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Imagine deserted volcanic wasteland, freezing winds and the all-embracing darkness of the longest winters on this planet: The obvious inspiration for rather vicious and somber tunes for lonely evening hours that the biggest part of Iceland’s heavy music scene is known for. Who would even dare to think of tales about brave warriors and mystical creatures coming from such an island? Power metal seemed like a fairytale until 2017 when Reykjavík based sextet POWER PALADIN (originally founded as PALADIN) rose in quest of carrying out their uplifting tunes and finally proving everyone wrong. On an island known for its musical doom and gloom, they are the midnight sun. “Iceland has such a great representation of extreme metal. We didn’t feel we had much to add to that scene so why shouldn’t we do the complete opposite?” the band recall their origins. A truly wise decision! Their first live performances and demo releases were of such good reception that they were booked for Iceland’s main underground festivals, Eistnaflug and Norðanpaunk, and subsequently played at one of the country’s biggest music events, Iceland Airwaves, in 2019. Highly praised as a “standout” act by The Reykjavík Grapevine, POWER PALADIN kept crafting material at Windfyre Studios, composing their 9-track strong debut album titled »With The Magic Of Windfyre Steel«. The opus is a historical landmark for both the group and Atomic Fire Records, being the label’s first full-length release since its recent founding. “We actually started to write some of these tunes in the very beginning of our band history and captured them over the course of about two years at various places: at Ingi’s bedroom, at Atli and Bjarni’s workplace, at a cabin outside Reykjavik etc.”, POWER PALADIN say about their approach to songwriting and recording. And while self-producing such a splendid album has been no easy quest, it almost reads like a part from Joseph Campbell’s »The Hero’s Journey«:“So we went through a whole lot of trials, but that’s why we’re even happier and prouder of this record now!” Mixed by Haukur Hannes at Mastertape Studios (AUÐN, DYNFARI etc.) and mastered by Frank de Jong at Hal5 Studio (BLEEDING GODS etc.),
” they explain. The group’s love for fantasy games and books from authors such as Brandon Sanderson and Joe Abercrombie doesn’t remain unnoticed either: James Child (Astral Clock Tower Studios) translated that inspiration into the album’s adventurous artwork. »With The Magic Of Windfyre Steel« gets the listener's attention immediately. Air guitar-provoking lead single 'Kraven The Hunter‘, a track that’s frequently been aired via Iceland’s radio stations prior to the album’s release, peaking at position #1 of X-977’s chart, sets the right tone for this 51-minute venturesome ride. A ride that ranges from songs in the vein of the opening track like 'Creatures Of The Night' to rather aggressive bangers such as the second single 'Righteous Fury' and 'Ride The Distant Storm'. In the end, critics might say that “only a ballad is missing” to deliver all ingredients for a great heavy metal album. But does a power metal saga whose first chapter has just been written need one at all? Well, we will find out in chapter 2...

Imagine deserted volcanic wasteland, freezing winds and the all-embracing darkness of the longest winters on this planet: The obvious inspiration for rather vicious and somber tunes for lonely evening hours that the biggest part of Iceland’s heavy music scene is known for. Who would even dare to think of tales about brave warriors and mystical creatures coming from such an island? Power metal seemed like a fairytale until 2017 when Reykjavík based sextet POWER PALADIN (originally founded as PALADIN) rose in quest of carrying out their uplifting tunes and finally proving everyone wrong. On an island known for its musical doom and gloom, they are the midnight sun. “Iceland has such a great representation of extreme metal. We didn’t feel we had much to add to that scene so why shouldn’t we do the complete opposite?” the band recall their origins. A truly wise decision! Their first live performances and demo releases were of such good reception that they were booked for Iceland’s main underground festivals, Eistnaflug and Norðanpaunk, and subsequently played at one of the country’s biggest music events, Iceland Airwaves, in 2019. Highly praised as a “standout” act by The Reykjavík Grapevine, POWER PALADIN kept crafting material at Windfyre Studios, composing their 9-track strong debut album titled »With The Magic Of Windfyre Steel«. The opus is a historical landmark for both the group and Atomic Fire Records, being the label’s first full-length release since its recent founding. “We actually started to write some of these tunes in the very beginning of our band history and captured them over the course of about two years at various places: at Ingi’s bedroom, at Atli and Bjarni’s workplace, at a cabin outside Reykjavik etc.”, POWER PALADIN say about their approach to songwriting and recording. And while self-producing such a splendid album has been no easy quest, it almost reads like a part from Joseph Campbell’s »The Hero’s Journey«:“So we went through a whole lot of trials, but that’s why we’re even happier and prouder of this record now!” Mixed by Haukur Hannes at Mastertape Studios (AUÐN, DYNFARI etc.) and mastered by Frank de Jong at Hal5 Studio (BLEEDING GODS etc.),
” they explain. The group’s love for fantasy games and books from authors such as Brandon Sanderson and Joe Abercrombie doesn’t remain unnoticed either: James Child (Astral Clock Tower Studios) translated that inspiration into the album’s adventurous artwork. »With The Magic Of Windfyre Steel« gets the listener's attention immediately. Air guitar-provoking lead single 'Kraven The Hunter‘, a track that’s frequently been aired via Iceland’s radio stations prior to the album’s release, peaking at position #1 of X-977’s chart, sets the right tone for this 51-minute venturesome ride. A ride that ranges from songs in the vein of the opening track like 'Creatures Of The Night' to rather aggressive bangers such as the second single 'Righteous Fury' and 'Ride The Distant Storm'. In the end, critics might say that “only a ballad is missing” to deliver all ingredients for a great heavy metal album. But does a power metal saga whose first chapter has just been written need one at all? Well, we will find out in chapter 2...

Imagine deserted volcanic wasteland, freezing winds and the all-embracing darkness of the longest winters on this planet: The obvious inspiration for rather vicious and somber tunes for lonely evening hours that the biggest part of Iceland’s heavy music scene is known for. Who would even dare to think of tales about brave warriors and mystical creatures coming from such an island? Power metal seemed like a fairytale until 2017 when Reykjavík based sextet POWER PALADIN (originally founded as PALADIN) rose in quest of carrying out their uplifting tunes and finally proving everyone wrong. On an island known for its musical doom and gloom, they are the midnight sun. “Iceland has such a great representation of extreme metal. We didn’t feel we had much to add to that scene so why shouldn’t we do the complete opposite?” the band recall their origins. A truly wise decision! Their first live performances and demo releases were of such good reception that they were booked for Iceland’s main underground festivals, Eistnaflug and Norðanpaunk, and subsequently played at one of the country’s biggest music events, Iceland Airwaves, in 2019. Highly praised as a “standout” act by The Reykjavík Grapevine, POWER PALADIN kept crafting material at Windfyre Studios, composing their 9-track strong debut album titled »With The Magic Of Windfyre Steel«. The opus is a historical landmark for both the group and Atomic Fire Records, being the label’s first full-length release since its recent founding. “We actually started to write some of these tunes in the very beginning of our band history and captured them over the course of about two years at various places: at Ingi’s bedroom, at Atli and Bjarni’s workplace, at a cabin outside Reykjavik etc.”, POWER PALADIN say about their approach to songwriting and recording. And while self-producing such a splendid album has been no easy quest, it almost reads like a part from Joseph Campbell’s »The Hero’s Journey«:“So we went through a whole lot of trials, but that’s why we’re even happier and prouder of this record now!” Mixed by Haukur Hannes at Mastertape Studios (AUÐN, DYNFARI etc.) and mastered by Frank de Jong at Hal5 Studio (BLEEDING GODS etc.),
” they explain. The group’s love for fantasy games and books from authors such as Brandon Sanderson and Joe Abercrombie doesn’t remain unnoticed either: James Child (Astral Clock Tower Studios) translated that inspiration into the album’s adventurous artwork. »With The Magic Of Windfyre Steel« gets the listener's attention immediately. Air guitar-provoking lead single 'Kraven The Hunter‘, a track that’s frequently been aired via Iceland’s radio stations prior to the album’s release, peaking at position #1 of X-977’s chart, sets the right tone for this 51-minute venturesome ride. A ride that ranges from songs in the vein of the opening track like 'Creatures Of The Night' to rather aggressive bangers such as the second single 'Righteous Fury' and 'Ride The Distant Storm'. In the end, critics might say that “only a ballad is missing” to deliver all ingredients for a great heavy metal album. But does a power metal saga whose first chapter has just been written need one at all? Well, we will find out in chapter 2...

Das Label Crammed Discs stellt in einer weiteren Folge seiner Komponistenserie "Made To Measure" einen Soundtrack vor, den die Bands Tuxedomoon und Cult With No Name 2015 für die Dokumentation "Blue Velvet Revisited" geschrieben und eingespielt haben. Die Doku basiert auf Bildern, die der deutsche Filmemacher Peter Braatz auf Einladung von David Lynch 1985 am Set von "Blue Velvet" machte. Für den Soundtrack haben sich die englischen Elektronik- und Neue-Klassik-Band Cult With No Name und die legendären amerikanischen Post-Punk-Kammerpop-Pioniere Tuxedomoon zusammengetan. Im Ergebnis verschmelzen Elemente zeitgenössischer Klassik ("Lumberton") über Jazz ("So Fucking Suave") bis hin zu Ambient-Electronica ("Do It For Van Gogh") und Krautrock ("Jeffrey Nothing"). Außerdem mit dabei ist ein Pate moderner elektronischer Musik, der Brite John Foxx.

Auf 'Les Artisans', dem Nachfolger des No-Wave-Krachers 'L'appel du Midi à Midi Pile' (2016), setzt die Französin Maïssa D. aka Theoreme die Tradition von hypnotischen, basslastigen Mantras fort, die sie mit Industrial Dance, Roboter-Funk-Experimentalismus und halluzinatorischen Club-Downern mischt. UK Breakbeats auf halber Geschwindigkeit treffen auf elektronische On-U Reggaesounds und Henry Mancini im defekten Lounge-Noir-Mixer, futuristische Jazz-Low-End-Motive und Post-Punk-Primitivismus auf Funken von Proto-Techno. Maïssa ist gleichzeitig Mitglied des No-Wave-Trios SIDA und hat Musik auf Bruit Direct Disques, My Own Private Records und Isolated Waves Now veröffentlicht. LP aus schwarzem Vinyl mit Posterbeilage.

Simon Lovermann's debut album "Handwerke - Songs for my fathers" is focused around the piano, both as a harmonic and a percussive instrument. It is influenced by Jazz, Electronica, Hip Hop and Minimal Music. The beats are created with the piano and are enriched with body-percussion and beatbox to create an idiosyncratic atmosphere and distinctive sound.

The album deals with the personal story of the artist. Simon's biological father, Robert, was a Jazz musician and died before his birth. Simon was raised by his father Christian. This album is therefore a vividly emotional way for him to explore topics like death, fatherhood, family, identity and belonging.

"Handwerke" comes with a special artwork and cover design, featuring contributions by 16 artists printed on individual postcards and assembled in a 20-page booklet.

The release is a collaboration of Der Greif and Squama Recordings.

On Top Records is extremely proud to welcome back Smasher with his sophomore album, ‘Vibes In Motion’. due for release the 16/07/2021

Following the release of his debut album ‘Locked In Locked On' in 2020 which featured in numerous 'Album of the Year' lists Smasher has spent the past year offering a high level of consistency among a time which has been very difficult for creatives.

With live shows stopping to a halt Smasher has taken this opportunity with both hands building a home studio to sustain creativity a very important factor for an individual who has a burning passion to create music, he has used the time productively “Vibes In Motion” is 51 minutes of future classic British UKG encompassing Hip Hop, Grime, RnB, 2 step Garage all blended together seamlessly to bring a fresh approach to a genre he has gone extremely hard for. As with previous material, the album is produced by Smasher himself collaborating with long time friend Aaron Greenwood bringing his soulful smoothed-out keys and backing vocals the pair have a great working relationship which spans over a decade which can be heard through out the record.

Smashers journey began with a love for late 90’s UK Garage collecting vinyls from record shops and dj’ing on pirate radio, which lead him to Hip Hop, RnB, Reggae, Soul and many different uk underground music styles, followed by decades of producing records for some pinnacle uk artists most recent production credit for “Ghetts” on the critically acclaimed ‘Conflict Of Interest’ album charting at number 2 in the uk albums chart, Giggs - Landlord album, Klashnekoff - Iona to name a few, Smasher is a producer who can deliver a very high level of production no matter the genre. Over the past 2 years Smasher has gained props far and wide: from Todd Edwards to DJ EZ releasing a record under his Nuvolve imprint, to guest mix for MBE clothes designer Wale Adeyemi, comedy UKG faves Kurupt fm posting his “lockdown freestyle challenge” Numerous guest shows & live streams for Rinse fm, Kiss fm, Phaze Transition & Mind Charity, limited vinyl run presses to collaborating with Capo Lee & Ayo beats for film soundtrack “Against All Odds”

Since releasing “Locked In Locked On” the feedback for the project was so greatly received i knew how i wanted to approach this next album and with plenty of time on my hands to experiment i wanted to include more collaboration, a lot of the link ups came together organically.

I feel you get a nice balance of some new school artists like Local, Solo Jane & Hotch mixed with some UKG generals like MC Neat, Mighty Moe, Preshus, Creed & Troublesome and original “Knightz of the round table” member Luckie Luciano, i always feel a duty to pay homage but i also want to evolve the sound and take it to the next level.

Since march 2020 its been a tuff time for people i feel like there are some hidden messages in the album it leans towards the underdogs of this world and at times i feel like that but there is always this burning desire inside me to want to do better hopefully that comes across for the listener.

Already with a dedicated fan base and support from tastemaking DJs such as DJ EZ, Conducta (Kiwi Records), Toddla T (Radio 1), Heartless Crew (1xtra), Majestic (Kiss), Scott Garcia (kiss), Smokey Bubblin B (Rinse fm), DJ Redhot (Rinse fm), Dj Cartier, DJ Spoony, Artful Dodger, MattJam Lamont (Rinse fm) Shosh (Kiss Fm) Rudekid (Kiss fm) Ricky Chalrie & Melvin (BBC Radio 1) amongst others from the burgeoning UK Garage scene,

The Smasher sound especially in UKG has brought a well needed fresh flava to a genre which has had very few full album offerings, with that said its time to share “Vibes In Motion” with the universe, This will solidify Smasher as an artist in every sense of the word and undoubtedly concrete him as one of the UK’s finest talents.

New album of Québecois performer Bernardino Femminielli after several releases on Mind Records or Desire Records. Produced by Dominic Vanchesteing (Marie Davidson, Jef Barbara, Chocolat, Bernardino Femminielli...). A synth-pop/chanson act in between Sebastien Tellier, Serge Gainsbourg and lust.

Bernardino Femminielli, a lucid and tempestuous entertainer, abandons his performance and his leather clothes to take on the role of a triple agent in a sentimental mise en abyme, far from the tumultuous moral, political and philosophical conflicts. By turns storyteller, voyeur and actor of this tragedy in six acts, it is his word against that of another.

The other is Brad Cerini.
Lulled by the variety of his Italy, this unaware student of Vannier, Lai and Musy projects Femminielli into the heart of the torments of a high school girl in love and betrayed.

The mouse slips out of the shadow of the palaces and embraces her fate with a gunshot. Iris embarks on a hellish journey, assumes her excesses of politeness and turns an unexpected encounter into a grandiose event.

An introspective and/or schizophrenic tale that polarises a toxic, vital desire, carried by a flowery music that frees the artist from her principles.

Femminielli plays "an assumed, sincere role, a more serious posture and a more serious tone, but also an emotional distance in the face of this painting of manners. I had to act for her and him.


Directed by Dominic Vanchesteing (Marie Davidson, Jef Barbara, Chocolat, Bernardino Femminielli...), Dans les yeux d'Iris is the first release of the Parisian label Corps Double.

Limited edition 180g orange coloured vinyl + 4 bonus tracks. Originally
released as ‘The Great Artistry of Django Reinhardt’
(Clef Records MGC-516).
“Django was in his final weeks when he made this beautiful recording. He had
seemingly fallen out of love with music, or with performance, in the post-war
period and gained a reputation for unreliability. But there were signs that his
old fire was coming back.” - Penguin Guide To Jazz
“The disc you hold in your hands was the final album Django Reinhardt recorded before his death on May 16, 1953. The guitarist left behind a work as
vast as it was modern, and he left an indelible mark on the history of jazz guitar
and music in general.” - Jazz Magazine (France)

Far Out Recordings proudly presents two previously unreleased tracks of glorious Brazilian sunshine music. Written and recorded in 1978 by pianist, composer, sound engineer, studio owner and former amateur skateboarding champion Ricardo Bomba, ‘Eu Sei’ and ‘Flutuando’ were almost doomed to total obscurity when the master tapes were binned following a ruthless studio clear out. Luckily Bomba kept a cassette tape copy from which Far Out has remastered the release for 7” vinyl/ digital.

Throughout a varied career, which included a four year stint as bandleader of Jorge Ben’s live show (78-82), Ricardo Bomba had a string of idiosyncratic, underground pop hits throughout the 80s, including ‘Você Vai Se Lembrar’ which recently featured on Soundway’s Onda De Amor (Synthesized Brazilian Hits That Never Were 1984-94) compilation, as well as his then award-winning, now obscure solo album Ultralight (1988).

With the stunning vocals of Mariana Couto (the first wife of Chicago percussionist Laudir de Oliveira), legendary drummer Peninha who has recorded with the likes of Jorge Ben, Quarteto Em Cy, Lincoln Olivetti, Tony Bizarro and Gal Costa, and Brazilian guitarist Blimba Buarque, “Eu Sei” and “Flutuando” truly are lost gems of the late ‘70s Rio de Janeiro MPB scene.

*Disclaimer! This release was mastered from cassette tape, so the sound quality may differ from other releases on Far Out Recordings. We advise listening to sound clips before buying where possible... The music was simply too good to not release!

This album is a sequel to trumpeter/bandleader Red Rodney’s ‘One For Bird’ recorded live at the Tivoli Gardens 1988. The band he brought from USA includes then up-and-coming young players: Dick Oats (alto saxophone), Garry Dial (piano), Jay Anderson (bass) and John Riley (drums), musicians that have become regular SteepleChase recording artists. Red Rodney (1927-1994) succeeded Miles Davis’ post in the Charlie Parker Quintet from 1949 to 51. This indelible experience enabled him to be an adviser on Clint Eastwood’s 1988 Golden Glove awarded film “Bird”, which featured Red’s character extensively. The publicity that came with the film seemed to have given a boost to his career. Red started to play professional at the age 15 but slowed down during early and mid- 70s due to his addiction. He made a successful come back later and toured the world with his band. “Rodney rockets through most of his solos here, ascending into high-register terrain with the audacity if youth. At 62, he plays with the ebullient spirit more typical of men half his age.” - Mark Stryker, Cadence

Three years ago Danish guitar player and highly acclaimed session musician Jacob Gurevitsch made his solo debut with 'Lovers In Paris', a sweetly melancholic single which conquered sunsets worldwide and earned a place in many quality compilations and has over 10 million views on Youtube. Roll forward to 2018 and this stunning track now heads up the Danish guitarist's first vinyl album, on Kenneth Bager's renowned Music For Dreams label. The original album of 'Lovers In Paris' album entered the iTunes chart at #1 position in Denmark and was (back then) being hailed as one of the Records of the Year by the Balearic Community. And the success story continues. With over 2 million monthly streams Jacob Gurevitsch is a name to watch.

This vinyl debut album 'An Introduction' consists of selected works from the 'Lovers In Paris album, a few from his 'Cinematica' Ep and some from his forthcoming album 'In Search Of Lost Time.'

One could say A kind of Greatest Hits.!

10 melodic and beautiful originals.

'Mexican Margarita' is a truly impressive piece of guitar work with superb bongos and bass - already an essential tune for any Balearic collector - and the recently released single 'Spanish Inquisition' a current DJ Harvey fave, shows his technical and compositional ante into the world of Flamenco. 'Mapa De Soledad' and 'Poesia Del Mar' both gorgeous and moving Mediterranean-flavoured ballads full of emotional keyboards, soulful strings and accordions. The indelible upbeat of 'Motive Loco' and elegiac cinematic 'In Search Of Lost Time' remains memorable long after listening and this hits the nail on the head.

Jacob Gurevitsch the guitar player and composer has a unique sensibility to write themes and melodies that transcend time and sound like divine interventions.

At the time of its release, in early 1978 Chinese Restaurant' showed a certain impact. It was recorded between London and Milano, during the second half of 1977. The results were not really punk rock, but post punk' or even some sort of proto post punk' would be adequate. It is something more in the direction of bands such as Ultravox!, Stranglers and Suicide rather than Sex Pistols and Ramones, due to the use of electronic keyboards, obsessive rhythms, tense harmonies, and scratching vocals emerging from generally dark sound textures. Chinese Restaurant' was definitely ahead of its time, especially in terms of Italian rock. Chrisma had their own authentic glory and the minimum we can do is to celebrate it with a beautiful sacred vinyl' reissue.

I attended a trade fair in Rio de Janeiro, Brazil. In this show, we met producers, label and festival managers. It is a privileged moment when it is possible to learn about new trends, new musical forms, emerging groups. The timing of the meal is undoubtedly the most important. We take the time to introduce ourselves and discover each other. When my turn arrived, I took out my little map to locate the town of Sète on the map of France. There, an American promoter exclaimed "Yeah! You live in this beautiful city. Where there is this incredible music. ” I admit that at the time I didn’t quite understand what he meant but flattered by his remark I told him yes. Later, I realized that he was talking about gypsy music that made the whole world dream.



When my friend shared this anecdote to me, it resonated deeply with me. Indeed, for us, people of the south of France, this was nothing exceptional. Indeed, every day you could meet in the street a gypsy musician performing a rumba, another declaiming a fandango or another who liked to paraphrase the maestro Django. It is part of our daily environment, but it is indeed a peculiarity of this region. The territory of the Mediterranean arc, from Arles to Perpignan, is indeed the cradle of gypsy music in France. In addition, we must underline the major influence of the Gypsy artists of Catalonia in the development of these different artistic forms. Through weddings and family reunions, the repertoires have shifted to be reinterpreted according to the identities specific to each and the territories of residence.



With this new collection, we wanted to show, to hear all the musical richness of Gypsy and Manouche artists populating the territory. From appropriation to recreation, they never stop bringing this music to life, re-enchanting it and offering it a resolutely modern reading, open to the world. In this first opus, devoted to the guitar, we will take the routes of latin music, flamenco or jazz alongside renowned artists and young talents. With "The sound of guitars", it is a first door open to the gypsy music of the Mediterranean Arc, that we will discover gradually through the "Mediteranean Gypsies roads" collection.

Weird.ltd presents its second reference in the hands of the AREA 51 duo made up of Camilo Gil & Rodrigo Valdivia.

Four fresh house cuts in their deep nuances, and hypnotic cuts of minimalism with a South American flavor.

Plus two remixes, like ASTRAL, by UK legend TOMMY VICARI JNR.
And the Venezuelan based in Berlin, ARGENIS BRITO.

Undoubtedly a must for lovers of dance worship.

Here I leave you the support, and the feedback from the djs, so you can listen, and hopefully these days contact Jordan, to make that possible.
support of Djs such as:

Rick Wade - Dj Aakmael - Dorian Paic - Maher Daniel - Sascha Dive - Jef K - Norm Talley - XDB - Delano Smith - Politics of Dancing - Djebali among others ..

Feedback:
Jorge Caiado: Remix for Argenis its for me.
Dorian Paic: Remix for Vicari Jnr Killer!
Gari Romalis: All the stuff its for me, thanks
Amir Javasoul: A2 and B1 for me, strong stuff.
Mariano: All tracks for me !!!
XDB: argenis brito did a killer remix --- from first listen seems to be a dancefloor weapon,
Norm Talley: World of deep, yeah!
Peter Grummich: Solid Ep, Remix Argenis Brito its for me
Djebali: "Love the Ep, great music with superb remixes! Will play"

Extended Instrumental tracks from the nocturnal studio session of director and musician Jim Jarmusch, Sonic Youth's Lee Ranaldo, Balázs Pándi (Keiji Haino, Venetian Snares, Merzbow) and producer Marc Urselli (John Zorn, Mike Patton, Laurie Anderson a.o). All was recorded live and analog, and in the moment. Mixed, mastered, recorded and produced by Marc Urselli at EastSide Sound Studios, NYC, 2019. Artwork by Italian artist Sara D'Uva.

press quotes from the debut album (TR181)

Lee Ranaldo/Jim Jarmusch/ Marc Urselli/ Balázs Pándi is an egoless collection of ideas from four musicians who sound like they've been working together for an eternity - Daniel Sylvester, Exclaim! 2019
-
It’s exactly this unpredictability that makes the quartet’s evocative sounds thoroughly captivating - Poscic, The Quietus
-
A magical, hypnotic and somehow frightening album – Jazzthing 2019

neon candy vinyl incl. 24"x12" poster

To Sonic Boom’s Pete Kember, re-imagining the past can lead to ways forward on life’s natural, interconnected path. In April of 2020, he released his first album in over 20 years called All Things Being Equal, a lush and psychedelic record full of interwoven synthesizers and droning vocal melodies, concerned with the state of humanity and the natural world. An entire year later, Kember has re-imagined his last release and created an album of self-remixed tracks called Almost Nothing Is Nearly Enough, inspired by the spirit of late 70s, early 80s records by artists like Kraftwerk, Blondie and Eddy Grant. His new album is hypnotic and moody, holding onto the existential framework of the original, but exposes a fresh, beating realm of possibility.

In his last album, All Things Being Equal, Kember told regenerative stories backwards and forwards as he explored dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives. His work is always complex, both in its instrumentation built using modular synthesizers, and with his attempts to observe the many variables that exist in the universe that are intrinsically connected. Kember takes his existential and musical curiosity even further in Almost Nothing Is Nearly Enough, explaining “how we interact now is especially critical.” Written while the world endures many environmental and human crises, the album is both a balm and a reminder to nurture our own relationships, both natural and personal.

Almost Nothing Is Nearly Enough includes remixes of six tracks from All Things Being Equaland two tracks previously released exclusively in Japan. The album opens just like the original, with “Just Imagine”in its remixed form. The modular synthesizer at its foundation sounds familiar, but as the song progresses it branches out into various veins of sparkling embellishments and deep humming to truly expand the world that the song attempts to envision. On the albums’title track “Almost Nothing Is Nearly Enough,” Kember’s instrumentation mirrors the interactions he wishes to inspire; synthesizers responding and building on one another, a conversation of sorts that the human world currently seems to avoid.

Almost Nothing Is Nearly Enough sets itself up to be a grooving, night-time record, while carrying on Sonic Boom’s sense of urgency to assess our relationship with the world. As Sonic Boom revisits his last album, he exposes the arteries and bones of his past work and shares its raw, exciting potential. The result is a re-textured and re-colored new set of songs, emphasizing Sonic Boom’s ability to make a sonically expansive album feel distinctly impactful for anyone who listens closely.

This one is a double first for Shall Not Fade - the launch of the new Killer Cuts series focused on groove-heavy dancefloor fillers, and Marc Brauner’s debut on the Bristol label. The born-and-raised Berliner has previously released on German labels Midnight Snacks and Pentagonik, and joins the Shall Not Fade roster with a collection of classic house tracks to make you miss the clubs. Brauner covers a breadth of moods on the record, the A-side filling you up with euphoria; opener ‘Too Real’ is a gorgeous bit of lofi house tinged with funky guitar inflections and a retro feel that sweeps across the whole release. ‘Things I Did’ and ‘Tool For Lovers’ drag you out of winter and into a 90s Ibiza summer, utilising a 303 bassline and classic house stabs to warm up your dancing feet. In comparison to the warmth of the first half of the record, the B-side gets more haunting in tone, first by introducing rolling breaks in ‘I Know You Would’ and especially in ‘Tears of a Fallen Angel’. This is the emotional core of Brauner’s offering, euphoria tinged with sadness over a punchy rhythm that juxtaposes the subtle vocals woven throughout. The record closes with a hint of post-disco; ‘Neptun’ is a real groover of squelchy electro synths that is reminiscent of Patrick Cowley and the early, smoky nightclubs of New York. The bonus digital track ‘Out of Time’ carries on a similar energy - it’s a piece that doesn’t keep still, glittering with playful synth melodies and a surging cacophony of vocal samples.

Hailing from Los Angeles, Jimmy Tamborello has been a key figure in refining what today is considered electronica for over 20 years. "The Seas Trees See" is the first of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus: a free-floating and rather loose stroke of musical genius, giving ambience a whole new meaningful context. It combines crackles and hiss with deep, yet modest, synths and poignant, yet elegant, vocals and lyrics. "Away", its counterpart album, will follow later in 2021. It will showcase Dntel’s unapologetic love for pop music from a long-gone era, presenting yet another aspect of his multi-faceted personality. Dntel has always covered many musical grounds – from the pop-infused hits on "Life Is Full Of Possibilities" (Plug Research, 2001) to his much more abstract works on "Aimlessness" (Pampa Records, 2012), "Human Voice” (Leaving Records, 2014), and his electronics for The Postal Service (Sub Pop). Whatever his style – Tamborello has retained his very own musical voice.

When it comes to producing music, it can be a good idea to get away from the studio and find a more relaxed environment. Inspiration does not necessarily require huge bass bins. Fewer pieces of gear make it easier to really focus on ideas first and let them be. After recording "Hate In My Heart" – his most recent album, released in 2018 – this way, Tamborello continued working in that fashion, mainly jamming and getting ideas together for upcoming live shows. One of the first results of this creative process was the opening track of "The Seas Trees See" – a cover version of "The Lilac and the Apple", originally recorded by Californian folk singer Kate Wolf in 1977. Tamborello turns the acapella song into a vocoder-like extravaganza. Working with the original recording, the track perfectly sets the tone for what "The Seas Trees See" turns out to be – a quiet yet mesmerizing journey through sound and emotion, bringing together his very own sound design, disguised samples and an incredible feel for moods and atmospheres.

"I thought a lot about making an album that you would find in a thrift store", Tamborello remembers. Something "like a mysterious collection of sketches that leaves a lot unanswered. It doesn’t beg for attention or have any big moments." Despite its perfect and gentle flow, it is worth digging deeper, to surrender oneself to all the painstakingly placed details. Whether the beautiful and haunting piano work on "Movie Tears" or the almost sidechained-sounding "Yoga App" – every aspect of this album has been beautifully crafted, often bringing one of life’s biggest questions to the table: What if? What would have happened if Tamborello would have done this on that track or that on this track? It is good that he did not. Small things add up to something great, diverse and riveting.

The subtlety of his latest endeavor is fascinating. It opens up a new world, in which small musical sketches mean at least as much as perfectly produced pop anthems – if not more.

The batucada-influenced tune "Favela Gyal" is a hot dancehall riddim with U.K. MC Coppa (who has played alongside the likes of Roni Size & Dynamite, Adam F, Marcus Intalex, the G-Stone posse and many others).

They Say: “New directions in contemporary scoring”.

We say: Contempo is one of the best full album listens in the KPM 1000 library. Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves.

Rugged funk opener “The Fix” confidently displays its low slung languid grooves with heavy drums, horns and bass. Smokin’ in slow motion. The punchy “What’s Cooking” follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to “Cut To Music” gives way to a more inclusive, relaxed funk that’s all irresistible bass and stabbing horns. The mid-tempo “Man Alive” signals the time to really get down. A percussive monster jam. If you can’t strut to this then we really can’t help you! Closing out the A side, fresh guitar licks drip all over the slick drums of “Funky Footage”, with a New Orleans piano vibe coming on to really light a fire.

Whilst the dramatic crime funk of the A side is enough on its own to have earned this record its place in the great library record canon, it’s undoubtedly the more smoothed out B side for which Contempo is rightfully adored and celebrated. It’s so chilled and mellow, with beautifully arranged, sweeping strings, sax solos aplenty and a real 70s soundtrack feel. Think Love Boat, CTI label, Bob James, Grover Washington Jr.-type jams.

The super sleek and sexy jazz funk of “Breezin’” is as light and magical as you’d hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of “Good Vibrations” (used brilliantly by Odd Future’s Mike G for “Swiss Army”) is a string-drenched, wah-wah fuelled ode to living your best life. Nonchalantly. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. “Sun Goddess” will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious “Love De Luxe” and its horizontal grooves have been much sampled, but here it proves that it doesn’t need any help to get you in an intimate mood. Closer “Snake Hips” is a cool mid-pace slouch. Just divine.

Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is also no mere LP-length collection of loosely related tracks. This is a rare example of a library record that is a genuinely great listen from start to finish.

As with all of our KPM re-issues, the audio for Contempo 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.
: Contempo (KPM) (LP)

WRWTFWW Records is beaucoup happy to announce the official reissue of Pierre Barouh's hard-to-describe-but-easy-to-enjoy French flair meets Japanese avant-garde lost treasure of experimental-electronic-chanson-pop with a new-wave-minimal-bossa touch, Le Pollen. Originally recorded July 1982 at Nippon Columbia Studio in Tokyo and composed, arranged, and played by a who's who of Japan's most groundbreaking musicians of the 80s, the album comes as a LP with bonus 7inch, housed in a heavy sleeve displaying two immaculate photos of Barouh and holding a printed lyrics insert.

A free-spirited world traveler with an incredible ear for music, Paris-born singer and activist Pierre Barouh introduced the sounds of Brazil (and more) to Europe and pushed the envelope with his pio-neering label Saravah, home of adventurous innovators Brigitte Fontaine, Areski, Jacques Higelin, Naná Vasconcelos, and Roland Bocquet's Catharsis among many others. His bohemian border-free vision of modern chanson, blending musical tradition from various parts of the globe with forward-looking artistry, resonated particularly well in Japan, where the scene spearheaded by Yellow Magic Orchestra fell in love with everything Barouh.

And so one day in 1981, Pierre Barouh received an invitation from a Japanese label to come record an album in Tokyo. Not one to turn down an escapade around the world, the French visionary jumped on a plane and landed in a studio surrounded with a dream line-up of musicians: Yukihiro Takahashi (who had named his solo debut Saravah! after Barouh's imprint) and Ryuichi Sakamoto of YMO, Yasuaki Shimizu and his Mariah bandmates Masanori Sasaji and Hideo Yamaki, members of the Moonriders, Motohiko Hamase, Mitsuru Sawamura of Interior, Kazuhiko Katoh and the list goes on. Also participating in the making of the album were longtime collaborator Francis Laï and the mys-terious and beautiful David Sylvian.

The result is Le Pollen, a sincere and affectionate mix of nouveau chanson, techno-pop, post-punk, jazz, bossa, ambient, and minimalism. And probably something else entirely. Honestly impossible to classify in a particular genre, Pierre Barouh's fascinating cosmopolitan music melting pot is, above all, a reassuring ode to humanity, where friendship, exchange, and collaborative creativity breeze freely. Making music together. It's all love.

Pierre Barouh sadly passed away in December 2016, leaving behind a monumental legacy of music and art for us to cherish, and a life philosophy that's well worth considering:

La vie, qu'elle soit longue ou brève
Moi, tous mes rêves
Je les prends toujours au sérieux
Quand l'utopie brise les chaînes
C'est l'oxygène,
De ceux qui sont restés curieux

Life, be it long or brief
Me, all my dreams
I always take them seriously
When utopia breaks the chains
It's the oxygen,
Of those who've remained curious

From the song "L'Autre Rive" on Le Pollen.

Black Vinyl Repress

47 celebrates 5 years of forward thinking techno with a 12 track various artist compilation entitled 5Y. The triple vinyl release features several early label contributors such as Headless Horseman as well as recent regulars Swarm Intelligence and Scalameriya, plus new additions to the roster, EKORS and NN. The V/A also sees the return of Overlook and Positive Center’s alias, Carrier, as well as a collaboration between Ancient Methods and 47 label head, Tommy Four Seven.

Sutja Gutierrez is back on Lumière Noire. The finesse of his productions and his implacable stage performances have given him a special place within the Parisian label. In 2017, he released the EP "The Legend of Time" and one year later, he appeared on the compilation From Above with his track "Allodoxaphobia". He comes back here with an LP entitled PHYLAX SOCIETY, which confirms that Sutja Gutierrez is indeed an artist in his own right. Phylax means guardian in Latin, and the album’s title is directly inspired by the “Phylax Society”, a group of people who, in the late 19th century, wanted to create the ultimate canine breed, but who due their lack of consensus failed and dissolved. Later on, an ex-member eventually bred the very first German Shepherd. On this heartfelt record, as emotional as it is catchy, the artist deals with the feelings that come after the loss of a loved one, chiefly nostalgia and melancholia. The result is an ardent record where crooning is sincere and never a posture. The artist’s lo-fi psychedelic pop trademark oozes in every track of this album. Many of these songs feature his vocals, often doused in ethereal echoes or even shrewdly chopped and distorted in a way that reminds us of the great musique concrete experiments of the past. A DIY approach sometimes indebted to punk and post-punk music, all mixed with a vast variety of traditional pop instruments such as guitar, bass, electric keyboards and real drums, but also drum machines, synth bleeps, found sounds and other strange but fascinating samples. EMPTY FLOWER POTS, which was released as a single ahead of the LP, is definitely one of the album’s standout tracks. This catchy mid-tempo song is the perfect entry point into Sutja’s finely twisted world. A world in which you can find that particular balance between nostalgia and optimism. Oh, life is great, what is life? Life is death. . he sings. It is one of those songs that stays in your head for a while. Do not let the idea of alternative pop fool you, it is quite impossible to listen to any of these songs without reacting in some way or another through moving, dancing or thinking, regardless of the tempo or meaning. I’M DIGGIN’ might be the perfect example of this. Deceptively simple and far removed from dance music, this rock-infused number will not only have you singing along instantly, but you will also find yourself dancing and responding accordingly to the energetic mantra of this song... I'm digging for the truth, I am so diggin' into it. Truly, the dance floor is never too far, sometimes quite blatantly and sometimes in a more oblique fashion. Another case in point is PHYLAX SOCIETY, the eponym track which closes the album, a song in two parts, where a slo-mo club groove carries Sutja’s trademark singing to yet another level of uniqueness, with his surreal soundscapes, twisted melodies and everyday life sounds. An ode to humanity and an homage to the ones who are risking their lives every day in the mediterranean sea. It is rare to encounter an album which is immediately satisfying on one hand but also reveals more and more beautiful secrets with each listen. PHYLAX SOCIETY is clearly one of those special albums.

Mit "Front View" legt die Filmemacherin und Musikerin Helena Ratka alias Pose Dia ihre erste Solo-LP vor. Neben ihrer Tätigkeit als Soundtrack- und Theaterkomponistin sowie als Resident DJ im Hamburger Golden Pudel Club, machte Ratka auch als Teil des Duos Shari Vari (gemeinsam mit Sophia Kennedy) auf sich aufmerksam. All diese verschiedenen künstlerischen Wege und Abzweigungen münden nun in dem neu geborenen Projekt Pose Dia und einem Album, das zu einem beeindruckend vielschichtigen und eigenwilligen Debütwerk geraten ist.

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

From Mille Plateaux to Leaf, Staubgold and Raster-Noton, ~scape, or on his own label Ripatti, the Finnish artist Sasu Ripatti aka Vladislav Delay has been exploring various iterations of the dub culture vs. electronica, since 1997. His sonic crafts and unique signature sound has been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective or AGF.

Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being, influenced, Vladislav Delay is building a drifting and coherent sound enigma.

Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project.

The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar and Shakespeare.

In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip.

This became a tribute to the 'dub spirit', but in a very personal way, far beyond any influence or "the obvious". 500-PUSH-UP is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments - for instance - such as Lee Perry's 'Scientist Rids The World Of The Evil Curse Of The Vampires' or the On U-Sound productions.

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

The Afro-Cuban grooves of “Mamase” open the record. Continuing where Listen To The Wind left off, this is another horn-heavy call-and-response ode to a positive life. Life as an invitation to party, to take part, to “get involved”. But only if you’re willing to let in the transcendent power of music. “There’s gonna be a Mardi Gras, there’s gonna be a carnival; there’s gonna be a jamboree, there’s gonna be a bacchanal”. Who can resist that? Vibrations everywhere.

It’s followed by the joy of “Aida”. Gleeful, dayglow keys and synths *just* on the right side of mid-80s sleaze are accompanied by a killer bassline, slick, skipping drums and proud horns. Infectious funk.

The tempo is taken down a few notches for the powerful “Nomalanga” and the lamentations of a heartbroken man who must leave his wife Nomalanga and their children to join the fight against apartheid. It’s an emotional song, no question, but it doesn’t bring you down. The uplifting music and optimistic vocal delivery from Caiphus and his backing singers in the second half offer hope.

Breezy drums and contemplative keys act as a backdrop for the stunning backing vocal harmonies in the intro of “Moshanyana”. This gives way to stuttering beats, a bassline to die for and Caiphus giving it his all, over guitars, marimba and synth strings. Another slo-mo winner.

Side two opens with “Dial Your Number”, an uptempo English-language boogie-funk workout, complete with mid-song cutaway to a random telephone call. Whether or not this propels the song into “key track” status, we’ll let you decide.

What’s not up for debate is the brilliance of “Matswale”. This was a hit in South Africa in the mid-80s and you can still hear why. It might just be our favourite Caiphus hit. Wow. This is some damn fine breezy, beautiful, emotional pop. The restrained playing, the guitar licks and the gentle keys are out of this world. The beats? Thundering, direct and slick. The singing? It’ll give you goosebumps. As for the sentiment? This is Caiphus singing to his in-laws about their daughter’s adultery, begging them to intervene and help him save his marriage. Not your typical pop single story-telling!

The ferocious “Ndi-Kulindile” closes the set with a nod to the coming sound of the States. The hard-edged, electro-influenced drum patterns and bouncing, elastic bassline are something of a departure from the album’s predominant sound, yet one wonderful constant, Caiphus’s exceptional delivery and his sparring with his backing vocalists, is satisfyingly present and warmly deployed.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The stunning sleeve has been restored, with its painting of a dream-like cosmic vista, as a lone figure takes in a scene that’s part distant planet, part urban sprawl. One listen and you’ll be transported.


Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend and Streams Today… Rivers Tomorrow, his second solo LP, is perfect. A ten out-of ten album if ever we heard one. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Originally released in 1984, Streams Today… Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans - both then and now. Fusing the US-heavy sounds of boogie, disco and funk with Afrobeat and traditional African elements, it’s truly a spectacular listen. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars.

One listen and you’ll be transported.

Ryan Lee West aka Rival Consoles announces details of his highly anticipated new album Articulation, released on Erased Tapes on 31 July 2020.
‘Articulation’, the lead track and album centrepiece, links the record back to the analogue fluidity and colour of 2016’s Night Melody. The division of varying time signatures, intertwined with a complex structure of notes, creates an expression of a moving structure and conjures a dreamy motorik energy. Ryan Lee West explains, "The title track is about articulation and playfulness with shape and time. Its structure is very machine-like, but I was really interested in how melody and sense of story could develop out of this, and it became an exploration of mathematical structures - patterns and shapes having a conversation. I love that something on paper can appear rigid and calculated, but then take on new meaning based on the context that surrounds it, or how it changes over time."
Articulation (which follows 2018’s Persona) was conceived with a very visual way of thinking, unusual for the London musician and producer. During the writing process Ryan drew structures, shapes and patterns by hand to try and find new ways of thinking about music, giving himself a way to problem-solve away from the computer. The album title references a piece by the avant-garde contemporary composer Györgi Ligeti, though not for its music, but for the non-traditional graphic score that accompanied it.
“I find electronic music is often battling to say something with integrity because technology and production can easily get in the way. I think the goal of a lot of electronic composers is to find a balance between the vision of the idea and the power of possibilities on the computer. With a pen and paper sketch you can compose and rethink ideas without technology getting in the way, so for me it acts as a very helpful tool to refresh the process.” - Ryan Lee West
The idea of using analogue drawings and tools to bolster digital creations can be heard in the structure of the pieces that make up Articulation from the broody techno opener ‘Vibrations on a String’ all the way to the album’s boundless closer ‘Sudden Awareness of Now’. While the anthemic rise and fall of ‘Still Here’ and the beatless ambient meditation ‘Melodica’ evoke a certain nostalgia, ‘Forwardism’ achieves the very opposite by burying its melody within the fast-paced rhythm of its pulsating synths.
Rising out of birdsong heard from his studio window, ‘Sudden Awareness of Now’ has a particular urgency about it and seems to perfectly capture a longing for escape. Built around a simple and repetitive melodic theme, expanding and retracting over the course of its seven-minute odyssey, Lee West explains; “I like the fact that if you say something over and over again in music, then over time it can become something else, something reflective.”
Since the release of Persona, Ryan Lee West has taken his captivating live A/V set to all corners of the world. Last seen live on stage with 17 players of the London Contemporary Orchestra for a sold-out orchestral performance at Southbank Centre’s Queen Elizabeth Hall in January 2020.
Meanwhile Lee West has kept busy. After contributing an exclusive track titled ‘Them Is Us’ to Adult Swim’s coveted Singles series, he recently shared the beautifully textured solo piano piece Winter’s Lament on this year’s Piano Day. He has also been in high demand as a composer, scoring Charlie Brooker’s much talked about Black Mirror episode Striking Vipers, composing original music for Secret Cinema presents Stranger Things as well as renowned choreographer Alexander’s Whitley’s groundbreaking new work Overflow which was set to premiere at London’s Sadler’s Wells Theatre this spring.
Articulation will be available worldwide on 31 July, with live activities to be announced as soon as the situation allows safe event planning

YELLOW VINYL LP

It's hard to speak about unspeakable things - violence, abuse, addiction and abandonment; especially when these things rupture the innocence of childhood. But one of the merits of Luke Jenner's new solo project is that he not only speaks of these things but he does so in a way that wrests them from the dark, small cubicle of shame, placing them firmly in the light so that we, as listeners and fellow survivors, can start to maybe walk with our head high. In this moment of empty pop music séance, the scope and ends of this project - to try and help people - feels almost revelatory. Revelatory is the right word here in that it carries with it, of course, the sense of religious or spiritual insight. As front man for the legendary post-punk NYC band, The Rapture (a band name that already attests to Jenner's abiding faith and interest in the force of spiritual reckoning), Jenner has never shied away from his belief in God, community, family - all as a means of recovering the fractured x of y. "How Deep is Your Love", "Grace"...

Long-time collaborators, longer-time best friends, lifelong analog appreciators; the German duo Iron Curtis & Johannes Albert join cosmic forces once again for another LP mission 'Moon II', a heartfelt voyage through the sounds, movements, styles and machines that created this music in the first place.
Think late 80s New York, early 90s Sheffield and the perennial sounds of Italo and Detroit, 'Moon II' is a lunar safari that celebrates the deepest foundations of house, techno and electronic soul while resolutely refusing to get nostalgic. Written and recorded during an intense two-and-a-half month session in Berlin last autumn, there's a consistency and tangible narrative running throughout as the pair play inspiration ping-pong over the course of 10 tracks.
A little Drexcyian glacial nod here, a hazy Boards Of Canada wink there. The Other People Place, Kerrier District, Environ Records, the Hacienda, Sub Club, Heaven 17, classic electro… All these ingredients are constantly bubbling in the mix for both Curtis and Albert (as individuals and even more so as a duo) and the end result is an album that works as a proper album should. Peaks, troughs, dreamy departures and all beautiful things in between.
Taking off where their debut collaborative album 'Industrie & Zärtlichkeit' (soon to be retitled 'Moon I') left us three years ago, the opening modem sounds on the intro track 'Canggu Laundry Club' dial us into a special sense of time and space.
It's a space where anything feels possible; Visual-inspired acid lines on 'Tiger Trek', lino-spinning body pops and windmills to the street sounds electro style of 'The Ultimate Seduction', the club-focused, Traxx-style Cutie Schamuthie collaboration 'Hurting', the melancholy plucks and struts of 'Feingold', the provocative, slinky, smoky finale piece 'Nektar'… The list of intergenerational and cross-genre landmarks on this adventurous body of work go and on, each track complementing the last as they fuse to create a bigger collective picture. A picture that's charmed together through the consistent use of key classic studio machines.
They call it Introverted Electronic Body Music, we call it warm, free-spirited and ultimately timeless. Perfect for your sets, your afterhours or your headphones alike; it's time to let Iron Curtis and Johannes Albert take you to the Moon and back… Once again.

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Hamburg-based Love-Songs’ newest output Nicht Nicht continues the band ́s striving to mesh defined grids with improvisatory snapshots to create their very own take on organic electronica. Since 2012, the electro-acoustic trio were able to explore the possibilities of their free-flowing interplay through the course of several EPs and the mini-album ‘Inselbegabung’, which was released on Kame House.

Now they are ready to submit their debut album Nicht Nicht on Bureau B. Meandering through it's seven-tracks "Nicht Nicht" contains the Trios most aerially shimmering tracks to date flanked by Tribal bouncers. Form, deform- and somewhere in between ...

We’ve worked with Ian Willson to reissue his insanely good, self-released West Coast classic “Straight From The Heart”. Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours.

You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.

Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk).

The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.

Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record.

Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982.

A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together.

Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears.

And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.

When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP.

The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.

"Who Sent You?" by Irreversible Entanglements is an entire holistic jam of "infinite possibilities coming back around," a sprawling meditation for afro-cosmonauts, a reminder of the forms and traumas of the past, and the shape and vision of Afrotopian sounds to come. Stay on it! This is the future! This is the spectral dreaming, the reshaped soundwaves of post-Katrina, post-Osage Avenue, post-Obamacare that we borrow from to do this work, so stay on it. Who Sent You? they said from their liquid cryo-chamber, from a low-light induction field cobbled together with lithium rods, with melted down Romare Bearden and Howardena Pindell paintings, stitched with chaos fibers and placed in the center of the carrion husk of a burnt out shanty town. They took time to scrape ashen samples of what was, their souls the residue thick and caked on, that still climbs those new high-rise condominiums like moss - the only evidence that they were once there, that they were baked into the fabric of this planet - they were there fixing elevators and tossing wrenches into quantum fields until they were stopped! frisked! and turned into weird, 100-foot martyr murals on the backside, the north side, of supermarket walls-Who Sent You? is how the matrix modulation works. Dig it: Who Sent You? is the punk-rocking of jazz and the mystification of the avant-garde, a sci-fi sound from that out-soul-fire jazz quintet Irreversible Entanglements.

The landmark 1980 album, representing a period of consolidation for Patrice Rushen. Her studio reputation as a go-to pianist and arranger among other artists and musicians was well established and was growing exponentially. Although never originally planning a career as a solo artist, she had built this side of her work through three Prestige albums and two sophisticated soul and disco albums for Elektra, 'Patrice' and 'Pizzazz'. "I was lucky to have a group of musicians that I knew well by the time of these recording sessions," remembers Patrice. "I had my pick of really incredible players because of all of the studio work I was doing. I also played with Lee Ritenour, Harvey Mason and others almost on a weekly basis at The Baked Potato club in L.A." Tracks include the singles 'Don't Blame Me', 'Look Up!' and 'Never Gonna Give You Up'. "'Never Gonna Give You Up' came out of playing ideas at home. Bassist Freddie Washington was living with my family while he tried to get a foothold in L.A.'s music scene and that groove came out of those jams. With 'The Dream', I had been listening to Minnie Riperton's 'Come To My Garden', one of my favourite albums. With Charles Stepney's arrangements, I saw that he didn't have to use large instrumentation to be orchestral in his approach. So, 'The Dream' was a homage to that kind of writing." "After 'Posh', we had a much better idea from the performance side what was important in our music and that informed my next album, 'Straight From The Heart'. We took a little break after 'Posh' was released, although I was still writing and working regularly on scores for film and TV. That had always been my main focus in my music."

Refreshing, ruff & ready sounding white label that’s landed out of nowhere, pulling on sounds from the early days of FWD>> as well as old-skool hardcore and 8-bar grime.

buffering juju, the title of dumama + kechou's debut album, relates to the process of "excavating spiritually charged content from within". The duo's textural sound, driven by cyclical song structures and chant making, not only captures the angst of the modern world but mines this state of affairs for regenerative potential.
dumama (vocalist and uhadi player) + kechou (multiinstrumentalist with a focus on indigenous African instruments and handmade instruments) met in Cape Town in 2017. There was an instinctive pulse to the initial clutch of shows they played together, blowing open vast sonic and conceptual possibilities. "I guess we were in similar places with our music processes in trying to push healing music to the edges and be more experimental with it," says dumama. The narrative of the album unravels as a piece of magical realism informed by South African folklore and reality, detailing a woman's liberation story where the characters shift shape and traverse multiple realms, deploying various iterations of their power or lack thereof. "It has an organic, natural, cyber and modern kind of energy - all rooted in African aesthetics of sound and storytelling," says kechou. All of this sits on a bed of the duo's unique musical language, one that, although applied electronically in the form of looping and soundscaping, is founded on approaches to string, vocal and percussion tones that reflect a merger between Northern and Southern African heritage.
Recorded primarily in Cape Town and Johannesburg over the first quarter of 2019, buffering juju is a conduit to a past we were not necessarily present for, and a future where threatened indigenous technologies thrive in an increasingly digitised world.

in the labels 15th year history there only been a few reissues in the widely ramified discogra-phy. lydia lynch in 2006, hans-joachim roedelius in 2013, fumio itabashi ‎in 2018 and soon skymark ‎with his jazz album “primeiras impressões”.

the italian producer, composer, record collector and modern sun records label co-runner, that listens to the name marc friedli when he hands his tax report to the government, is no stranger to fans of modern brazil, disco, fusion, house, latin, jazz, funk, soul and all other organically swinging music that grooves classical and deep.

since 2007 he released a string of albums and ep’s on his own label as well as on imprints like neroli, mukatsuku records or rush hour, showing his impressive electric piano keyboard skills and unique communication on and with an array of vintage synthesizers like arp, proph-et, moog, roland or korg.

on his privately pressed, strictly limited to 150 copies album “primeiras impressões” he de-livered in 2013 nine gently jazzing tunes that process his experiences in the heat of the city of rio de janeiro.

they are intensely spiritual. they avoid ornamentation. and they bow before jazz history with a gentle respect, while adding an elegantly searching, thrillingly uplifting freshness to the genre with deep discreet minimal funk and light as a feather piano-melodies, as if the key-board were a saxophone.