Search:prob

Originally recorded direct to disc and released by Incus in 1978, this new edition from Treader is pressed from the original stampers. Hand-finished sleeve.

‘Parker uses rapid tonguing techniques and circular breathing to create a sound all his own, marked by the simultaneous intonation of multiple notes. One hears a note as well as all the residual tones around it; each breath ends up sounding like a battle between the different registers of the horn. At various times, Parker’s saxophone sounds like dolphin speech, electronic tape squeals, or human murmurs; namely, anything but what it actually is. His language on the instrument is essential listening for anyone interested in acoustic experimental music’ (AllMusic).

‘Eight years after Topography Of The Lungs, and two years after his Saxophone Solos, Monoceros was the most muscular statement of Evan Parker’s solo saxophone muse. Superbly recorded, it seemed to place the listener within the chaotic air flows of the saxophone’s own tubing. Philip Clark said: ‘Parker’s dialogue with the saxophone throws up so much that is unexpected, and indeed unknowable, that the problem he faces is how to keep pace with his own invention’’ (The Wire, Best Albums Of The Year).

Luar Domatrix (Rudi Brito) is perhaps more recognizable as half of the artsy-duo Yong Yong that emerged in 2012. After a long season spent in Glasgow, and with editions by Naivety (Naive’s sublabel of Inês Coutinho aka Violet) , Sucata Tapes (Discrepant) and with a track inserted in a VA from 12th Isle, comes back to Lisbon (his hometown) clearly soaked by the sounds of the Scottish industrial center.

“Baía Stamina”, produced in Glasgow, is strongly inspired by the local club scene and evokes the utopia of a heavenly bay somewhere in Italy. Although always looking to bend the barriers of that “squarish” side of dance music, “Baía Stamina” is a dance record. It starts with “Bo Teias”, a track full of percussive elements and unusual sound effects that presents itself as a hymn of the “Baía Stamina” - pure boilling energy. “Take” is the least functional theme on the record. Metal percussion layers are overlapped over a string, creating a certain unrest and discomfort. A vocal incites consumption ("Take, Take, Take") to the point that a pad clears the way for liberation creating a more relaxing and dreamy ambience.

Closing the A side “Bo Teias” gets a remix from the Glasgow duo General Ludd, with whom Rudi used to live. In this version, and as the name implies, “Bo Teias (Gen Ludd Disco Problem Remix)” moves the focus away from the dance floor, ands transforms itself into a rhythmic exploration over the void, punctuated by some recognizable elements. “Outra Face” is a track made to blow up soundsystems! Anchored in distortion and in a broken beat led by the kick of the infamous TR-808 there is an almost epic vibe to it, that shows the confidence that Rudi Brito has acquired in his relaxed production style. “Heavven” closes the record in a completely British tone. The soulful vocal reminiscent of some garage tracks, echoes Bristol production and a time when dubstep producers decided to lower their bpms to something closer to the house. Without ever rushing the theme moves through different sonic landscapes and electronic glitches until a Portuguese voice announces “Acabou-se a brincadeira” (“Playtime is over”). This is peaktime; it's time to go dancing.

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

Classically trained experimentalist Aarp releases his compositionally expansive and pointedly political debut album via InFiné. ‘Propaganda’ is an album that rewards repeat listens and inspires research, pushing listeners to look for the truth beyond the headlines. The title ‘Propaganda’ is inspired in part by the death of a young man in Nantes who drowned following a police altercation at “Fête de la Musique” in 2019. Despite the fact that he was only dancing and there was clear evidence of negligence, the media campaign that followed cleared all involved and disinformation spread, distorting the truth and allowing French authorities to evade any consequence. This blatant and very recent example of press propaganda lead Aarp to explore a multitude of moments in history, each one informing a single track from his new record. Each song title is a direct quote taken from different examples of these moments, from George W. Bush to Margret Thatcher and French philosopher Gilles Deleuze to the infamous Oxycontin commercial by Purdue Pharma.

Höga Nord Rekords proudly presents Birds from London. Birds or Katie Wilkinson is relatively new as a producer but has been DJ-ing and playing in bands for the last nine years, marinating herself in interesting underground music. This 7”, Transcendental Phases/Tunnel Vision is her first release on Höga Nord Rekords.

Birds is a declaration of love to electronic music and psychedelia. The vocals in Tunnel Vision bares traces from the psychedelic pioneers of the 60’s – Think Roky Erikson with a Roland 303! Birds’ music is powerful and monotonous and she creates a dirty, warm and monumental soundscape. The production is airy and dynamic

Wilkinson mean that “we must try and find harmony in what we have and try and aim towards something positive, despite the fact that we live in a society that’s been completed fucked via the selfish behaviour of others (and most probably, ourselves at times).” With Brexit and the new wave of racism, spreading over Europe Birds makes music for a generation left with little hope but with the desire for something too long for.

7" Yellow Vinyl

Nearly seven years after the release of the debut album “ALFA", FDF still has not enough. Two track EP with remixes by none other than Filburt and the probably most underrated artists from Berlin “Even Drones".

Producer and multi-instrumentalist J-Felix returns with his
future blend of boogie, p-funk, disco and soul on his
sophomore album ‘Whole Again Hooligan’. Influenced by the
musicianship of Roy Hargrove’s The RH Factor, James
Brown and George Clinton, Joe elaborates on the concept of
the record: "My mum used to call me a hooligan when I was
growing up which was probably quite accurate, but there's
something about finishing a creative project as a musician that
makes you feel whole again”.
‘Whole Again Hooligan’ features a plethora of guest talent
including Brighton producer El Train, vocal flair Jerry Clavier
aka Sol Goodman, soul veteran and stellar DJ – Emeson,
and classically trained musician Afua. The records magic
moments are catalysed through a collaborative ethos, a skill
honed on J-Felix’s debut LP '101 Reasons'.
Constantly soaking up a mind-boggling array of influences –
through touring internationally as Alice Russell and Swindle's
guitarist, being an in-demand DJ (holding residencies at
Patterns, Brighton and Queen of Hoxton, London), hosting
a radio show on 1BTN, supporting the likes of Roy Ayers and
George Clinton, the list is endless... through which J-Felix's
penchant for all things funk has been perfected.


“The spirit of disco is more than alive and well for this” – Mixmag
“This guy’s got it going on!” - Huey Morgan (BBC 6Music)
“A sublime journey through squelchy electro-funk, tripped-out neo-soul and woozy hip-hop beats” - NME
“J-Felix aka Joe Newman crafts a solid tune with smooth gliding funk guitars, an undeniable bassline that magnetizes the eardrums and hard-hitting groove to match.” – EARMILK
“Excellent.. So many reasons to listen to J-Felix’ music” – FIP
“Tru Thoughts’ rising talent” – The Telegraph

It was time for us to make a move into the world of ambient new age music. Released only on cassette and CD in 1986, Paul & Mark made Quiet Water from a single guitar and a Yamaha DX synth.

Quiet Water consists of the amazing 'Summer Daydream' and 'Restful Sleep' that clocks in over 20 minutes. Cover is recreated from the original cassette and extended by hand painting by the original artist, Danny Flynn.

We recommend you put this on the turntable and just relax. Prepare for a musical journey. A journey that you probably never have been on before. We cannot recommend this release enough.

Officially licensed, remastered for vinyl, only 500 pressed.

Once more we're ready to take flight on Africa Airways, for this sixth journey we're taking you above 5280 feet and laying on the funk.

The flight opens with the punchy horns, afro rhythms & groovy bass of Eko Roosevelt's "Ndolo Embe Mulema". Keeping the tempo high we usher in fellow Cameroonians JM Tim & Foty for another punch of brass with the funky "More And More (Ye-Male)". We stay in Cameroon with Ngalle Jojo, here he lays down another funktastic bass heavy stomper with "Ngigna Loko". Jude Bondeze hails from Bangui, Central African Republic and is probably best known for his more traditional Tene Sango album... but his debut 1981 release saw him in a very funky mood indeed!

Next up, Nigerian Vicky Edimo gets his thumb out and lays down some glorious slabs of deep funk... along with a rather splendid bass solo! JK Mandengue played bass off & on for the British Afrobeat band "Osibisa", playing on the uber funky "Super Fly TNT" Motion Picture Soundtrack album.. Certainly putting him on a path to the Wahahwah'tastic "Kosa Mba" taken from his 1979 self-titled album.

Slow percussive classic raw street funk from Nigeria's Akwassa, who's line up is the same as "Heads Funk Band", are up next. Another outing for Vicky Edimo on this 1978 beauty from Mike Kounou. Also on guitar duties for Mike Kounou is Francois Amadou Corea, who's funky chops can be heard on "Ngigna Loko" & "Njonjo Mukambe".

Hi-Octane funk from Airto Fogo, percussion, rhodes & horns aplenty on this 1974 instrumental cut "Black Soul". As we prepare to start our decent Francois Misse Ngoh drops in some filth with this 1980 bass face monster "Njonjo Mukambe"... head nodding isn't essential, but it's best to brace yourself for impact.

Your next Africa Airways departure will be ready for boarding soon,
so keep your passports at the ready!

Part inspired by the prose of his favourite author James Baldwin, South Brooklyn's Korre 's experience of being a black man in America forms an integral part of his work, even if it's largely instrumental. "I always make sure my music has elements of pain, beauty, and darkness," says Korre in his bio. That vibe is certainly felt across his stunning debut EP for Utrecht's 030303 Records. 'End of Time' is a deep, dystopian piece of club music, as much suited for the floor as it is for the introverted mind. With virtually no intro, the listener gets sucked into the intenseness of the track right away. 'Crimson' is equally dark, filled with spooky vocal snippets and washed out acid sounds. 'Don't Wanna Wait' is a heartfelt ambient spacer, not unlike the eeriest work of Burial. 'Silver Exo' then is probably the best track on the record even if it's hard to pick a favourite. Korr? slowly brings the dancefloor back with this beautifully crafted builder, again filled with abstract vocal snippets. Closing this beast of a debut record is 'St Blues', consisting of a male monologue, captivating droney melodies and acid bubbles in the background. It's the conclusion of the first chapter by this artist we will no doubt hear more of in the future.

Repress

Leading lights of the neo ambient rhizome alongside Huerco S’ West Mineral label, Experiences Ltd has already amassed a cult following after just one release - ULLA’s ‘Tumbling Towards A Wall’, now returning to relay a sublime, probing debut of crackling, cross-continental communications from mdo, Ultrafog, and Nikolay Kozlov, aka Folder.
Weft from dematerialised ambient tropes spooled between their respective bases in Kansas City, Tokyo, and Samara in Russia, ‘New Path’ slots fuzzily into an expanding prism of contemporary ambient music which echoes the purpose and effect of the original thing via traces of ‘90s/‘00s experimental techno and minimalist rhythms. Their sound effectively recalls K. Leimer’s systems music as much as the Pole’s eerie dub malfunctions; running a lushly frayed and decentralised style that embraces a gently psychedelic sort of chaos and lysergic, hallucinatory vision in an up-to-the-moment way shared by the likes of Huerco. S and uon.
If original ambient was analogous to THC and LSD, and in the ‘90s MDMA, then the effect of Folder’s music, and that of their peers, adds the putative, lushly dissociative effect and non-linearity of Ketamine and psilocybin to that formula. As such ‘New Path’ attempts to follow new routes through your neurons, sparking at new junctures of style and form that better reflect and counter a current psychic state of stasis and anxious anticipation.
Coming from the label behind those cult ‘bblisss’ volumes of 2016-2018, listeners can trust their needs for relaxation and otherworldly curiosity will be sated by ’New Path’, as it courses from iridescent ambient noise in the titular opener, to the laminal diffractions of ‘Plasma’, and soothing textural abstraction of ‘Reset’, shoring up in ‘Node’ as though oceanic ambient currents have individually lead them to this bobbing buoy inthe middle of a noumenal ocean.

Massive Pumpin solid kicker...
A Side goes olschool classic fat and B side dig da newskool fresh sounds !

ENJOY !

New York’s indie disco funk crew is back with a new album. And it’s the right moment: With new acts like Toro Y Moi, Sault, Parcels, The Internet around… the funky, disco, old school vibe is big in 2020. And The Phenomenal Handclap Band fits perfectly. Probably all these new artists are fans of the Phenomenals. Because The PHB popped up for the first time 10 years ago. Some top knotch musicians from NYC’s funk scene playing dirty discofunk. Some of the bandmembers played in Mark Ronson’s projects and in Amy Winehouse’s backing band. Head of the band: Daniel Collás. Their self-titled debut album on Gomma records 2010 made them many fans in the music scene. A nasty fusion of forward-thinking disco, psychedelic prog rock, and classic soul with a splash of yacht rock. Back then the band took the road, supporting Bryan Ferry and Franz Ferdinand, playing shows at Glastonbury, Wireless, and Latitude… as well as getting praise from Sir Paul McCartney about their album! After the album Collás began to produce other artists in Brooklyn. The band paused. Now they are back. With Daniel Collás in the centre, along with new members multi-instrumentalist Juliet Swango, and vocalist and synthesizer wizard Monika Heidemann. Their sound is still essentially analog dance music, with an emphasis on raw soul, vocal harmonies, African percussion, fuzzy guitars and analog synthesizers.

In 1981, Nick Robson wrote Stars. The song can pretty much be described as a slow, cosmic disco song. It has an unusual feel, and it comes as Oslo-based Neppås third release. This 12" holds the 12" mix, the 7" mix, and the original B-side Eye To Eye. The original 12" is as rare as they come, and here you get the original material, fully licenced, and remastered. The process of recording the material back in 1981 was not an easy one, as Nick Robson recalls:

"Fame by David Bowie is one of my favourite songs, period. I was 18 when i wrote Stars and i wanted to write something that was my version of Fame and quite honestly, as a tribute to the song. If you listen to the bass lines, there is a hint of similarity in the two. Even the lyric of Stars has a passing reference to Fame.
Stars was one of four songs recorded at Gary's Rock City studio to supply the first two singles and form the basis of the first album. The other three tracks were Eye To Eye, Boys and She'a Like Ice. Although all four tracks were finished, for one reason or another, Boys never made it to pressing and i walked away from the business to pursue a career in film.
Stars itself, was the most ardous and problematic track that i've ever recorded. It took around 14 days to finally get an agreed mix when the budget probably only ran to three days. Part of the reason for this is the enormous quantity of music tracks recorded in the song. In those days, we only had 24 recordable tracks available on the Otari, so once you had recorded 23 or less actually, you had to bounce down sub-mixes to a single track to free up another batch of tracks. I think that there are around 46 tracks of instruments alone on Stars so although that kind of track usage is not uncommon now, back then it was rare. It remains the single most expensive song i ever recorded. The B-side Eye To Eye, on the other hand, was written, recorded and mixed in one day."

Who put the dance into Factory Records?”

Be With would like to refer you to FAC 59.

Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12" is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul.

Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester. Rob Gretton had just signed the band to Factory, snatching them from under the noses of RCA and WEA Records who had been sniffing around and seemingly ignoring Tony Wilson’s concerns that Factory might not be the right home for a black soul act. Rob clearly thought different.

The band of Tony Henry on guitar and vocals, bass player Derek Johnson, drummer Tony Thompson, lead vocalist Beverley McDonald and John Dennison on keyboards were put in the studio with A Certain Ratio’s drummer Donald Johnson producing the sessions. The band also found themselves with an interesting new member.

The back cover of the finished record credits synth F/X to a mysterious “Be Music”. Turns out that’s Bernard Sumner. Yes, that one. Tony Henry explains that bringing Bernard in was another part of Rob Gretton’s plan, “Barney was a real soul boy at heart and had always wanted to produce and work with black artists… with 52nd Street, he was an honorary member”. The results suggest he fit right in.

“Look Into My Eyes” squeezes so much aural pleasure into one side of a 12" single. A strutting, rich, soul-gliding funk with bass and guitar high in the mix above twisted, bubbling synths. Like Nile and Barney drenched outside the Haçienda that first summer. How can something be this liquid loose whilst sounding so, so tight? The hypnotic, naïve-cum-insouciant vocals from McDonald, backed by her fellas, only add to the track’s charm. Put simply, it sounds like nothing else.

On the flip, “Express” is sheer drama on wax. Tony’s opening lesson in good manners (“Excuse me miss, is this seat taken?”) sees us strapped in for a wild, chaotic, rhythmic ride. All bold keys, synth brass blasts, insistent bells and a galloping groove giving *that rush* atop a bassline to die for. No surprise it was a Frankie Knuckles favourite. Blistering heat.

The 12" was Paul Morley’s single of the week in the NME but his approval did little to get daytime radio play or to sell the record when it was released. It probably didn’t help that, in Tony Henry’s words, Factory were a label “notorious for not promoting their bands, not wanting any communications with the written press and not answering their office phones.” It came and went with none of the fuss that music this good deserved.

But in the near-40 years since they were released, these two tracks have gone on to become cult underground hits for those in the know. Of course that means those original 12"s have gotten rare and pricey. So here’s your chance to own this particular piece of post punk Factory Records funk.

But this record isn’t just a vital slice of Manchester soul history. Tony’s not shy about just how important he thinks the collaboration between 52nd Street and Bernard Sumner was: “this worked out quite well for us in the band but even better for New Order and Factory Records as Sumner studied grooves, rhythms and how to write and construct funk and dance music from 52nd Street and producer Donald Johnson”. You just have to listen to Blue Monday to hear what Bernard did when he started putting what he’d learnt into practice.

“Look Into My Eyes” and “Express” come from a chapter of the history of Factory Records that no-one seems to have gotten around to writing. Working with Tony to reissue the original 12" is the start of putting that right. The story of 52nd Street is more than just a footnote.

UPSIDE DOWN SMILE WAS RECORDED AND PRODUCED BY EWA JUSTKA AND BY SELF-DESIGNED, SELF-MADE, SELFSELFSELF, ODD LOOKING SLIGHTLY DYSFUNCTIONAL SYNTHESISERS AND BY A TRANCE PURPLE KILLER ROLAND JP8080 AND BY HIS BROTHER VIRUS AND SOME OTHER ROLAND BROTHERS NO SISTERS INCLUDED DURING THE TIME WHEN EWA JUSTKA WHO CURRENTLY LIVES IN GLASGOW, GOVANHILL, ALLISON STREET, WHERE RECENTLY HER PASSPORT WAS STOLEN DUE TO THE BURGLARY, WHERE SHE LIVES IN JOY, ALTHOUGH SOMETIMES THE FLOOR GETS WET DUE TO THE LEAKING WINDOWS AND SOMETIMES ONE CAN FIND DEAD PIGEONS LAYING ON THE STAIRCASE BUT IT'S NICE AND COSY AND EWA JUSTKA HIGHLY INFLUENTIAL PERSON IN THE DEEP DARK TRANSISTOR LADDER CIRCUITS LIVES SINCE SHE IS STUDYING PHD AT EDINBURGH COLLEGE OF ART WHERE SHE THINKS A LOT ABOUT IMITATION IN SYNTHESISER DESIGN AND FILTERS AND VCOS AND FORMANTS AND ACID AND HARDCORE MUSIC AND TWIN T FILTERS AND OPERATIONAL AMPLIFIERS AND SHE TURNS KNOBS AND THINKS AND THE UPSIDE DOWN SMILE ALBUM WAS MADE IN THE DEPTH OF THOSE THOUGHTS QUITE OFTEN SAD THOUGHTS UPSIDE DOWN SMILE IS A BIT OF A CYNICAL SMILE BUT AN HONEST SMILE CYNICAL BUT HONEST UPSIDE DOWN SMILE IS A SMILE THROUGH TEARS BUT TEARS OF JOY SCOTTISH JOY UPSIDE DOWN SMILE IS UPSIDE DOWN ACID ONE COULD SAY UPSIDE DOWN SMILE COULD BE INTERPRETED AS A SAD SMILE BUT IT IS A SMILE IN THE END OF THE DAY

Music With Soul returns with another genre-defying instant classic, expanding the limits of the Tropical Dance music universe.

Staying true to the label's essence, founder Alex Figueira places a high bet with this new release, introducing a brand new breed of traditional “Hindoestan” (Indian diaspora in Surinam) music and Cumbia. Taking the music of underground Surinam musician and empresario A. Bechan for an explorative excursion into the depths of the Colombian caribbean coast, this explosive combination raises the bar unquestionably. Equally weird, groovy and trippy, this 45 will turn any party upside down, regardless of any factors. The only problem you will encounter is what to play after. The solution is right on the other side. Just flip the record and give them the Instrumental version, featuring electric guitar, an alternative percussion set up and the beloved classic Juno-60 synthesizer in the leading role for another 4 minutes of dancefloor catharsis.

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.

Two essential and eternal classics from New York Hammond legend Larry Young with vocals by the talented Linda "Tequila" Logan.

Rare groove standard "Turn of the Lights" I would hope needs no introduction, I well known album track that does actually exist on a rare promo arista 45 but it is HARD to find and goes for around $250+ when it turns up once in a blue moon (probably more now people know it exists).On the flip Linda's amazing free vocal on "Fuel for the Fire" is cut on 45 for the first time, one of those out there records you play on a good night when people are feeling open and it all comes together. I have spun both these records for over 20 years and no format surpasses the cut done here by Timmion Lab from the new Sony masters, I'm very happy I don't have to break out the album tracks any more.

Larry died in 1978 from untreated pneumonia and Linda disappeared from music apart from a few writing credits on 90s pop artist Betty Boo's tracks. If you love that voice be sure to check out her great vocal on Tony Williams Lifetime track 'You Make It Easy', great folky Jazz.

The story of 'Get Tragic' can be traced way back to the relentless gigging off the back of their 2014 self-produced and self-titled record, when the heels finally fell off of Blood Red Shoes at the end of that same year. A near-decade of incessant road time and a non-stop pace of life finally took its toll, with the band stopping only to quickly hammer out 'another ten songs' to release as their next record, before ploughing straight back into touring. The pair exhausted themselves to the point of collapse. 'We didn't, at any point, have a breather,' says Steven Ansel (drums and vocals), 'We probably didn't see each other for about 10 days a year, tops, for six or seven years.' Understandably, such incessant close proximity led to implosion. 'We got the to the end of the fourth record and were like, 'F**k you, I never want to see you again','Steven adds, half-laughing, half-sighing.

The outstanding 1971 debut by piano player and arranger Osmar Milito features his amazing cover of Herbie Hancock's Cantaloupe Island plus several classic Brazilian songs by Marcos Valle, Jorge Ben and Ivan Lins among others. Fierce samba jazz and bossa all the way through! The line-up of performing artists could hardly be more impressive: Quarteto Forma on vocals, Luis Ea, Marcos Valle, Pascoal Meirelles. This brilliant album is up there with the best work of Arthur Verocai and Marcos Valle. Presented in facsimile artwork and pressed on 180g vinyl

During the 90s, a walk around London’s Camden Market inevitably meant listening to the music with groove that the most popular DJs had made fashionable at the time: soul jazz instrumentals and Brazilian music targeting the club dancefloors. Among all those songs that ended up becoming classics of the scene was the amazing cover version of Herbie Hancock’s ‘Cantaloupe Island’ that Osmar Milito had recorded in 1971. This song was probably the main reason that made his LP for Som Livre one of the most sought after Brazilian records by collectors from all over the world. Now we finally have a new opportunity to enjoy this album, reissued on vinyl for the first time.

Along with the aforementioned version of Herbie Hancock’s song, this first album by piano player and arranger Osmar Milito is full of versions of Brazilian classics, from Marcos Valle to Jorge Ben or Ivan Lins. Fierce samba jazz and bossa all the way through! Note that Milito spent the first years of his career as a member of the backing band of big artists such as Elis Regina, Jorge Ben, Nara Leão... and after two years working with Sergio Mendes in the United States, he returned to Brazil and recorded his first LP.

The line-up of performing artists on this album could hardly be more impressive: Quarteto Forma on the vocals, Luis Eça, Marcos Valle, Pascoal Meirelles (what an amazing drummer he is!)... and both sides of the record hide a seamless sequence of solid tune after solid tune with similar doses of instrumental and vocal tracks. Just listen to the magnificent ‘Garra’, ‘Que bandeira’ or ‘Rita Jeep’, or the sweet samba that gives its name to the record, and you will see why this LP should be up there, next to the best works of Arthur Verocai and Marcos Valle.

The Prisoners are one of the most influential bands of the 1980s, an astounding live act whose records were the opposite of what pop radio demanded in that era. Raw where they were smooth and full of character where those records needed to be blandly conformist. They hardly sold a record and yet they can count the likes of Noel Gallagher and political journalist John Harris as their fans. Steve Lamacq devoted a whole chapter of his book to his love of them whilst Tim Burgess of The Charlatans once said that at that time he only checked for The Prisoners and New Order. At least two UK hits used their arrangement on Joe South’s ‘Hush’ as their basis.  ‘In From The Cold’ was the final shot at success by The Prisoners the only problem was they didn’t want it. Signed by Eddie Piller to his Stiff-backed subsidiary Countdown they were put in the studio with Troy Tate (Teardrop Explodes / The Smiths) and made this astounding album which they then disowned.  By 1986 they were an incredible live band and had released three albums of their distinctive 60s influenced garage rock. A four-piece featuring Johnny Symons on drums, future Acid Jazz hitmaker James Taylor on organ, Allan Crockford on bass and backing vocals and the compellingly soulful Graham Day on vocals. Graham also wrote fantastic songs. Ten years later and they would have been lauded as heroes in Brit Pop land but the mid-80s had no place in the mainstream for a band with their influences.  ‘In From The Cold’ is full of amazing songs from the hard edges of ‘All You Gotta Do Is Say’, ‘Ain’t No Telling’ and ‘The More That I Teach You’, to the mournful ‘Wish The Rain’ and ‘Be On Your Way’. It is no surprise that Mojo journalist Lois Wilson described this as her favourite album by the band.  This reissue on coloured vinyl is the first time the album has been issued in its original form since 1986 when, due to Stiff’s imminent demise, it was deleted very quickly.

Limited edition 180g 12″ record featuring 5 bangers. Comes with high-quality gloss sleeve featuring Gobsmacked skull artwork.

Taking influences from underground spaces and dark clubs, the GOBSMACKED! 12” series kicks off with a bang, dropping a five track vinyl from Diarmaid O Meara. The Irish producer describes himself as “trying to push the boundaries of electronic noise” and he couldn’t be more right. It’s just 30 minutes long and hugely pulsing, but packs more punch than a gym full of heavyweight boxers. “While working on new tracks in the studio, I’m always trying to create my own personal rave, and when I find myself in the middle of a dark and twisted sound, then I know I’m on to something,” he says of the creative process in his Berlin bunker studio.

The 12” includes a number of previously released digital singles by Diarmaid O Meara, which have been his chart topping and most widely played tracks, that have not yet made it onto black gold until this point. Featured as multiple Beatport number ones, peak time festival big room sounds, countless Boiler Room recordings, the 12” is a collection of club belters, tried and tested over countless sound systems and DJs.

At Diarmaid O Meara’s touch in the studio, the technotic sounds released from his control become alive, while dark vibes take a stormy ride through intense rhythms. Track titles like ‘Selfish Bass’ convey the vibe of music that chews up and spits out razor-sharp techno and rave fusions that race to tempos upwards of 140BPM. There are playful techno tracks like ‘In Your Head’ next to euphoric rave ups like ‘Live In The Night’ and bass contortions like ‘Ripcord’ that are masterfully concise but utterly devastating. Not to mention the ever hypnotic, chugging sounds meets massive crescendo of ‘Improbable Strip’.

“Whenever something crazy emerges through a rig, enough for you to you hear people screaming in ecstasy, and you know the production has delivered”, he says. And it is exactly this momentum that GOBSMACKED! wants to deliver – it sounds loud and obnoxious but also fun that draws on real appreciation for dancefloor destruction as well as countless hours of studio work. Therefore, it is no surprise that the artwork for the series also features the style of the well known Gobsmacked bunker parties run in Berlin venues like the infamous Griessmuehle, where said music has probably been overplayed to crowds with goldfish length memories. .

The Star Beams album is a bit of an enigma. When we first came across their epic dance-floor monster 'Disco Stomp’ it was on a Disco Calypso compilation, so we assumed it originated from the Caribbean. Years later we worked out how wrong we were and that this nugget was actually from South Africa and taken off an ultra scarce album on JAS Pride records from 1976. The next problem was tracking down an original copy and we don’t think we’ve ever seen our Bongo team member Gary Johnson as happy as the day he turned up clutching a copy under his arm. 'Play Disco Specials' was produced by Ray Nkwe who also worked with Mankunku Quartet and The Soul Jazzmen, with all writing credits on the album going to Ray, the recording credited to engineer Robin Ritchie and the artwork to Carol Knowles. Other than this, the personnel of the record remains a mystery, but sometimes a bit of mystery is a good thing. Aside from the disco-jazz-funk of 'Disco Stomp’, which has found it’s way into the DJ sets of Theo Parrish, 'Play Disco Specials’ will appeal to fans of The Star Beams South African contemporaries The Drive, Batsumi and Pacific Express.

Red Vinyl

Iggy Azalea is a four time Grammy-nominated and multi-platinum Australian rapper who has become one of the most accomplished artists in history. Her 2014 debut album The New Classic, which debuted at #1 on the Billboard Rap Chart - a first for an international female artist, spawned a US chart topping trifecta of worldwide #1 multi-platinum smash hits: ”Fancy” (featuring Charli XCX, 5x-platinum); “Black Widow” (featuring Rita Ora, 4x platinum); “Problem” (collaboration with Ariana Grande, 6x-platinum). “Fancy” was the longest leading Hot 100 #1 hit by a female rapper in chart history, Billboard’s 2014 Song of the Summer, iTunes Best Song of 2014, the year’s most-streamed song on Spotify, and the most-watched music video on Vevo. While “Fancy” was still residing at #1 on the Hot 100, “Problem” – Iggy’s collab with Ariana Grande – peaked at #2. Iggy had made chart history again, this time as the first artist since the Beatles to rank at #1 and #2 simultaneously with their first two Hot 100 hits. Iggy Azalea’s videos have amassed over 2.5 Billion combined views to date. 

In 2018, Iggy released her EP, “Survive the Summer,” featuring the RIAA Certified Gold track “Kream” ft Tyga as she gears up for her sophomore album “In My Defense” in 2019.

Ubek returns. The mysterious Polish duo digs out a new collection of degraded echoes, salvaged from authority. Galvanised as if lost to the shock of formal experiments.

Ubek II revises the present and takes us back to other versions of actuality.

The compilation "Celestial Birds" reveals and focuses on the widely unkown electronic compositions of the AACM founder and jazz pianist MUHAL RICHARD ABRAMS. #5 in the Perihel Series, curated by zeitkratzer director REINHOLD FRIEDL.

Anybody interested in jazz knows that Chicago has always been an impressive hot spot for new talents – and still is. One essential landmark in the history and development of jazz was the founding of the AACM (Association for the Advancement of Creative Musicians) in May 1965. This non-profit organization was a melting pot (and starting point) for artists like ANTHONY BRAXTON, ROSCOE MITCHELL, GEORGE LEWIS or LESTER BOWIE and his ART ENSEMBLE OF CHICAGO but one of its actual founding members is known only to the deep connaisseurs: MUHAL RICHARD ABRAMS (1930 – 2017).
The autodidact pianist and composer left music school and university, deciding to learn music by himself.

From 1961 on, the EXPERIMENTAL BAND was his first ensemble, but it soon turned out that ABRAMS' interests went beyond jazz and that he was open to the avant-garde and new music and most of all: electronic music. Which led to a double problem: On the one hand, black musicians had almost no access to the rare electronic music studios located in and funded by universities or broadcasting corporations. On the other hand, there were strong reservations regarding electronic music in the black music community.

In his important book "A Power Stranger Than Itself – The AACM and American Experimental Music" GEORGE LEWIS writes that "the use of electronics … proved controversial and widely misunderstood in a world of jazz in which acoustic instruments became conflated with musical, and eventually, cultural and even racial authenticity." ABRAMS' response was to actually "hide" his electronic pieces on the B-sides of his albums, and this compilation focuses on some of his best electronic experiments: the 22-minute long epic "The Bird Song" from 1968 in its original version incl. the reverb that was removed on the later CD reissue on DELMARK, the synthesizer compositions "Conversations With The Three Of Me" (1989) and "Think All, Focus One"1995) plus " Spihumonesty" (1980) with a 2nd synthesizer played by GEORGE LEWIS and YOUSEF YANCEY on theremin.

"Celestial Birds" casts a new light on the underrated experimenter MUHAL RICHARD ABRAMS, his innovative approach to composition and pieces that lay dormant for way too long!

+ Bonus 7" 400 ltd!

Christina Aguilera, Donny Hathaway, and Gregory Porter. If you are curious to learn how these three names are connected with Movements Vol.10 then all you got to do is to keep on reading.

Those of you who have been enjoying Tramp Records' Movements series from the very beginning know that this series is not just about funk. It actually covers a wide spectrum of genres: early Rhythm & Blues, Soul-Jazz, Latin-Soul, heavy James Brown-style Funk, and mid-70's pre-Disco. The track listing is, as on all previous volumes, selected in chronological order.

For this, our 10th jubilee album, we go back in time more than 60 years. The Frankie Greer Quartet opens the set with their beautiful composition "Spooky". Just as sweet is "Early in the Morning" by the Bill Beau Trio which was recorded in 1958. What Eunice Haze, Phylis Hendricks and the Eddie Buster Band have in common is the fact that each of them has recorded only one 45rpm single in their musical career.

Johnny Spinosa's "Come On" is a fierce Rhythm 'n Blues monster of the highest order. The same goes for The New Philadelphians. No one would question if "The Mustang" was announced as an unreleased Blue Note recording by Lou Donaldson from 1968. Cleveland Eaton, who became one of the most versatile and best jazz bassists in 1970s, started out with his band The Kats in the late 1960s. "Under the Covers" was arranged by none other than Donny Hathaway (of "The Ghetto" fame) with who he has worked closely together in his early days.

Probably one of the finest and most sought after versions of "Coming Home Baby" out there has been recorded by a german dude and bis band, Ronny Pellers Satin Sound. Another excellent cover version is delivered by The Lido which should leave any latin-jazz fan speechless. "El Mexicano" is an inconspicuous little groover while the next two tunes by Herb Crawford's Jazz Ensemble and The Runningboards are more in the soul-jazz vein. Listen to the dummer on "Louisville Assembly Plant" who goes nuts!

Really love this album. This is probably some of Malcolm's best works, although it's hard to decipher as we like nearly everything he writes. As an album, it sounds like he's put everything he has into it, full of emotion and diversity. It's hard to say which track is our favorite but we are torn between Faithful Fearful and Regrets. Keep up the good work Malcolm as this is a masterpiece. Anyone who sleeps is missing out.

Our 100th release is one to celebrate. What better way than to give upcoming talent Edlan the spotlight. He'll probably release 100 records in the next 20 years, so it seemed appropriate.

Bram De Looze is a Belgian pianist and composer whose distinct musical vision has found its way through both solo projects and collaborations. His unique technical skill and musical maturity have earned him considerable critical acclaim back home as his work spotlights his far-ranging interests - from traditional classical piano music, to solo improvisations that have often been compared to Keith Jarrett and Jason Moran. On the 21st February 2020, Sdban Ultra will release his highly anticipated new solo album, 'Colour Talk'.

De Looze made his entrance onto the national jazz scene with LABtrio, formed in 2007 with Anneleen Boehme and Lander Gyselinck, and he immediately impressed, flirting with urban jazz, electronics and hip hop.

After a period of studying abroad at the New School for Jazz and Contemporary Music in New York, where he studied with Uri Caine and Marc Copland, in 2014, De Looze launched the international septet, Septych, that once again stressed his affinity for jazz, classical music and improvisation. With diverse and astounding improvisors like Daniel Levin, Lester St-Louis, Robin Verheyen, Gebhard Ullman, Bo Van Der Werf and Flin Van Hemmen, it was the start of an explorative musical journey.

Over the past few years, De Looze could frequently be heard with kindred spirits like Stephane Galland, Dre Hocevar and Antoine Pierre but it was a visit to the historical collection of pianofortes of Chris Maene that inspired De Looze to release his first solo album 'Piano e Forte' (2017), and it received critical acclaim for its creativity, spontaneity and passion. He would later garner further acclaim working alongside fellow Belgian Robin Verheyen and American rhythm painter Joey Baron with whom he recorded 'MixMonk' (2019), a tribute to the legendary jazz pianist Thelonius Monk.

Bram De Looze's solo career took off in an unexpected way with 'Piano e Forte', a project for which he approached historical instruments from a contemporary perspective. The switch to the Chris Maene Straight Strung Grand Piano for 'Switch The Stream' (2018) indicated a renewed search for movement, evolution and introspection. His latest solo project 'Colour Talk', continues this trajectory with another revolutionary piano model, designed by lauded architect Rafael Vinoly, and a continued attempt to renew from within.

On 'Colour Talk', what you hear is a musician who has freed himself from stylistic constraints and limitations. While still rooted in jazz, classical music and free improvisation have found a new balance, a coexistence that enables the pianist to express himself with a new vigour. Switching between shorter pieces that feel like curious, unresolved puzzles and more extended explorations, 'Colour Talk' is once again an ode to (re)invention in the grey zone were the classical idiom and improvisatory urges meet, with the 13-minute tour-de-force of 'Hypnosis' as one of several undisputed highlights.

If you asked De Looze about his current position as an artist, he would probably tell you that it's all about forward movement and the need to keep evolving, about a trajectory as work-in-progress. However, if you consider 'Colour Talk' as a freeze frame of where De Looze is at, it is hard not to consider it a highlight in a career that should have some more surprises in store.

Yes, we know the soul and funk world of the glory days, big labels, radio shows and bands amid a social context of segregation. A context that starts becoming less important when this music genre enters the mainstream in the late 70’s to eventually fade away at a fast pace in the 80’s until its complete disappearance in the 90’s and beyond. This time though, we dive a bit deeper into the hoods, because the social context of today ain’t no greatly different and it has its very own music, deeply rooted in the sounds of the early days, although more immediate and dense of beats and urban feel.

We are in Chicago, a place where every 2 hours someone is shot, and every 14 hours someone is murdered. It ain’t no Iraq or Afghanistan but one of the biggest and most sophisticated cities in the world. In the city’s west and south sides, which are considered the heart of Black America, gang rivalry is tearing its people apart. It has become so brutal that both police and perpetrators agree that this urban warfare is out of control. I started this release process after Yann sent me an heads up on this song and it took me most part of last year to build some mutual trust with Lay Lemons aka Biggz from North Lawndale, main area in the west side of the city and one of the most dangerous places in the world. When I first contacted him, Lay was having a hard time (and still does) as his daughter Raven was caught innocent in a gang shooting crossfire.

After the following investigation, the FBI (yes, big gangs are federal business) arrested and charged some members of The Four Corners Hustlers, yet Raven’s murder has no responsible and Lay suddenly lost his daughter overnight in the summer of 2017. He simply couldn’t concentrate on music, and the silly requests from a mad Italian with his crooked english were probably sounding to him like aliens speaking from outer space. I’m pretty sure this wouldn’t have been possible without the help of Lay’s cousin, sound engineer and recording studio owner living today in Detroit, so accept my gratitude Mr. Tony Amos.

Lay Lemons has never been involved with gangs nor was Raven, nowhere near that business. They are people of music, family and religion trying to survive in one of worlds toughest places. This song, its vibe, the beats, the voice... Are coming straight out of their hood, written around a fire bin on the side of the street and put together with 3 instruments. It has no chorus, it’s verses all the way through, it is a kind of prayer to the unknown in the hope of salvation through everyday strength.

Lay Lemons I salute you.

• TWO INCREDIBLE SIDES • FIRST EVER 7-INCH RELEASE OF THE CULT “POURING WATER ON A DROWNING MAN” • PROBABLY THE MOST SOULFUL 45 YOU’LL BUY THIS YEAR!

LEE MOSES is back on Outta Sight in 2020. The cult soul figure caused a stir last year with our first ever reissue of the legendary “Bad Girl” (OSV188), still available.

Now, thanks to our friends at Gusto we are proud to present the FIRST EVER 7" SINGLE of the soul-defining side “Pouring Water On A Drowning Man”! This landmark track has been known to collectors since the mid-Sixties thanks to James Carr’s Goldwax recording and it has been covered many times by the likes of Percy Sledge, Otis Clay and in more recent times by Elvis Costello.

But none of them hold a candle to Lee Moses who tears into the track and spits out a definitive so-soulful masterpiece. Who needs a B-side when we give you something of this magnitude! Ok, so we’ll spoil you with the Dynamo-dynamic rarity “Never In My Life” produced by the legendary Johnny Brantley. A truly stunning 45 to see the New Year in!

Repress.

stunning second 12" single on his new label´is finally coming folks. what a name for this pretty incredible 2 tracker!! "Return of the Zombie Bikers" is a massive spine shiveringly intense almost dnb b lined big room track recorded in early 2005 and can easily be compared to Mat´s strongest moments including "decompression" on minus. Don't get us wrong though, this track doesn´t necessarily need the comparison,it easily stands out by far.let it work on and let it touch you, we feel it´s probably one of the strongest records MJ ever did!! "Put your booty shorts on" is yet another a side track written in 2002 dedicated to his wife Frank and remixed with including a vocal in 2005. A unique taste of what is to come in future live sets at the festivals this summer.this is the "hi end" in micro house coming.

THE GOOPY GOONS ARE BACK with another collection of twisted American electronics. For those not familiar, CP/BW is a collaboration between Corporate Park (aka Shane English/Jonah Lange) and Beau Wanzer. This second LP collects tracks from various recording sessions done in Texas over the past 5 years. Humid ditties, bumpkin beats, toothless treats, and only for the freaks.

Album features Ernie K Doe’s ‘Here Come The Girls’, The Meters, Eddie Bo, Professor Longhair, Lee Dorsey, Wild Magnolias and more.

This is the definitive collection of New Orleans Funk featuring acknowledged masters next to some of the earlier artists who shaped the meaning of funk. The album is also filled with many rare, sought after and undiscovered funk tracks. It covers the period from the emergence of New Orleans Funk in the early 1960's through to the mid-seventies.

The record is an essential part of anyone in any way interested in Funk's record collection. It has some vital ingredients in it that you can't find elsewhere. With the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries all as inspiration New Orleans Funk developed into a unique sound.

New Orleans is a port town. Originally owned by the French, this was where many slaves were brought from the West Indies. Many of these slaves came from Haiti and brought with them the religion of Voodoo and its drums and music. It became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz in the early 1900's.

A main feature of Jazz in New Orleans were the Jazz Funeral Marching bands. Solemn Brass bands accompanying a coffin would, on burial, be joined by a second line of drummers and dancers which would turn the event into a celebration of the spirit cutting free from earth. This African tradition is strong in New Orleans and still goes on to this day. The backline drums play a syncopated style that is neither on the beat nor the off-beat. It is these rhythms that are the basis of New Orleans Funk.

The album comes with a booklet presenting a historical explanation to how and why this music came about, and with lots of information about the people involved.


Reviews: "A Perfect Primer For Funk Fans" Q (Top 5 albums of the year). "Probably the finest compilation that Soul Jazz has released. Essential" Time Out.

Whenever newspapers write of the Great Voices of the 20'th
Century, Billie Holiday will be among them. She is among the finest ever interpreters of the popular song as well as being a great jazz vocalist. The rock musician, 'J.J. Cale' described her appeal by saying, “Billie Holiday is probably the biggest exponent of laidback there is. She always sang behind the beat and I loved that.”Just listen to the miraculous way Billie sings the standard 'The Very Thought Of You' or songs from 'George Gershwin’s & 'Porgy And Bess'.

... LP FORTHCOMING Inc. Soundfiles to the Tracks.

Medicine used to be, we expected, good for us. Albeit with added sugar. Now medicine is a huge problem in itself, with vast companies caught mis-selling dangerous drugs. It’s one of the biggest scandals ever. How on earth did we get here? Who did this?

The Imbeciles are on the case.

“It’s about the dark side of prescription ‘medicines’. Oxy, Xanax, Ambien, all that. Big pharma is pushing these addictive ‘medicines’ that we don’t actually need, to desensitise / numb / kill. All for profit,” says Butch Dante.

A new classic from The Imbeciles. They know. And they made a video. Watch it here.

Now they’ve been remixed. By these people:

C.A.R.:
Impossible to categorise, and all the better for it - London based, Franco-Canadian, C.A.R., flirts with elements of new wave, cold wave, synth-pop, post punk and off-kilter disco; and without doubt wields some of the most satisfyingly other-worldly melodies and synth lines around.

Ryan James Ford:
One of the most exciting underground techno producers on the block - Ryan doesn’t constrain himself to any one rhythm, aesthetic and motif, but can always be found to be hitting the listener with thick atmosphere, dark melodies and an upfront, experimental attitude.

Legowelt:
A true pioneer of left field house and disco, this Dutch master draws from disco, italo, dub, dancehall, techno and many more sonic pools to create his wonderfully engaging, but always envelope pushing sound.

Unknown Berlin area label/producer RECYCLED makes an outstanding debut release. Classic soundings, perfect structure and a styling that clearly makes reference on oldschool Techno. The record means busyness from the beginning with the floor heater Industries, followed by the steady firm beats Block. In B Side, Energy is probably the strongest track on the release and Skynet brings some chords and colors, adding class and deepness to this awesome 12".