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The latest release on Jai Alai follows the format of forgotten vinyl tracks never before released on 7” format, or previously CD only album tracks, and will raise some eyebrows in artist selection and pairing.

Donaldson Toussaint L’Ouverture Byrd II was one of the most significant jazz artists of all time having joined Art Blakey’s Jazz Messengers in the mid-50s and establishing himself as one of the best hard bop trumpeter/flugelhorn players. His progression was continuous through the 50s/60s working with John Coltrane, Gigi Gryce, Pepper Adams, Thelonius Monk, Sonny Rollins as sideman, and became one of Blue Note Records leading artists.

By the end of the 60s Byrd decided to move away from that idiom, experimenting with jazz fusion, African music and Rhythm & Blues. He worked hard to make jazz and its history part of the curriculum in US music colleges and he taught at many including Rutgers, Hampton, Howard, and Columbia, the latter from who he received his PhD in music.
Byrd took a great interest in how Miles Davis’ experimentation was resonating with a younger audience, and despite being castigated by his musical peers, his development of jazz fusion changed the jazz scene forever. His work with the Blackbyrds was a cornerstone for the progression of jazz funk in the UK.

The effect of his hook-up with brothers Larry & Fonce Mizell was immediate and his Blue Notes albums “Black Byrd” (1973), “Street Lady”, “Stepping Into Tomorrow” (1974), “Places & Spaces” (1975) and “Caricatures” (1976) became legendary on the newly evolving jazz funk scene with certain tracks such as “Change (Makes You Wanna Hustle)” normalising dance jazz on the disco floors, not to mention being a rich source for many hip-hop samples.
A slightly leaner period followed when he moved to Elektra Records and of the three albums with his new incarnation 125th Street NYC, a group of musicians he taught at North Carolina Central University, two were produced by Isaac Hayes including “Words”, “Sounds, Colors & Shapes” (1982) from which “Everyday”, a fabulous forgotten piece of mellow jazz funk derives.

By the end of the 80s he had returned to his harder straight-ahead jazz roots, but his place in history and the evolving of jazz as a dance culture in our clubs should never be forgotten.

2024 repress

Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni. TIP!

Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his twenties he formed Spanish progrock outfits Zebra and Euterpe where he would meet Pepe Milan, the two of them becoming the bluesy folk duo 'Milan & Bibiloni'. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage to name but a few.

In 1982 Bibiloni set up his own label Blau in order to highlight the muchoverlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for
local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands.

Whilst Bibiloni's first solo releases on his Blau imprint have stronger echoes of contemporary Jazz fusion of the time, it is on the album known as 'Una Vida Llarga I Tranquila' where Bibiloni really began to experiment with new sounds
and technologies; fusing tape loops, drum computers and synthesizers.

Taking these more electronic infused works as a departure point for the compilation and drawing on material from across his following five albums, 'El Sur' sets out to highlight Joan Bibiloni's unique ambient fusion and sun-drenched Mediterranean beach boogie.

After a killer streak of releases with the likes of Real Bad Man, Nicholas Craven and Futurewave, extremely prolific Detroit legend on the rise Boldy James is closing up 2022 with "Be That As It May", collaboration full-length with Roman beat maker Cuns. Featuring guest appearances by Lord Apex, Bo Skeet, Taj Mahal and Darnell Williams, the two crafted a gorgeous album, with Boldy tapping into his Mary Poppins bag of lyricism for yet another full-length album of captivating bars.

Speed Dealer Moms, the combustible live electronics duo comprising John Frusciante (Red Hot Chili Peppers) and Aaron Funk (Venetian Snares) is over a decade into their idiosyncratic run. On "Birth Control Pill," the duo's third release, the parameters of the chaotic and elegant project come into focus.

If there are virtuosos patching modular synthesizers and slicing up breakbeats, then they were in the room when these two tracks were recorded. The epic title cut is perhaps the most "functional" track the duo has ever recorded. This is ruffneck dnb business, but it's also the Speed Dealer Moms, so there is the requisite descent into chaos. The track's precise melodies are unceremoniously dunked into Funk's signature, ripping breakcore, the drums picking up speed until the crash test dummies hit the wall—a thrilling, extratone breakdown.

More madness lurks on the B-side, "Benakis," which seemingly nods to the visionary Greek composer. With its unconventional time signature and intricate melodies, this song cycles through breakcore and hard techno before eventually giving the listener a reprieve with a dreamy, beatless outro.

Speed Dealer Moms drive their own, crooked road built on friendship and a telepathic musical connection—the collaboration and encouragement of Funk ushered Frusciante into the dense world of hardcore machine funk. The results of these sessions don't sound quite like anything else, they are electronic records made in fearless pursuit of the new. Funk and Frusciante follow ideas to an illogical endpoint, and this hurtling approach has now resulted in the best and most concise Speed Dealer Moms record yet.

The collaborative project from Vincent Lemieux and Guillaume Coutu-Dumont, Flabbergast, returns this March with a new EP, entitled ‘Default Mode Network’ and coming via Swiss imprint Adam’s Bite.

Vincent Lemieux is a staple of the Montreal, Canada underground and a widely beloved DJ for his impeccable technique and selections, he’s also offered up productions on the Studio Club and DISDAT labels and a collaborative EP alongside Ohm Hourani for Jigit and co-founding the Musique Risquée alongside Akufen, Deadbeat and Stephen Beaupré.

Guillaume Coutu-Dumont, a fellow Montrealer has long been a prized producer for his unique spin on micro house and
deep house music with his music finding a home on the likes of Mule Musiq, Meander and Dokutoku among others. In 2015 the two joined forces for their Flabbergast debut on Circus Company, have gone on to release with Yoyaku and Copier/Coller, and here makes a triumphant return for Switzerland’s Adam’s Bite with four fresh original cuts.

Opening the EP is the playful ‘Peppermint Poddle’, fuelled by oscillating synth tones, twitchy percussion and saturated bass alongside a spoken word vocal. ‘Manger Du Bon Manger’ then
shifts focus to cinematic organ lines, jazzy drums and a snaking bass groove throughout.

‘Mou D’état’ kicks off the B-side and sees the duo dive deeper via ethereal atmospherics, their signature wonky, mind bending synths and an amalgamation of processed vocal murmurs. Lastly
‘Dans L’oeil’ sees César Merveille join the party, the trio working collectively to create a unique slice of percussion fueled microhouse with intricately intertwined organic percussion, dubby
synth flutters, cinematic pads and pulsating subs.

Yes! Tommy Guerrero’s revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007.

Coolly opening the album, "And The Folklore Continues" can be said to be both a titular and actual nod to his past work. As ever, there's heavenly Latin guitar stylings that make you swoon and the melancholic vibe is accentuated by the addition of some melodic wordless vocals from Tommy. Just divine. The sparkling "La Califas Perdido" follows, all dreamy melodic guitars and twinkling vibes over dusty drums and a fine bassline. The shuffling, conga-assisted "I Would Go With You" is a gentle, romantic gem whilst the brief but beautiful "No Time For Time" feels in a hurry to let us know that Tommy can work with more propulsive rhythms. In this case, they underpin Tommy's gorgeous, shimmering guitars wonderfully well.

The head-nod funk of "Calling For Ya!" (get it?) features Curumin delivering the clever title as a hypnotic vocal refrain peppered throughout, all hung around some buried spoken word vocals and gorgeous cello work from Lenny Gonzalez. "Bloodinthemud" is a low-down gritty funk workout whilst "Zapata's Boots" is a total low-key groover, all Latin percussion and Morricone muscle aided by a whistled Spaghetti Western melody. The startling instrumental "Mosaic Man" closes out the side with a lean slice of mellifluous, virtuoso guitar bliss.

The reflective "What Have I Been Doing Since I Was Gone?" opens the B-side in glorious fashion, the type of melancholic melodic head music that should soundtrack a bright walk on a cold winter's day. The hypnotic groover "Paper Switchblade" is a razor-sharp fuzz-funk whilst the beautifully downbeat "Never Forget To Remember" is a kaleidoscopic kalimba-koolout. Galloping cop-funk breaks workout "Run With The Hunted" is a rollicking ride and it's followed by the fresh chiming guitar funk of "New Terrain".

The upbeat and bright "40 Summers", featuring congas from Alfredo Ortiz, is as clean and poppy as Tommy gets and it really is a look he wears incredibly well. Just straight up guitar pop. "The Simple Man" a gorgeous, melancholic ballad, closes out the record with deeply yearning vocals from Tommy, a rarity and a treasured one at that.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Hailing from Detroit, Shadow Show is an uncompromising power trio that combines elements of 60’s garage-psychedelia into a 21st century modern pop-art incarnation. Sleek and spellbinding, the music sweeps you up into frenetic grooves and dazzling harmonies. Their music pushes the boundaries of what can be, yet remains deeply rooted in the raw, untouchable Detroit sound. Three years ago, Shadow Show released their debut album, “Silhouettes,” in the US (Burger Records) and UK (Stolen Body Records). Since then, they have dedicated themselves to writing, arranging, and producing their epic masterpiece, “Fantasy Now!”, while occasionally taking breaks for full length US, UK, and EU tours, as well as obtaining support dates with bands like Automatic, Death Valley Girls, The Nude Party, and the 5.6.7.8’s, to name a few. “Fantasy Now”’ is a huge step forward from their debut LP, reaching a more ambitious Sgt. Peppery psychedelic vision that includes swirling pop melodies, fuzz guitar hooks, flutes, tympani, backwards surprise twists, and a magical medieval acapella interlude. Shindig Magazine says Shadow Show "transport the listener down a spiral into the mind's eye.” Allmusic praises their "kaleidoscopic explosion of tremolo guitars and mod pop vocal harmonies.” The band has recently completed a USA tour, and full USA and European dates are being booked for Spring 2024. Shadow Show’s transcendental triumph, “Fantasy Now!” was written, recorded, and produced by Shadow Show in Detroit, MI, with the exception of “Aunt Maizy,” recorded live in London, UK. Mastered by Warren Defever (Third Man Records, His Name Is Alive). The album will be released worldwide February 16, 2024 on Little Cloud Records (US), Stolen Body Records (UK), and Water Room Records (JPN).

"The Piano Guys have become a YouTube sensation with their clever and inspiring takes on popular music and creative videos that accompany them. From Beethoven to Adele, their eclectic mix of classical, film score, rock and pop favorites resonate with audiences across generations and from all walks of life. The band consists of American musicians Jon Schmidt, Steven Sharp Nelson, Paul Anderson, and Al van der Beek. Their 2012 debut album The Piano Guys reached #1 on the Billboard New Age Albums and Classical Albums charts. With over 7 million subscribers on their YouTube channel, at least 20 million views on each of their videos and even some surpassing the 100 million views, The Piano Guys are quite the hit. In June 2011, they won the Most Up-and-Coming Channel award in the YouTube on the Rise-contest with ""Michael Meets Mozart"", featuring Jon Schmidt and Steven Sharp Nelson. The Piano Guys is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes a 4-page booklet. "

The Piano Guys by Piano Guys, released 4 April 2024, includes the following tracks: "Code Name Vivaldi", "Over the Rainbow / Simple Gifts", "Arwen's Vigil", "A Thousand Years" and more.

This version of The Piano Guys comes as a 1xLP. This release comes with (a) Booklet.

Hold on to your mind! Led by Belfast- born phenom David Lewis, Andwella made three LPs circa 1970 for London's Reflection label, redolent with Cream-y rock workouts, soaring post-Sgt. Pepper psych experimentation, and earthbound laments The Band might've dreamt up at Big Pink. Barely heard back then, they now conjure a popular rock fantasia to challenge the most expertly composed and orchestrated songs of the era. This deluxe set includes meticulous reproductions of the band's 3-LP discography, plus an ephemera-packed booklet detailing Lewis's brief moment as a downbeat songwriting visionary at the height of his powers.

Hold on to your mind! Led by Belfast- born phenom David Lewis, Andwella made three LPs circa 1970 for London's Reflection label, redolent with Cream-y rock workouts, soaring post-Sgt. Pepper psych experimentation, and earthbound laments The Band might've dreamt up at Big Pink. Barely heard back then, they now conjure a popular rock fantasia to challenge the most expertly composed and orchestrated songs of the era. This deluxe set includes meticulous reproductions of the band's 3-LP discography, plus an ephemera-packed booklet detailing Lewis's brief moment as a downbeat songwriting visionary at the height of his powers.

Maybe your demands of punk are a little too high. Maybe they're a little too exacting - you know what you want, but you don't know how to get it. Maybe you've got an itch that's needed scratching since you first heard '(I'm) Stranded' (sounds like a doctor needs to look at that, mind). Maybe all or none of these things are true and you're just in search of three or four chords and some righteous snot. Reader, you have come to the right place. Split System came sauntering out of Melbourne back in 2022 with a self-titled 7" and a debut LP (the sensibly-titled 'Vol. I'), and as a listener of exquisite taste, one or both of those items will have carved out their own spaces within easy access of your record player. With members of acer-than-ace garage punkas Stiff Richards and Speed Week among their number, not to mention the redoubtable Jackson Reid Briggs, they deal in a gloriously back-to-basics take on punk that's part Undertones, part Royal Headache and part Chris Bailey - all hooks and glory, all the time. They're so much more than the sum of their parts and they make this shit sound effortless. Well, here's an update for you: they're back! Second album (the equally-sensibly-titled 'Vol. II') is now upon us, and a thoroughly tremendous follow-up it is too. As soon as opener 'The Wheel' slams into your speakers, it's clear that they've lost none of the pep or power that made their debut such an essential listen; if anything they're even more raucous and revved-up than before. Yep, that's jargon for 'they rule hard', and let me add here that you could listen to this album 100 times in a row or simply try inserting dynamite sticks with lit fuses into your ear canal; either way, your poor little mind is gonna blow. It's an album made entirely of bangers (still on that explosion metaphor, are we?) - the concise questioning of 'End of the Night' is as pure a punk rock nugget as you could ever wish to uncover, and 'The Drain' is just energy distilled to a perfect series of hooks - with a passion for rock'n'roll in its most scintillating form. Just listen to it. That's all you need to do. Your demands have been met - here's your new favourite record.

The voice, the sunny melodies and the repertoire peppered with great hits have illuminated French song for decades. This year, Enrico Macias celebrates more than 60 years of a career that is still on the move with a new series of thematic vinyl Illustrated by Joann Sfar in four wonderful LPs. The unique career of the singer, songwriter, performer and guitarist. Heartbreak from uprooting to the strong ties uniting France and the Mediterranean, each of them addresses the themes of Enrico Macias' songs by sending a message of peace and universal love.Reviews in London Macadam, R2, Ads - R2 and London Macadam

'The voice, the sunny melodies and the repertoire peppered with great hits have illuminated French song for decades. This year, Enrico Macias celebrates more than 60 years of a career that is still on the move with a new series of thematic vinyl Illustrated by Joann Sfar in four wonderful LPs. The unique career of the singer, songwriter, performer and guitarist. Heartbreak from uprooting to the strong ties uniting France and the Mediterranean, each of them addresses the themes of Enrico Macias' songs by sending a message of peace and universal love.Reviews in London Macadam, R2, Ads - R2 and London Macadam

'The voice, the sunny melodies and the repertoire peppered with great hits have illuminated French song for decades. This year, Enrico Macias celebrates more than 60 years of a career that is still on the move with a new series of thematic vinyl Illustrated by Joann Sfar in four wonderful LPs. The unique career of the singer, songwriter, performer and guitarist. Heartbreak from uprooting to the strong ties uniting France and the Mediterranean, each of them addresses the themes of Enrico Macias' songs by sending a message of peace and universal love.Reviews in London Macadam, R2, Ads - R2 and London Macadam

'The voice, the sunny melodies and the repertoire peppered with great hits have illuminated French song for decades. This year, Enrico Macias celebrates more than 60 years of a career that is still on the move with a new series of thematic vinyl Illustrated by Joann Sfar in four wonderful LPs. The unique career of the singer, songwriter, performer and guitarist. Heartbreak from uprooting to the strong ties uniting France and the Mediterranean, each of them addresses the themes of Enrico Macias' songs by sending a message of peace and universal love.Reviews in London Macadam, R2, Ads - R2 and London Macadam

Warehouse Find!

A true studio visionary and son of Incognito's Jean-Paul 'Bluey' Maunick, Daniel Maunick virtually grew up behind the mixing desk and worked his way through the scenes of drum n' bass, acid-jazz, disco, samba, deep house and beyond. As Far Out's in-house producer his work is a key component in the consistency and transience of the label's sound, with key albums include Azymuth's Fênix, Marcos Valle's Estatica, Sabrina Malheiros' Dreaming and Far Out Monster Disco Orchestra. His latest credit on the catalogue is the next chapter of his Dokta Venom alias, Moodswings.Each track brings you a visceral dancefloor experience both sonically and structurally. Opener 'See the Sun' evokes an elevated, cloudy ether, with each kick drum another step up to the sky. Title track 'Mood Swings' deploys components of broken beat, garage, house, IDM and boogie, but shrouds them into a hazy deepness, like a dream through Maunick's musical memories. Whilst keeping the same intensity, 'I Owe u Something' ups the tempo and swings the mood. Propulsive percussion blurs the acoustic with the electric, glowing synths and anguished vocals formulate this eruptive full-floor belter that lodges somewhere in between early Pepe Bradock and Azymuth.With a solo album from Azymuth drummer Ivan 'Mamao' Conti, a collaboration between Sean Khan and Hermeto Pascoal, along with a long awaited new record from Sabrina Malheiros, 2017 is set to be an exceptional year for Maunick and Mood Swings is an inspired prelude of things to come.

DJ Support: Richard Dorfmeister, Luke Una, Chris Coco, Phil Mison, Mickey Brown, Erki Pruul, Marco

The sweeping poem ‘Cofio’ by the great Welsh poet Waldo Williams has inspired a remarkable collaboration between Ibiza-based record label NuNorthern Soul, Welsh DJ, performer and cultural commentator Gareth Potter, composer and musician Joan Bibiloni, poet and actor Pep Tosar Vaquer, actor Rhys Ifans and musician James Baron aka JIM / Ron Basejam.

1st March is St Davids Day and Balearic Day. St David’s Day honours the death of the patron saint of Wales and the Day of the Balearic Islands the day when islands Ibiza, Mallorca and Menorca became an autonomous region of Spain.

Cofio Recorda Remembrance is made up of two powerful and haunting tracks drenched in NuNorthern Soul’s unique take on the globally popular Balearic Chillout style. Un Adéu features music by Joan remixed by James Baron with Pep reading the poem in Catalan and Spanish. Badia Onírica is a tremendously atmospheric reading of ‘Cofia’ in Welsh and English by Rhys with music again arranged by James.

It connects Wales and Ibiza but, on a more universal level, Cofio Recorda Remembrance links the fundamental aspects of human existence, of, as Waldo Williams puts it ‘earth’s innumerable generations’.

a A1: 'Badia Onírica' Welsh Version
b A2: 'Badia Onírica' [English Version]
[c] A3: 'Un Adéu' [Instrumental Version]
[d] B1: 'Un Adéu' [Catalan Version]
[e] B2: 'Un Adéu' [Spanish Version]
[Instrumental Version]

Acoustic Sounds and Contemporary Records present this new reissue of Art Pepper’s 1960 album “Smack Up”. Recorded by legendary engineer Roy DuNann the album also features Jack Sheldon (trumpet), Pete Jolly (piano), Jimmy Bond (bass), and Frank Butler (drums). This new edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.

Achtung, Meisterwerk! Die Jungs von Souls of Mischief aus Oakland (gegenüber von San Francisco) definieren den Sound dieses Jahres neu. 1993. Nach dem Vorbild von De La Soul oder A Tribe Called Quest nimmt ihr Sound sowohl Anleihen aus dem Funk als auch aus dem Jazz. Dieses Album ist ein Muss für jeden Liebhaber des US-Rap der 90er Jahre. 140G Doppelvinyl in zweifarbigem Splatter in Rot und Orange.

Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

Lo-fi, low budget, and low key, The American Analog Set's suite of hypnotic, neo-psychedelic, Texas sloth-kraut LPs appeared briefly on Austin's Emperor Jones label and slunk quietly into the sprawling indie underground as the old millennium crested. Gathered here are "The Fun Of Watching Fireworks", "From Our Living Room To Yours", and "The Golden Band" albums, garnished with period b-sides, outtakes, and demos. Remastered from the original analog tapes,this early-career spanning 5xLP box includes lyrics, photos, and ephemera from the before times.

D Double E is one UK rap's most respected, celebrated and genre defining artists, shelling down radio sets, raves and having countless solo hits. Starting off in Jungle and UK garage, he began life in grime as a member of the N.A.S.T.Y. Crew alongside Ghetts, Kano and Jammer before founding the Newham Generals with Footsie. From solo releases and much loved classics including ‘Street Fighter Riddim’ and ‘Woo Riddim’, in 2018 he released his debut solo album Jackuum to critical acclaim. Subsequent releases included the invigorated and daring D.O.N and most recent Bluku! Bluku! 2 have led the legendary artist to receive consistent praise and support from the likes of The Fader, i-D, Crack, The Guardian, VICE, Complex, Highsnobiety, COLORS, DJ Target and more. Boasting artistic collaborations with everyone from Kenny Allstar, Unknown T, Skepta, Ghetts, Novelist, Shy FX, Backroad Gee and more, D Double E has also made an impact in his career resounding far outside of UK rap with big brands. He wrote the original track for the viral and now iconic IKEA Christmas Advert, put his lyrical magic touch on an advert for Pepsi and more. Most recently he has been interviewed as part of the BBC documentary “8 Bar: The Evolution of Grime” and has been tapped for collaborations with Clarks, Palace Skateboards and others.

- Newly Expanded Deluxe Double LP Edition! - Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl - Previously unreleased session outtake of "Cold Hard Times" plus demos of obscure Hazlewood compositions "Drums," "The - Start," "Susie," "Miracle on 19th Street," and "Peppermint Morning" - 30 total tracks - Remastered by GRAMMYr-nominated mastering engineer John Baldwin - Liner notes by GRAMMYr-nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom - Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter - Double LP housed in a gatefold jacket // DESCRIPTION "Pimps_ whores_ pushers_ dopers_ gangsters_ and bottom of the human chain shit-heels. Now you're probably thinking I'm writing about major record companies and their unscrupulous executives_ and lawyers. You could be right_ but this time_ YOU'RE WRONG! I'm describing the characters in my album `13' _Some I knew_ some I invented _ some are true_ some are false_ some I liked_ some I didn't. But they all had a story to tell and I told it_none of `em seem to care_ and I don't either_ have fun_" - Lee Hazlewood "He (Lee) took my voice off the album and put his voice on the album. Now don't forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that's the way he wanted it." - Larry Marks The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (LHI producer, artist and the voice of the first Scooby-Doo theme). Larry's concept was to take Hazlewood's strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry's record. The tapes were taken to Sweden, Larry's voice was wiped and Hazlewood's was dubbed_ 13 was born.

It's the pair you've all been waiting for! FINALLY!

Alan Tew's driving jazz-rock, sleuth-funk masterpiece, Drama Suite Part I is finally reissued to sate your appetites for arguably the very best library two-parter in existence. If you don’t know, get to know. Originally released in 1976 but wonderfully timeless, Drama Suite Part I is at the top of every library funk collectors' list. It's easy to see why...

Racing out the gate, the gritty crime funk of "The Detectives" makes for a thrilling, wild ride. A dramatic action theme, it's packed with strident playing and bags of attitude. There follows 10 (ten!) drama-tinged, horn-heavy, wah-wah-laced, conga-enhanced, synth-riddled links for neat segues and maximum funk fever. "Helicop" is another fast paced and energetic dramatic action background with great breaks and horns. "The Big One (Prelude)" has an ace bassline and creeps along superbly to create expectation and contains an amazing rolling piano loop that just stops you dead in your tracks. It's all building to "The Big One", a driving, dramatic, full-band action with fantastic funk breaks, heavy horns and *that* piano refrain. It was sampled by Jay-Z, and you can't really blame him, can you? The brief, tense "Headlights" and (even briefer) burner "The Burn" add some - you guessed it - deep drama over insistent rhythms to close out Side A.

Flip over for "The Detectives (Slow Version)", a relaxed, thoughtful version featuring synths. You might recognise it as being sampled by Domo Genesis and Evidence for "Tallulah" from their brilliant collaboration a few years ago. "The Detectives (Interlude)" is another slow, pensive version featuring electric piano and a trombone solo in the centre section. There follows 6 further links, Detectives versions essentially, with guitars, electric pianos, flugelhorns - all very cool and relaxed rhythms. The strutting majesty of big-time highlight "The Build Up" is next. It's a medium-slow drama background with occasional light statements of The Detectives theme peppered throughout. Nice. The fantastically-titled "Snout" is a slow, tense background theme which features a repetitive guitar figure with alto flutes over the top. The tense, stabby funk of "The Prowler" rounds out proceedings, with nervous figures over a slow, insistent cymbal beat.

As with all of our KPM re-issues, the audio for Drama Suite Part I comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!

Indie pop quartet Melenas hail from Pamplona, Spain, a picturesque region nestled just south of the Pyrenees. Such beauty can't help but inform the band's songwriting, but Melenas aren't content to just sit placidly & take in the scenery. Since they burst onto the scene in 2016, the band has hit the ground running, playing incessantly both locally & on the stages at national festivals like Primavera Sound & Eurosonic as well as releasing a debut full length (2018's "s/t" album) and a 7-inch single both triple-released on local labels Elsa, Nebula & Snap! Clap! Club. Trouble In Mind is honored to be releasing their new album Dias Raros and is the first label outside of Spain to release Melenas music to the world.Dias Raros hums right from the get-go, peppering their garage-pop punch with elements of lysergic dream pop, melancholic indie rock and strident guitar jangle. The album title translates to "Strange Days" an acknowledgement - according to the band - of "...those days where you spend more time inside than outside. Inside your own self, inside your bedroom and your own universe thinking about your wishes, dreams, memories, obsessions or fears." The lyrics - sung entirely in their native Spanish - reference "those interior dialogues where sometimes you fight to escape from a situation, you wonder what another person will be thinking about or feeling, you gotta say goodbye, or you just enjoy the time by yourself. Days that, for different reasons, you're feeling different, they are strange". Opener "Primer tiempo" buzzes with an urgent organ drone, unfolding into a yearning ballad of modern guitar-pop bolstered by the group's lush harmonies & sets the tone for the rest of Dias Raros. Songs like "No puedo pensar" "3 Segundos" and "Despertar" follow suit, with the rhythm section galloping headlong into an insistent guitar strum, while ballads like the tender "El Tiempo ha Padsado" rely on the band's melodious voices bolstered by a lilting guitar riff and gentle organ swells. Elsewhere mid tempo rockers like the stomping "Los alemanes", the simmering "Ciencia Ficción" and "Ya no es Verano"s insistent jangle recall underground greats like The Pastels, R.E.M. and Shop Assistants. "Vals" ("Waltz") closes the album in 3/4 time, named for the ballroom dance as well as the last name of a close friend - a dedication to her. Its dreamy sway alluding to classic Brill Building songwriting; dusted with melancholy, but lifted by cascading voices, and organ and guitar waves and guitars that twinkle and shimmer over a cracking backbeat. Dias Raros is the perfect introduction to a band bursting with promise, confidently inhabiting their own space built upon the foundation of their influences both geographically and culturally, as well as musically.

Caribe, the third album by Cuban cellist and composer Ana Carla Maza, is a renewed declaration of love for Latin American music, already expressed in her previous work, Bahia Released in 2022, Bahia was followed by a tour of 150 concerts in 14 countries. At the crossroads of her travels, Ana Carla Maza has transformed the intimacy of the cello into a colorful, energetic and danceable Latin jazz sextet. Classically trained, Ana Carla takes her own liberties here in the Caribbean and beyond (Argentina, Brazil). The first of these is to impose her sensitivity and her voice as a woman. "I wrote Caribe while travelling the world. In a studio in Rome, on the shores of Lake Annecy, in a castle in Portugal, on a plane to Mexico... It was a kind of search for my identity, which started in Guanabacoa, the district of Havana where I grew up with my grandparents and which happens to be the epicenter of the "rumberos", the percussionists from the pure Afro- Caribbean tradition". Ana Carla Maza: cello & voice Arnaud Dolmen: drums Irving Acao: saxophone, flute Norman Peplow: piano & keyboards Luis Guerra: percussion Fidel Fourneyron: trombone Noe Clerc: accordion

Diffrent Music roars back into action after an extended hiatus to raise a couple of young giraffes with the electrifying new compilation, ‘Revolution Of The Giraffe’ LP.

Launched in 2010 with the aim of bringing something new to a drum & bass scene that had become overly formulaic, the label has continuously pushed in new directions, often incubated tomorrow’s stars, and evolved beyond even that original grand ideal. ‘Revolution Of The Giraffe’ unleashes 17 tracks of bleeding-edge electronic music, proving that after 13 years, Diffrent still sounds like nothing else.

Core artists from the label’s distinguished history bring their expertise, such as drum & bass mainstay Arkaik and sound architect Fearful, who team up with label boss Dexta for the MC GQ-sampling ‘Old Skool’ — a new track with a classic Diffrent sound. And there are numerous debuts: A.Fruit reworks an all-time Diffrent classic, ‘Boxgroove’ by Dexta & Hyroglifics, into a glitchy halftime stomper; none60 bosses Silent Dust turn Dexta’s ‘SE4’ into a rebellious dancefloor juggernaut; and the mysterious Gaunt’s ‘Firefloor’ becomes locked ‘n’ loaded rave artillery in the hands of Pepsi Slammer.

Label stalwart Mauoq puts his signature psychedelic future dub spin on ‘Departed’ by Cuelock, who in turn delivers the ice-cold, grime-indebted ‘Pages Of Snow’. Lakeway conjures the epic ‘Even Though’, nearly eight minutes of ecstatic, spell-binding, hyper-rave wonder. Dexta goes solo with squelchy techno jungle stormer ‘Giraffes On Acid’. Even Sense MC makes an… appearance.

New-gen Diffrent acts are in fine form too. The inimitable BrandNewTrumpets opens the album alongside Macc; ‘We Are The Tightrope Walkers’ is a powerful spoken word piece that erupts into a hail of punishing breaks. No Nation, Sheba Q and BK Balance, meanwhile, turn out explosive, hi-tek junglism on ‘Too Late’. From Diffrent’s industrial-toned sister label Are We Really Alone? (A.W.R.A.), Amir De Bois joins forces with Fearful for the paranoid, jittering ‘73’; Tokyo’s Itti summons thunderous bass on the ritualistic ‘Rumbling’; and Croatian artist Spaj.A.S.E.’s competition-winning, mind-mashing remix of the first ever Diffrent release, ‘Everyones Mad’ by Chills, finally sees the light of day.

Always looking to the future, Diffrent also welcomes modern jungle visionary Eusebeia, who puts his ethereal touch to Crypticz’s ‘Could Have Been’, and Stateside up-and-comers Illexandra & TGRbass, who deliver the supercharged, elastic bounce of ‘Swampy Swami’.
Closing out with one from deep within the vaults, ‘Aftaparty’ is Beezy and MNTX’s ode to seeing where the night takes you. It’s a fitting note to end on, as a new era of Diffrent Music begins. Where will it take you? Join us on the ride and find out.

"I've loved every moment of the label so far: the fast-paced release schedules, the slow years, the podcasts, albums, singles, EPs, parties, etc. This compilation album signposts where we are at — a bunch of classic Diffrent artists, a load of new faces, and a few remixes thrown in for good measure. Each tune stands alone, but stands tall next to each of its siblings. I hope you all enjoy it as much as we have! The revolution is here, join the revolution!"
- Dexta

2023 Repress
Moon in Earthlight describes the phenomenon one can see in the first few days after a New Moon, when the slim crescent of the moon is completed into a full circle by a faint light that is not lit by sunlight but by the light reflected from Earth. It is also the apt title for the first album from an artist whose first love was astronomy. After 6 EPs over the course of 5 years, Wolfgang Tillmans now releases his first album, Moon in Earthlight, a singularly plural 53-minute piece comprised of 19 tracks.
Opening with more that connects us than divides us, 'Celloloop / More That Connects Us', a looped cello sets out a discursive path for a bright keyed melody to flirt with while the sounds of the organ and synthesizer build their supporting roles, all along a bouncing four-to-the-floor beat punctuated with bright electronic chimes and the rhythmic tempo of a shaker. The invitation is hard to resist as a yearning voice opens up to let us know he's left his "place in security." And, "you're shining … All the way down to this glittering place … you're shining." Where voices and laughter are then overheard in the background of another field recording sounding water dripping from a 'Rain Gutter' later caught by the soft, warm rhythmic bounce between two synth notes on 'Fourth Floor' where chime-like and percussive timbres resonate from the metal tine keys of the kalimba creating a meditative acuity, which Tillmans peppers with arpeggiated synth riffs.
A composition of multiplicities, Tillmans' album debut is a collage of sounds, field recordings, words, studio jam sessions and live recordings, voice, soundscapes, and instrumentation scored with audible space to breathe along the way. Keeping pace, the first 'Kardio Loop' is a vocal callisthenics contemplating 'the possibility of a happy life' and/or the propositional properties of its semantic constructions backed by the recording of a heartbeat from a cardiogram. This movement is gradually accompanied by a set of orchestral synth pads that build to a crescendo before the soft, twirling melody of 'Stonerella' carries us along a carousel-like melodic, pop, instrumental timed in the percussive clapping of pebbles.
Not knowing where one leaves off and the other begins is part of this album's enigma, as we move in and out of these aural spaces choreographed with the slightest, open hand, where we can float through 'Don't Kill It by Naming It' before dancing along 'Insanely Alive' all the while contemplating the inherent, fragile complexities of language and being.
This enigma also stems from the raw vulnerability of Tillmans' voice. Whether lyrically playful or introspective, it is always giving: intimately unfolding as in the surprising take on Simon & Garfunkel's 'El Condor Pasa' or shapeshifting in 'Can't Escape into Space' or fully naked as raw material expression in 'Kantine' and 'Ocean Walk'.
Whether it's Tillmans voice or voices overheard, a field recording or a pop synth melody, these sounds defy track listings, audibly held together as one of many in an aural space that becomes a reflective cycle that develops over the course of the album. The accumulative effect of which (reminiscent of the artist's installations), drives the singularity of each of the album's elements into a complete, unconsolidated whole. Like a phenomenon that marks time, Moon in Earthlight is the shadow and the reflection, fifty-three minutes in time.

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter. A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture - and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with." Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "SolutionismÖs careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability - and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonometry," that "white dove is a pigeon - you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter.



A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture—and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with."



Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "Solutionism"'s careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability-and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonome- try," that "white dove is a pigeon-you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."






[f] Kyanite Toothpick [feat. Hanni El Khatib]




[k] Bermuda [feat. Lealani Teano]


[n] Forward Compatibility Engine [feat. Rob Sonic]



[r] Black Snow [feat. Nikki Jean]

Der Rotterdamer DJ/Produzent Jochem Paap begann 1990 unter dem Pseudonym Speedy J - als Anspielung auf seine DJ-Skills - Techno-Tracks zu kreieren. 1993 erschien sein Debütalbum 'Ginger' mit der Absicht, 'seine Musik aus dem Rave in die Hörumgebung zu Hause zu bringen' (allmusic), was seinen minimalistischen, aber melodischen Produktionsstil einem breiteren Publikum zugänglich machte. Kritiker lobten seine akribische Aufmerksamkeit für das Audiodesign, den geschickten Einsatz von Interludes und eine sorgfältige Balance von Four-to-the-Floor-Grooves mit Ambient-Texturen. 'Ginger' wurde in zahlreichen Retrospektiven von Trendsetter-Magazinen wie Pitchfork, The Wire und FACT als wegweisender Release hervorgehoben. Die 2021 remasterte Reissue kommt im Originaldesign der langjährigen Warp-Begleiter The Designers Republic.

Mick Jenkins, lyrical hip-hop mastermind and Chicago's Finest, returns with the album "The Patience." He chose to title it "The Patience" because it was that patience that he needed to get to the point in his career where he is now.

Waiting to get free from a label that didn't share his vision was very frustrating, especially since he had to consciously hold back his musical gems in order to release them in collaboration with a partner and team that believed in his art and supported him in his vision for his music.

During this time, Mick worked on his upcoming amazing body of work that has evolved into something very special. Mick at times compares himself to a star chef, brewing up lyrics, seasoning each line to perfection. The album is bursting with offbeat rhymes, sophisticated grooves and complex metaphors. On 'The Patience', the artist shows in an impressive way that he is one of the best in his genre.

Features on the album include JID, Freddie Gibbs, Benny The Butcher and Vic Mensa, who are no less eloquent as rappers and round out the record excellently. Also the production, peppered with live instruments and many jazz influences, makes the hip-hop hearts beat faster.

Jake Muir's latest set of soft-focus, sensual electro-concrète, dissolves X-rated gay sleaze flick soundtracks into a shimmering suite of subdued orchestral flourishes and surreal cosmic psychedelia.

Back in 2020, Muir put together a 90-minute mix for Honey Soundsystem, blending tracks from Kelman Duran, DJ Olive, Daniel Lanois and Terre Thaemlitz with obliquely camp dialog samples from vintage gay porn. The idea was to represent queer sexuality in a looser, more experimental manner, grazing the super-sensory pleasure of the bathhouse experience and the illicit joy of cruising without getting too self-serious while doing it. The mix was so popular that Muir followed it up with a weightless sequel two years later, and began developing the concept into a proper album, using more samples of music and dialogue, eventually performing the piece at the esteemed GRM as part of their FOCUS #4 concerts alongside work by Eliane Radigue, Folke Rabe and Chris Watson.

Bathhouse Blues is split into two side-long pieces that wash and ripple with nervous tension and discreet salaciousness. Opening with a familiar theatre sting, there are echoes here of kosmische and experimental electronics on 'Cruisin’ 87', fashioned into puddles of syrupy, back-room ambience. Occasionally we hear lascivious words thru the fog, men mumbling to each other before sex. "That's beautiful," a voice mutters over a dusky cricket chirp on 'Pipe Dream'. "It is," another replies.

Muir's sonic treatment is suitably explicit, like a 1950s Hollywood jump-cut to a train going into a tunnel; he takes the whole-body, mutual release of queer sex and interprets it with heady gestures, peppering jazzy rhythmic frostings into basins of skewered drone and gurgling synths. His sound is coloured by the pleasure of physical touch, a mussy flux of high frequency scrapes and caresses juxtaposed with woozy, dubbed-out fondles and thrusts. Who said the GRM was buttoned up?

„The 90’s are back!“ – 30 Jahre später ist das beliebte Jahrzehnt musikalisch wieder voll im Trend! Auf der „FETENHITS - The Real 90’s“ sind die Originale der größten Party-Hymnen der Dekade vereint.

Ob die groovigen Sounds von „No Diggity“, der absolute Ohrwurm „Wannabe“ oder die Kult-Nummer „Mambo No. 5“ - Der bunte Mix der besten Party-Songs und Klassiker der 90‘s ist voller „Good Vibrations“!

Mit dabei sind u.a. U2, Britney Spears, Salt-N-Pepa, 20 Fingers & Gillette, Freddie Mercury, La Bouche, DJ Bobo, TLC, Backstreet Boys und viele mehr.

„We Bring It All Back“ mit den größten Party-Hits der 90er! Erhältlich als 4LP, 4CD und eAlbum ab dem 29. September 2023!

Classic Jazz Album from 1978.
Featuring an all-star line-up.
First ever vinyl reissue since 1986.
Released for the first time in the UK & North America.
180g BLACK vinyl limited to 500 copies (w/obi strip).

Curtis Fuller (December 15, 1932 – May 8, 2021) was an American jazz trombonist best known for being a member of several legendary jazz outfits, his impressive catalog of solo albums and a contributor to many classic jazz recordings.

Fuller was born in Detroit and lost both his parents at a very young age. He spent several years in an orphanage run by Jesuits where he developed a passion for jazz after one of the nuns there took him to see his first live performance. Curtis attended public school in his hometown (together with Donald Byrd and Milt Jackson) where he took up the trombone at the age of sixteen.

Curtis Fuller was a well-respected member of iconic outfits such as Art Blakey & The Jazz Messengers, Art Farmer’s Tentet, The Benny Golson Quintet and Eastern Rebellion. The list of his collaborations is impressive to say the least, Mr. Fuller recorded and performed with greats such as Quincy Jones, John Coltrane, Count Basie, Dizzy Gillespie, Freddie Hubbard, Roland Kirk Rashaan, Miles Davis…and many others.

Fuller was granted an honorary doctorate of music from Berklee College of Music in 1999 and eight years later he was honored as a NEA Jazz Master. Curtis Fuller’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Savoy, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are presenting you today: Four On The Outside (Recorded in 1978 at the famous New York CI Recording Studio and released on Timeless Records the same year) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Pepper Adams (Oliver Nelson, Lalo Schifrin, Herbie Hancock) on saxophone, Dennis Irwin (The Jazz Messengers, Chet Baker) on bass and James Williams (Calvin Keys, Thelonious Monk) on piano.

Four On The Outside shows off Fuller’s mastery of the Trombone and this delightful set features him in a front line with Pepper Adams delivering a unique trombone-baritone saxophone combination (few others have followed this intriguing coupling). Curtis Fuller plays from the heart and is on top of his game. Expect sharp and elegant original compositions, machine gun-like spurts, angular boppish lines and top rhythm section work that never gets in the way of the horns spreading their wings. All of the above makes this record a must have for any self-respecting jazz fan or collector!

A very special autumnal presentation from FaltyDL & Studio Barnhus, in the form of a perfect little slab of 12'' vinyl, exhibiting the love for the classic house sound that burns within the hearts of the prolific New York producer as well as the Swedish dance music
powerhouse. In particular, “Our House Is Barnhus” honours and updates the deeper side of the French touch – think Pépé Bradock and early St. Germain – fully displaying the state-ofthe-art production skills and emotional depth always present in Drew Lustman's music.
Known for his shapeshifting sound, FaltyDL has been releasing explorative electronic music for over a decade, switching his sound up intuitively across 6 albums, remixes for The xx and Mount Kimbie, executive production credits for Mykki Blanco and a multitude of
singles and EPs, including two previous Studio Barnhus editions in 2021 and 2019.

Our House Is Barnhus (12'' vinyl + digital release) is out on Studio Barnhus on September 29, 2023.

”Guess Who’s Back” - Hip-Hop is! Das beliebte Genre ist aus der Musiklandschaft nicht mehr wegzudenken und feiert dieses Jahr sein 50-jähriges Jubiläum! Zu diesem Anlass erscheint das brandneue Album „HipHop At Fifty (50 Jahre Hip-Hop)“ mit vielen Hits aus den Anfangsjahren des Genres sowie zahlreichen deutschen und internationalen Chartstürmern. Eins ist sicher – dieses Album kommt ”Straight Outta Compton”!
Mit Oldschool-Pionier*innen wie Dr. Dre, Eminem, Snoop Dogg, Busta Rhymes, LL COOL J, 50 Cent, DMX, Lil’ Kim, Fugees als auch mit deutschen Rap-Größen wie Die Fantastischen Vier, Luciano, Sido, Apache 207, Seeed oder Deichkind hat das Album einiges zu bieten.

Ob die groovigen Sounds von ”Super Freaky Girl”, die explosive Rap Power von ”Bamba”, der weltweite Club-Klassiker ”In Da Club” oder der funky Vibe mit harschen Lyrics des Klassikers von ”The Real Slim Shady” – diese Mischung sorgt für die volle Ladung Hip-Hop!

Erhältlich als 4LP, 3CD, eAlbum und im Streaming ab dem 29. September 2023!

Remastered Reissue des Samplers 'Ariwa Sounds: The Early Sessions' (1984) mit den frühen Produktionen der Reggae/Dub-Legende Mad Professor, aufgenommen zwischen 1979-1981 in seinem Wohnzimmer, kurz bevor die Idee Form annahm, ein Studio und das Ariwa-Label zu gründen. Er lud lokale Musiker zur Zusammenarbeit ein, darunter Errol Sly, Ranking Ann, Sergeant Pepper, Deborah Glasgow, Victor Cross, Sister Audrey und seine Begleitband The Sane Inmates, von denen einige später zu festen Größen ihres jeweiligen Genres wurden. Die LP fängt die rohe Essenz des frühen Sounds von Mad Professor und Ariwa ein.

Fortunea Records continues its release schedule of 2023 with the 4th edition of their VA-series ‚Fortunea Cookies‘ to highlight the status quo in Austrian house music.

A band that is generating buzz in this country right now is Spitting Ibex. Their music is a mixture of funk and heavy rock, in the style of Red Hot Chili Peppers, Prince and Rage Against The Machine. Currently they are touring with their brand-new album ‚E.G.O.‘ through Europe and Peletronic had the honor to remix the title-track of their
previous record ‚Love Hate Fear Fate‘. In this ‚Disko Miks’ he transforms the song into a driving house weapon.

In 2021 Nick Hanzo released his ‚Candy Places‘ EP. And on this record was a memorable abstract lo-fi house track called ‚Saturn Nate’ that gets on FC4 a treatment by Klaus Benedek. In this new version he accelerates the speed and focuses even more on the aspect of space travel with the addition of sound fx, pads, pianos and a Italo disco-inspired baseline.

Of course this release has not only remixes of previous tracks, but also 2 originals!

The B-side features Dzc. again with her ‚Expressions‘ of night culture. Caution! This will catapult the crowd up to new heights. An energetic peak-time tune that delves deep into 90s house and trance sonic images.

And finally Markus Quittner returns from Linz and brought his ‚Game‘ to the table. A board full of bouncing dices, strong drum patterns and funky orchestrations. A pleasure for the ears.
Fortunea Cookies Vol. 4 will come out this summer on white limited vinyl. Don’t sleep on this!

Originally released on Blue Candle Records in 1977, Steppin' Out by the 13th Floor is a true treasure that deserves a cherished place in the collection of every soul and funk connoisseur. This long-awaited reissue brings back the original magic, preserving the essence and impact it had on the music scene.

Its profound influence on bands like the Red Hot Chili Peppers is undeniable, solidifying its status as an essential gem in the annals of musical history. Now, with this reissue, you have the opportunity to experience the same captivating rhythms and infectious melodies that captivated audiences decades ago.

Are you ready to awaken your boogie spirit and infuse your living room with the long-lost spark of the mid-seventies? Brace yourself for an immersive experience as you surrender to the timeless grooves and soulful vibes that will transport you to a bygone era of musical
enchantment. Allow the music to ignite your soul, reigniting the vibrant energy of the past and instilling in you an irresistible urge to groove like never before.