich in around 1976. He was one of the main architects of the Munich disco sound of electronic innovator Giorgio Moroder and also released heaps of killer library records for legendary labels like Bruton (with brother Trevor), Impress, JW Music Library and the Munich-based Sonoton between the 1970s-2000s. Bastow died tragically young, in Berlin, Germany on 16 March 2007, at the age of just 57. But he left behind a truly incredible electronic music legacy. He deserves to be much better known and this reissue should bring him to a fair few more ears. Let's see why...

Light-hearted opener "The Rough With The Smooth" contains a killer open drum break and is basically guitar-drenched flute-laced piano-funk. However, the first genuine highlight, "Beautiful People", is just majestic. Reflective, pastoral and silky smooth - as the title suggests, it's just straight beautiful; a chiming, deeply soulful instrumental that has to be heard to be believed. Sampled by Knxwledge but nobody else of note, which is crazy. Slo-mo soul beat "Tumbleweed" is another stone cold track just desperate to be laced by a skilled MC. Laconic, lysergic funk with nostalgic overtones, the guitar is prominent but the flute and glock really elevate it to perfection.

"Bits And Bats" is clav-enhanced Blaxploitation-esque street-funk with tough bass and crunchy drums that, despite its hardness, manages to flirt with breeziness. All in all, sumptuous, pounding wah-wah brilliance. Another huge one, up next. The insistent piano-funk head-nodder "A Change Of Pace" is a total sleuth-funk jammer, with a wonderfully soft snare and more hypnotic, melancholic flute lines. Man, we'd love to hear Alchemist chop this up. It even sounds a bit like Bastow was keeping things thoro with this one. Closing out Side A, the bright and breezy Bossa of "Janelle" makes it a perfect run of six untouchable gems. As elegant as it is sleazy, it sounds like it could've been on the classic KPM greensleeve, Piano Viberations.

Side B opens with the Ramsey Lewis-inspired "Time And A Half", a deceptively simple bass, drums and piano workout, decorated with stylish percussion with some great chord changes and hints of drama via a great bass solo. The heavy "Supersplash" is a doped-out drama suite with fuzzy wah-wah guitars, electric piano and glock. "Fillet Of Soul" is a catchy wah-wah propelled shuffle with piano and vibes, super dynamic but also incredibly chill.

"Well Above Average" is exactly that, a funky instrumental that serves as a straight ahead guitar-soul workout. Oozing bass-driven class, it gets better with every listen. Some open drums for your delectation, too. The fuzzy clav-and-vibes funk of "The Clan" - also understandably sampled by Knxwledge - is a monster head-nod slow jam whilst, seeing us out, the uber-relaxed "Sing Song" rounds things off in bright fashion with its slow but insistent clav, electric piano and glock greatness. Swoon.

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

Soul Jazz Records are issuing this album as a one-off pressing special orange coloured vinyl edition, fully remastered and with exact reproduction artwork especially for Black Friday 2024.
In similar vein to groups such as Mandrill, Jimmy Castor Bunch, The Blackbyrds, Pleasure and Kool and the Gang, Tribe blends together elements of funk, jazz, rock, latin and soul music into a unique sound (their first album was aptly named ‘Ethnic Stew’).
‘Dedication’ is a fantastic long-lost album of deep funk, soul and jazz from the group, originally released independently in 1977 and out-of-print for over 45 years.
Tribe was the brainchild of multi-instrumentalist Earl J Foster, who put together the band along with producer Big Dee Ervin in 1974. Aside from Earl Foster the band features Clyde Jardine Powell on bass, Billy Soto on guitar, Jimmie A. Clapper on sax, Benjamin Taylor and Harold Clayton on vocals and Harold Davis on drums.
The group made three albums, but ‘Dedication’ remains their tour de force, a fantastic slice of spaced-out funk, jazz and soul.

"CYRIL is the Aussie-born artist, DJ, mulit-instrumentalist and producer behind two of the world's hottest records at the moment, ""Stumblin' In"" and his remix of Grammy-nominated artist Disturbed's ""Sound of Silence."". He is signed to the Dutch record label Spinnin' Records, known for its smash hits in the EDM genre.

His biggest moment thus far came in late 2023 with the release of ""Stumblin' In,"" which initially exploded on TikTok before dominating the worlds of streaming and radio. It became the #1 most played song on air in countries like Germany, Poland, Australia, New Zealand, and more, as well as covering some of Spotify and Apple's biggest playlists.

Shortly afterwards, a remix of Disturbed's cover of the Simon & Garfunkel song ""The Sound of Silence"" was released and reached the Top 10 in several countries.

CYRIL’s debut album, From Down Under-To The World , features tracks such as ""True"" with Kita Alexander, alongside extended versions of ""Stumblin' In"" and ""The Sound of Silence."" From Down Under - To The World is available as limited edition of 1000 copies on white coloured vinyl. "

Established in 2013, Falling Ethics celebrates its 11th anniversary with a limited double vinyl compilation featuring exclusive tracks from Oscar Mulero, Temudo, BLANKA, Not A Headliner & more. Be sure to check it out!

Das von Percussion und Bläsern getragene 'Night Of The Wolf' wurde bei Northern Soul-Events in GB als auch in Brooklyn-Discos in den 1970er Jahren gespielt und war ursprünglich ein italienischer Progressive-Rock-Albumtitel. Es wurde 1975 als äußerst seltene US-45er unter dem Namen Al Foster Band herausgegeben und ist die erste offizielle Neuauflage. Der 70er-Jahre-Modern-Soul-Midtempo-Klassiker 'It's The Same Old Story' von ACT 1 wurde auch in den frühen Discos von New York, Chicago und LA gespielt, war aber immer nur ein Albumtitel. Dies ist die erste Veröffentlichung überhaupt als 7inch.

ROUND RECORDS IS PROUD TO REINTRODUCE THE RECORDINGS OF DAVID GRISMAN & JERRY GARCIA AT RETAIL WITH THE DEBUT OF BARE BONES, a collection of duo performances exploring the foundation of their beloved studio recordings. After over 30 years, Grisman has opened the Dawg Vault to curate a collection honoring the magic of their studio works. They are presented for the first time in their original unadorned state as part of a vinyl series.

Destroy All Neighbors is a twisted splatter-comedy about a deranged journey of self-discovery full of goopy practical FX, a well-known ensemble cast, and LOTS of blood. William Brown (Jonah Ray Rodrigues), is a neurotic, self-absorbed musician determined to finish his prog-rock magnum opus, facing a creative roadblock in the form of a noisy and grotesque neighbor named Vlad (Alex Winter).

He finally works up the nerve to demand that Vlad keep it down, and William inadvertently decapitates him. But, while attempting to cover up one murder, William's accidental reign of terror causes victims to pile up and become undead corpses who torment and create more bloody detours on his road to prog-rock Valhalla. The soundtrack is an infectious slice of progressive rock cues, EDM freakouts, 80’s synth pop and so much more by the brilliant Ryan Kattner & Brett Morris. Released in conjunction with SUB POP Records, and features an original song by MAN MAN, artwork by Johnny Dombrowski, and pressed on coloured vinyl.

The Nefilim gründeten sich 1992 und entwickelten sich nach der Zersplitterung von Fields Of The Nephilim. 1996 wurde das einzige Nefilim-Album mit dem Namen "Zoon" veröffentlicht. Sänger Carl McCoy verbrachte vier Jahre damit, seine Vision zu verfolgen und schuf einen akustischen Angriff auf die Sinne. Es ist ein tiefgründiges, dunkles Industrial-Album mit Death-Metal-Einflüssen, das in Isolation entstand - ein Statement der großen Absicht und des Übergangs. Die erweiterte Ausgabe von "Zoon" wird am 25. Oktober auf 2XLP, CD und digital veröffentlicht. Die Vinylversion ist auf rotes Vinyl gepresst. Alle Formate enthalten vier Bonustracks und wurden von Sean Magee in den Abbey Road Studios remastered. Während sich Fields Of The Nephilim zu einem der bedeutendsten Acts der späten Achtziger entwickelten, war McCoy zunehmend unzufrieden mit den Beschränkungen ihrer musikalischen Formel. "Zoon" zeigt, wie weit seine Fantasie reichte, wenn er sich von den Fesseln einer fünfköpfigen Band befreite. Mit "Zoon" hat er seine Vision zu einem dichten, kohärenten und extrem kraftvollen Album verfeinert, das durch seinen wirklich eindringlichen Gesang getragen wird. Musikalisch gibt es kaum Vergleichbares - "Zoon" enthält Elemente von so unterschiedlichen Künstlern wie Joy Division, Ennio Morricone, Sepultura, Wagner und Ministry, aber die Alchemie des Aufnahmeprozesses hat etwas Einzigartiges geschaffen. In einem Interview mit The Quietus erklärte McCoy, dass "Zoon" eine seiner Lieblingsarbeiten sei. "Es war eine andere Herangehensweise, die es mir ermöglichte, einige meiner Ideen ohne Grenzen auszudrücken. Das musste ich tun."

Triumph And Power« will turn out to be another victory in GRAND MAGUS’ history! GRAND MAGUS was founded by JB Christofferson (vocals/guitars) and Mats “Fox” Skinner (bass) in 1996. Two years later, Fredrik “Trisse” Liefvendahl joined in on the drums and the first two demos were released. In November of 2001 the self-titled debut album – obviously inspired by the late creative period of bands such as BLACK SABBATH or DEEP PURPLE - was published on the European and US market. »Monument« (2003) and »Wolf’s Return« (2005) followed, receiving but praiseful press reactions. On their fourth studio outcome, »Iron Will« (2008) GRAND MAGUS present a redefined style and grand expertise, still acknowledging their own roots, gaining perfect scores with the music press again and being entitled the soundcheck winner with German Metal Hammer. Album number seven got the meaningful name »Triumph And Power« and was released in 2014. 2024 the 10th Anniversary edition will be available on vinyl.

"This record explores the relationships between mid century architecture, consumerism and community. The gradual or sometimes brutal removal and change of places in the name of progress. These changes leave traces that people have to deal with on a psychological level but probably never really acknowledge. This record explores loss of community and loss or unsympathetic altering of shopping spaces. When something is unceremoniously knocked down or altered and something else replaces it then the thing before it becomes ghost like and is at risk of being forgotten. Not dissimilar to when the Christian faith built their buildings upon Pagan sites. It has a similar purpose (to pray or to shop in this case) but the older thing becomes dreamlike and is confined to folklore. The community is always fed the propaganda of progress but looking back, I certainly cannot deny the beauty of what has now gone. Maybe there is a sense of dissolution and denial about such matters. The record is also interested in the sense of community of these past spaces and how shopping centres have generally declined mainly due to the rise of neo liberalism and tech giants. When you see old footage of these spaces in their prime, you get a sense of a space age future, everything looks new but paradoxically the people look to be from an older time. Today I can see real poverty and complete disenfranchisement from being in these new spaces. It's not all doom and gloom though as spaces, especially the ones in Plymouth are not that much altered and could be brought back to the architects original dreams."

David A.

‘Broadcasting From Home’ is the third studio album by the Penguin Cafe Orchestra, released in 1984.
The opening song was named after Penguin Cafe Orchestra leader Simon Jeffes found a discarded harmonium in an alleyway in Japan.
This is the first repress since 1987 and uses the 2008 remaster.
Pressed on white vinyl.

Danish instrumental collective ALAWARI was founded in 2016, and rapidly garnered a name for themselves on the European jazz scene for their explosive live performances, going on to win Denmark s Young Jazz competition in the same year. A contrast to their eponymous 2022 debut - a cacophonous musical reflection of revolution - their upcoming release is an exploration of spirituality, transformation, and the totality of the human experience. Leviathan oscillates between symphonic grandeur and intimate vulnerability, with moments so delicate that every breath can be felt. In this way, the sextet aims to demonstrate that the path to the divine is found through collective unity unity-a shared experience that transcends the individual. From lamenting melodies on a solo trumpet eventually accompanied by a dense, ominous synth, to hypnotic patterns on a percussive close close-mic d saxophone, to thunderous rhythm section grooves with searing horn harmonies, ALAWARIs innovative and dynamic arrangements offer something brand new and unexpected around every corner. Despite being a six piece, the ensembles sound feels comparable to that of an orchestra or big band, combining through through-composed classical classical-influenced orchestration, intricate interlocking parts, lush waves of texture and a warm, raw, intimate production style to craft a larger larger-thanthan-life listening experience. Leviathan embarks on a profound journey, capturing the divine and spiritual forces that permeate the arts. The album serves as a vessel vessel-slowly navigating like a majestic ship or a steadfast train, embarking on a peaceful yet powerful crusade. It invites listeners to traverse a landscape of sorrow and joy, pain and exaltation, silence and intensity. Through this journey, ALAWARI aims to reveal the primordial truth: that the spirit precedes all, and that the mundane backdrop of everyday life can be transformed and painted anew, if carried by the right vessel.

14 freshly baked Hip Hop tracks from the best of the global underground.
Including Bugseed, Don Leisure, HashFinger and El Jazzy Chavo to name a few.
This limited edition 12" vinyl will also come with issue 2 of a 3 part comic book series illustrated by Dan Lish (ego strip).

A gas generator, a hi-fi system, a semi-abandoned house, and 20 hastily printed flyers. That's how, almost without realizing it, Lapsus was born in 2004. Over the course of two decades, we've ridden a rollercoaster of emotions: from soaring epiphanies, convinced that nothing could stop us, to moments of near defeat when we almost threw in the towel. Let's be honestMaking a career out of music is not exactly choosing the easy path. But epic tales aside, today we look back with pride at having created something that, in our humble view, is genuine. To celebrate Lapsus' journey and what lies ahead--and also keeping an eye on what is yet to come--we've gathered some of the artists who have joined us along the way, musicians we consider friends and for whom we have the deepest admiration. In a way, VINT (Catalan for ''twenty'') is like a sonic photo album, a tracklist that tells our story better than we could ourselves, a collection of unreleased music that celebrates the fact that we've made it this far. Leading this outstanding compilation are forward-thinking producers, with contributions from some of the most respected names in cutting-edge electronic music (A-Z): CLARAGUILAR, GAZZI, Kettel, Kode9, Le Motel, Lord Of The Isles, Marina Herlop, naemi, Nueen, Pepe, Plaid, Seph, Simo Cell, Suzanne Ciani, Wordcolour, and u-Ziq. VINT is our way of thanking you for your unwavering support over these 20 years. We hope you enjoy it!

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.