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Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn 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 sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

The tune entitled 'Smite Dem' is a fully self-produced release that we had made entirely in a remote collaboration style between both our own studios (Selah Dub Studio & Blak Nile Studio) where we had both decided on doing 2 different grooves on the project after initially working tirelessly on the original one drop groove version (which you can hear mixed on the first 2 mixes of the record). This is what set the way for inspirations with the dubs to let loose after one morning waking up and messaging Mali together a serious warrior style steppas pattern for the project. He did that without fail as that being his forte. At this stage it then led us to both be very ecstatic with the outcome of the creation at hand.

With great honour we are pleased to share with you the fully completed first wave of collaborations from this booming link-up ready to blaze up plenty of sessions worldwide! The message is here and the word is clear; let us live in love and not have any fears! Keep your shining light bright for all mankind, oh Jah!

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

Vivendum est ut ea libertate utamur, quae prosit amicis, noceat nemini.
We must live to enjoy the freedom that can benefit our friends and harm no one.

LTD Color Repress


After a completely sold out first release by Tom Carruthers and Mario Liberti. TCR. is back with one of the secret weapons inside many DJ bags. Heavily supported by Ricardo Villalobos, Tini, Anthea, Arapu, Alexandra, Velasco, Liquid Earth, Bill Patrick, Josh Baker, Lis Sarroca and many others TCR.002 by ‘Unknown Artist’ has been played on some of the top dance-floors around Europe.

The whole EP is a tribute to an Ibizan band from the late eighties and early nineties.

Extremely limited copies, don’t sleep on this one and remember… Pon, Ponte Bien, Pon Selo, Pon Pin Pon, Pon Amor, El Party Que No Pare.

2024 Repress
Alberto Pascual, also known as Ribe is a well seasoned veteran in the Spanish scene. An expert synthesist and modular weirdo, his sound palette is amazing. If you have been so fortunate to enjoy his live PA before these turbulent times, you've got the precision and hypnosis he always provides.

This release has a physical side and a digital one, with four and seven tracks respectively, including two Oscar Mulero remixes.

"Palette" opens the release, a lone kick drum squashed in reverb sets the pace on the first bars while abstract details appear randomly and a continuous sequence grows from below. The tension is kept all over the arrangement, not additional percussive elements, just the few principal elements going back and forth.

"Shapes" has a Basic Channel approach soundwise, texturized techno as its best, exploring the dark corners of sound design, and again all relaying on a linear and mental arrangement.

"Ad Infinitum" is remixed by Oscar Mulero in his first remake, transforming the formerly broken and abstract Ad Infinitum is a danceable intelligent weapon.

Original version of "Ad Infinitum" follows, providing the experimental slice of the EP. Broken rhythms, shuffled components and low rated tempos.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Leading the charge with the next Toolroom Trax vinyl series is Mark Knight’s remix on a euphoric dance anthem from Dave Spoon (aka Shadowchild) & Nick Reach Up who update Elaine Mai & MuRli's track 'Ready'. An underground House work-out that's been tried & tested on the dancefloor throughout 2023 and inspired by the euphoric House sound of the 90's, Mark’s mix makes use of the original's hypnotic vocal, combined with driving bass and big euphoric synths. House heavy-weight CASSIMM lands back on our Trax vinyl series with another essential club cut 'Wanna Feel Something'. The Italian, London based hit machine rose to new heights in 2023 with a Beatport House #1 'LOVE DESIRE' on Claptone's Golden Recordings, and chart-topping releases on Toolroom, Spinnin', Myth Of NYX and more. Full of fun, funk and house goodness, CASSIMM yet again delivers another irresistible party starter! Label favourite, Crusy steps up on remix duties for this next offering and a milestone 300th release for the label with an updated mix of Superchumbo & Victoria Wilson James’ ‘The Revolution’. An influential anthem from 2001 'The Revolution' spent over two decades in clubland since icon Danny Tenaglia originally broke the record at the infamous WMC Miami, later going on to recieve support from global superstars such as Pete Tong, X-Press 2, Roger Sanchez and more. Crusy’s signature drums, percussion and grooves drive through

that Latin influenced energy throughout. Last but definitely not least, James Hurr and Electro pioneer Arthur Baker team up with their unique blend of underground house and 80's hip-hop in new club controller, 'Powder In The Nose'. This collaboration marks a triumphant return for James Hurr on Trax who has previously released successful club cuts on the label, and an exciting debut for Arthur Baker, an artist who needs no introduction. The Boston-born producer is widely recognized as one of the pioneers of the Electro genre, with a career spanning over four decades. Baker's unique sound, which fuses elements of hip-hop, funk, and electronic music, has made him a household name and a highly sought-after collaborator. Together, Hurr and Baker are a powerhouse duo, with their combined expertise and passion for dance music 'Powder In The Nose' is nothing short of spectacular.

ountless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

Repress!

The release of Crosstown Rebels’ SPIRITS compilation is always a bastion moment for the label. The first edition came to prominence in 2017 and we’ve been graced with an annual compilation ever since, showcasing a consistent habit to champion established artists and breakthrough ones alike. Now, Crosstown Rebels’ lauded SPIRITS series will see the light of day once more in June, with the release of SPIRITS V.

NYC-native Layla Benitez leads proceedings with Fides, a progressive-leaning, introspective number that retains an inherent danceability throughout. It kicks off the compilation with a driving energy, one that’s perfectly matched by Trabajar - the Crosstown Rebels debut of recent Hot Creations inductee Mr.Diamond.

A techy-inspired cut, punchy four-four drum patterns create a distinctive late-night feel, as UK-talent Denney soon arrives with Kill The Soundboy. Showcasing the groove-laced house sound with which he’s become best known, the near seven-minute piece is sure to light up many a club setting this year, paving the way for Talk To Me. It’s a collaborative venture between Munich-based artist ASK:ME and El Muerto, with Soulfoot featuring on vocals. Retaining a vintage Detroit style, the fast-paced tempo creates a natural excitement before Romanian-born mainstay GruuvElement’s gifts us the minimal-toned Boom Room.

Building with tribal-like percussion and salsa-inspired instrumentals, it’s a playful excursion into dance music’s outer realms, paving the way for young Peruvian producer Chinonegro with My Moment. Whether it be the pluck of a guitar string or a jazzy trumpet solo, there’s an inherent authenticity to the six-minute piece, as a mid-track breakdown gives way to whispering hats and a rhythmic underlying backbone.

The penultimate offering comes from French-born, London-based regular Maglia, who serves up the enchanting Rayiys. The chirping of birds resides atop an ever-changing bassline, leaving us open and ready for the VA’s closing saga: Thanks Moon, by Spain’s I AM JAS. A heady combination of beautiful lyrical contributions combines with softly moving electronic elements, to leave us in a state of calm, inward reflection. Rounding off proceedings on a note of quietude, it reminds us of the final moments in clubland, transporting our psyche to sunrise, fond memories and everything in between.

Over a period of nineteen years, Damian Lazarus’ Crosstown Rebels has evolved into a world-renowned institution, garnering global audiences thanks to a consistent schedule of quality releases. In years since it’s earliest beginnings, the likes of Maceo Plex, Art Department, Seth Troxler, Ali Love, Mathew Jonson, Pier Bucci, Acid Pauli, Dennis Kurtel, Francesca Lombardo, Glimpse, Aphrohead, Fur Coat and a plethora of other figureheads have all found their home on the label.

The roster is international, showcasing how Crosstown has shaped a truly global scene. Releases are born in different continents by artists who hail from different countries, resulting in a sound that resonates worldwide. Perhaps most pivotal to the label’s success is its musical output: no part is governed by boundary or genre. It’s underpinned by a truly eclectic sound, one that reflects the diversity of Damian’s love for music itself. An album from drum and bass icon DJ Krust here, a maiden LP from Audiojack there… traversing genres has been Damian’s forte for decades - and Crosstown epitomises that as a result.

“It’s just too easy to make a standard dance track,” Aphex Twin said of his mindset back in 1992. “You’ve got to put a bit of thought into it to get something a bit different.”

‘Didgeridoo’ was released on the Belgian R&S Records label in 1992, and originally peaked at #55 in the UK singles chart in May of that year. Over the last 32 years the track has become one of the essential Aphex Twin tracks in a gargantuan catalogue that continues to amaze and inspire.

“I wanted to have some tracks to play to finish the raves I used to play in Cornwall, to really kill everybody off so they couldn’t dance,” Richard D James, AKA Aphex, told Select magazine back in the 90s. “Digeridoo came out of that.”

Released as a 4 track EP that also included early Aphex productions (now classics) including the industrial, acidic clang of ‘Flap Head’ and hyperbolic futurism of ‘Isopropanol’, the release cemented a relationship with the R&S label that went on to release the ‘Xylem Tube’ EP and the pivotal album ‘Selected Ambient Works 85-92’ in the same year. The label’s owner & A&R Renaat Vandepapeliere reflected “When I first heard Aphex Twin’s music I said, ‘This is it!’, and everybody else said, ‘You’re crazy!’ …a lot of the hardcore R&S fans dropped us. To them it wasn’t music.”

‘Didgeridoo’ (Expanded Edition) is the first time the EP has been re-issued with extra material. Whilst digging in his DAT archive (allegedly stored in an airtight military ammo box), Richard James revisited the recordings, encoding them through a Nakamichi CR7e cassette deck, using the customised deck with vari-speed to encode at speeds “felt right at the time”. Alongside these CR7e versions, the original mixes have been remastered by Beau Thomas at Ten Eight Seven Mastering, offering a dilated insight into one of electronic music’s most endearing releases.

‘Digeridoo’ (Expanded Edition) by Aphex Twin is available on R&S Records from 31st May 2024.

It’s approximately been a year since Antoine lost what would have been his debut album, ironically dubbed ‘Humour. Positivity & Affection’. In its wake, stemmed the idea for the producer to reform his conceptually based project (Mise En Place) into a vinyl only label.

The Land Down Dunder EP being the first, of hopefully, many releases throughout this new imprint. The label head feels there is no better way to start this campaign, than with a body of work, entirely inspired by the modern, timeless TV Sitcom - The Office (US).


The opener ‘Australian Reds’ looks to bridge the gap between Progressive House and Antoine interpretation of Minimal. Matched with Ghanian inherited grooves of course.

‘Colombian Whites’ as suggested by its title, widens the eyes and warms the soul with its textbook, 90’s House inspired Kicks, Hi’s and Baseline. Synthy melodies run throughout the mid(s) of the track to marry the ensemble together. Fitting for all terrains, but would be highly favoured in the Summer.

The B-Side flips the script in tone, tempo and texture - pulling on Antoine’s repertoire for groove laden Techno - ‘Cafe Disco (AK’s Rare Groove Dub)’ brings you to the after hours of any setting with it’s full bodied percussive rhythms, beautifully automated soundscapes and highly persuasive swing. Lastly, the EP is capped off by ‘Threat Level Midnight’. A nod to Antoine’s versatility within the realms of House and Techno. An incredibly versatile track, structurally inspired by the producers love of Hip-Hop. A cacophony of ethereal chord progressions run throughout the track alongside one moody baseline, as well as solemn drum patterns which progress in both body-feel and stature.

"Creation" is the debut album by British songwriter, singer & pianist James Sayer and includes the three singles "Living It Up", "Chemistry" and Cherry".

After spending many years playing for others, Sayer says that "writing my own music happened completely by accident. But I'm so glad I recorded that one demo which ultimately spurred me on to create a full album all this time later." Sayer, often called an old soul due to his love of classic song writing and bygone eras comments that although technology has changed the landscape of the musical world today, making a record organically was still a must for him.

Originally from Birmingham, Sayer's fascination and love of music began at a very young age when he learnt all thing rhythm & blues and rock'n'roll from his dad's music collection of artists such as Elton John or Jerry Lee Lewis, later also finding a love of soul artists such as Michael McDonald, Aretha Franklin, Van Morrison and Earth, Wind and Fire. Sayer moved to London in 2012 where he began performing almost every night in piano bars, clubs and pubs; spotted by the likes of Tom Jones whilst holding down a residency at the world-famous American Bar at the Savoy hotel.

About recording "Creation" he says: "I've tried to capture all the styles I love - Soul, Rhythm & Blues, Gospel and classic pop music – but still create a sound that is all mine".

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising name in the world of cinematic soul & funk, Hamburg’s finest cinematic soul artist ‘The Offline’ announces his debut album 'La couleur de la mer'.

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.

Swedens #1 techno legend The Source Experience aka Robert Leiner delivers this disturbingly fat acid techno 12'' on Borft that gets into your ears and brain like a locomotive straight from the rave days. On the A-side a crushing stripped down funky repetitive acid stonker that will spank old and young ravers like they were one big ass. B1 continues in a similar fashion but with a almost electro-ish backbeat instead of straight 4/4 and strong hints of classic EBM in the bassline and percussions. The hairs on my arms were standing up at this point. B2 is a weird surprise ending with a downtempo, strangely harmonic, melodic and almost romantic track which somehow reminds me of the Frak classic ''Uttoz gives a song''. If you are into Acid in any form this 12'' is a no brainer, a must have, a future classic. And make sure you have doubles so you can mix together A and B1 and extend them into eternity. 2024-01-18 Joakim Cosmo

Subject To Restrictions Discs presents “Abisso” by Tagliabue. Inspired by the immeasurable depths of the abyss, the Milanese DJ and producer creates a dense and intense soundscape that evokes images of a submerged world of cosmic frequencies.

Prepare to dive into “Abisso”, the latest sonic creation by the talented Joseph Tagliabue. An EP that defies the ordinary and captures attention from the very first moment, “Abisso” is a musical journey through four unreleased and completely different tracks. A1 explodes with the power of a mid-tempo bomb, Joseph’s trademark, while B1 amazes with a thrilling break that transforms into a progressive shaker perfect for the dancefloor. B2 restarts with another eruption of broken techno energy, and the EP closes with a post-peak-time electronic mantra that hypnotizes the listener in a suspended dimension. “Abisso” is a work that leaves no one indifferent, a sonic experience to be lived and carried away by.

Probaly no one will tag Rockets into the Italo Disco movement as this is very well know Progressive Rock band. But Tino Silvestri made two incredible remixes from the Atomic album in 1983 in a super italo disco mood. A really hard to find re-issued on yellow vinyl (like the original release, Orange and black vinyl). Don't miss it, It's a imited numered release.

Sugar Honey Iced Tea! is the highly anticipated debut album from musclecars, set for a May 2024 release on BBE Music. Having already established their presence in the club scene, from the joyous atmosphere of their Coloring Lessons parties to their residency at Nowadays in NYC, and with genre-bending performances worldwide, musclecars are eager to unveil this new world they've intentionally crafted. This forthcoming album comprises 13 tracks that sonically come together to offer a profound lens into the Afro-American experience. Themes range from joy, to loss, intimacy, helplessness, perseverance, and all the facets that lie in between. From the very first tune, musclecars set the tone with an exploration of afro-dystopia, carrying listeners through the entire album whilst creating imaginary futures born out of self-preservation and self-discovery. Through their practice of sonic storytelling, native New Yorkers Brandon Weems and Craig Handfield use this album to speak to the nuances of their daily lives and their environment. Join them on this musical journey as they delve into a collection that captures the essence of the black experience with authenticity, emotion, and rhythm. This album stands as one of their favorite bodies of work in recent memory, and they're so excited to share it with you.

Commissioned and curated by Flora Yin Wong for her label and publishing house Doyenne, ‘Venus Rising From The Sea’ is a collection of love-themed cover versions featuring Teresa Winter, Susu Laroche, Alex Zhang Hungtai, aya, Maria Minerva, Christina Vantzou, Spivak, Salamanda, clare rousay, Wild Terrier Orchestra, Dania and Flora Yin Wong herself covering songs by The Cure, Robert Wyatt, Mariah Carey, The Cranberries, Pentangle, The Carter Family, Spiritualized, Debussy and more.

‘Venus Rising From The Sea’ takes its cues from the classical deity Aphrodite - whose name literally means “sea foam” - for an ever necessary expression of love in the modern age. The label asked friends and collaborators to interpret “love” in whichever way they saw fit, be it obsession, self-love, unrequited, unconditional, whatever. But despite the open brief, and the vastly different modes of execution, all the artists involved somehow ended up linking hands with a shared determination to smudge the original songs into bleary-eyed, uncanny traces of the originals.

To open, Pentangle's jaunty 'No Love is Sorrow' is puffed into stormy clouds by Teresa Winter, who retains the original’s unmistakable bass twang and teases Jacqui McShee's siren song into a saturated buzz of layered, obfuscated words. Verses twist into verses, lines into echoed-out lines, capturing the song’s boundless yearning, rather than tracing its exact contours. Next, Susu Laroche yields one of the set’s highlights on a brilliantly nuanced, highly impactful version of Nina Simone’s take on folk standard ‘Black is the Colour of My True Love’s Hair’, turning the original’s multi-faceted Appalachian/Scottish routes into a heart-stopping, Nico-esque fuzz we haven’t stopped playing for weeks. Christina Vantzou (the CV ov CV & JAB) is joined by pianist Ezra Fieremans in the absorbingly filmic scenes of ‘Hot Springs’, while Maria Spivak's interpretation of Robert Wyatt's 'Just as You Are' finds her singing Brazilian vocalist Mônica Vasconcelos' words with reverence, smearing them into a hypnagogic fantasy.

Flora Yin Wong takes an inconspicuous approach on her love-letter to Mariah Carey's 'The Roof (Back in Time)', itself a melodramatic interpolation of Mobb Deep's Herbie Hancock-sampling 'Shook Ones, Part II'. The unmistakable piano line is frayed into a granulated gurgle, fleshed out by gauzy cries; Mariah's ecstatic diva logic haunts the edges like a furtive glance, hanging beautifully behind Wong's dense soundscapes. Alex Zhang Hungtai's take on the 1927 standard 'Me and My Shadow' is even more atomised, reduced to a disembodied vocal that oozes around a clattering woodblock.

Always a standout, aya's tribute to The Cure's 'Lovesong' infuses the 1989 classic with the same self-investigatory charm she exhibited on 'im hole', slowing it down to a giddy, infatuated lurch, and replacing the guitars with eerily-tuned oscillations and drums with hollowed-out, electrically charged thuds. "I will always love you," she moans through a wall of static, like some lost “Pop Artificielle” addendum. The album’s biggest surprise is saved for last, however, a cover of The Cranberries' 'No Need To Argue' from Paralaxe Editions boss Dania Shihab. Already a poignant memory of a faded romance, Dania's version is even more glacial, her tender voice gusting over inverted guitars and looping, wordless moans, guiding us ever so gracefully into the nether-world.

‘Venus Rising From The Sea’ is a gooey, emotionally raw set of recollections and affirmations from some of the scene's most open-hearted operatives. In the end, the love that's most evident is the love each of the artists has for their source material, somehow binding loose threads into a rich tapestry that will leave you gasping, perhaps a little tearful too.