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The Italian 80s avant garde / anarcho scene is explored in this limited 12” release presenting Nengue and their previously unreleased cover version of the new wave classic Los Ninos Del Parque and the electro pop wave African Beat.

The tumultuous political climate of the 1960s through 1980s inspired Italian artists to craft an introspective, psychological musical landscape. As civil unrest, violent demonstrations, and political murders became commonplace, Italy's centres of intellect vibrated with activist energy. This atmosphere gave birth to a unique, mechanized sound that blended electronic elements with a raw, discordant aesthetic, reflecting the chaotic spirit of the times.

Through vintage forms of social networking and music sharing, a community led process steered the scene, publishing zines and records that grasped alternative concepts of music and lifestyle.

Nengue, were similar to many of these lo-fi, retro-future electronic music pioneers. Based in Rome, their music / art backgrounds flowed with anti-art, extreme noise, futurism, industrial, experimental, martial, folk, free jazz and exotica.

With a couple of releases as a duo, as was often the case, they appeared in numerous other projects and the music was a mixture of their individual backgrounds.

Extraordinarily, only appearing on a couple of obscure cassette compilations, indicative of the time, the quality of Nengue’s productions stands testament. Originally approached to reissue their Cosmic meets Kraftwerk inspired African Beat, a wonderful yet simple electronic idiom, layers of electronica rising, each element an addition flow, vocals the release’s waves.

However, the discovery of their cover of Los Ninos Del Parque – describing it as ‘powerful anarchic nonsense’ – is rightfully now the primary focus.

Acting as some Brutalist interpretation, its sharp electronics and industrial vocals, propel you to a brick-strewn squat party and a place in anarcho folklore.

These are matched with a remix / remake by Berlin’s Bionda e Lupo. Presenting a ‘Neumisch’, Sneaker’s exacting studio mastery and Sano’s additional vocals are a blessing – a new duo version – dynamic and wonderfully special.

To complete, the powerful dub of African Beat closes. Stepping out of his time as one half of Romanian duo Khidja (DFA / Hivern Discs), Andrei Rusu builds on his recent solo releases / remixes for Malka Tuti with a fantastic, bottom heavy version, perfectly building with expertise, an EP for the basements of today that was made in the dark times of the past.

Over the course of a decade, Wata Igarashi has risen as one of techno's most accomplished DJs and producers. His highly aesthetic trademark sound is as heavily psychedelic as it's driven by its stern kinetic energy. It's often overlooked that Igarashi is much more than a torch bearer of the raw hypnotic techno he became known for. He's also a very accomplished and versatile musician with a deep understanding of the cause and effect of sound design. His skills are fully on display on 2023's full length "Agartha", a film score to a fictitious movie about the mythical underworld of planet Mars. It was a rather obvious idea to cross the bridge between this epic deep listening album and Wata Igarashi's techno persona by having him remix himself. As you might expect, the "Agartha Sorcery Acid Mix" has turned out to be a masterclass in psychedelic designer techno. It's slightly slower in BPM as the usual Igarashi fare but every bit as captivating. The "Floating Against Time Shimmering Mix" shows another intriguing facet of Wata's spectrum. Let's call it: Psychedelic Deep House. KOMPAKT's very own Michael Mayer couldn't resist to turn the Godzilla soundtrack-ish "Ceremony Of The Dead" into a positively hysterical minimal disco operette. And then there's the "Fusion Mix of Abyss x Darkness" by Philipp Stoffel, a fresh Cologne DJ producer whose AKTE club nights just spawned a label by the same name. He's definitely one to keep an eye on in 2025.
Im Laufe eines Jahrzehnts hat sich Wata Igarashi zu einem der versiertesten DJs und Produzenten im Bereich Techno entwickelt. Sein hochästhetischer, unverwechselbarer Sound ist ebenso stark psychedelisch entrückt wie von einer strengen kinetischen Energie angetrieben. Oft wird übersehen, dass Igarashi viel mehr ist als nur ein Fackelträger des rohen, hypnotischen Techno, für den er bekannt wurde. Er ist auch ein sehr versierter und vielseitiger Musiker mit einem tiefen Verständnis für Ursache und Wirkung von Sounddesign. Seine Fähigkeiten kommen auf dem Longplayer „Agartha“ von 2023 voll zum Ausdruck, einer Filmmusik zu einem fiktiven Film über die mythische Unterwelt des Planeten Mars. Es lag nahe, die Brücke zwischen diesem epischen Deep-Listening-Album und Wata Igarashis Techno-Persönlichkeit zu schlagen, indem man ihn sich selbst remixen ließ. Wie zu erwarten war, ist der „Agartha Sorcery Acid Mix“ eine Masterclass des psychedelischen Designer-Techno. Mit einer etwas geringeren BPM-Zahl als bei Igarashis üblicher Musik, aber genauso fesselnd. Der „Floating Against Time Shimmering Mix“ zeigt eine weitere faszinierende Facette von Watas Spektrum. Nennen wir es: Psychedelic Deep House. KOMPAKTs Michael Mayer konnte nicht widerstehen, den Godzilla-Soundtrack-ähnlichen Song „Ceremony Of The Dead“ in eine geradezu hysterische Minimal-Disco-Operette zu verwandeln. Und dann gibt es noch den „Fusion Mix of Abyss x Darkness“ von Philipp Stoffel, einem jungen Kölner DJ-Produzenten, aus dessen AKTE-Clubnächten gerade ein Label mit dem gleichen Namen hervorgegangen ist. Er ist definitiv einer, den man 2025 im Auge behalten sollte.

The Doors Californian kings of psychedelic-blues rock not only stood heads and shoulders above the peace and love hippy explosion of the sixties, but they were also proud to wear their influences on their sleeves by forwarding to the future by reconstructing the past.
The early live shows of the band performed in 1967 at the likes of the legendary Matrix Club in San Francisco would feature the group playing two sets, both featuring a mix of band originals and Blues covers done The Doors way.
Material such as 'I'm a King Bee' by Slim Harpo,'Who do you Love' by Bo Diddley,'Money (Thats what I want)' by Barrett Strong (a song that would stay in the live set for the duration of the bands life) and at The Winterland Ballroom over the Christmas festivites'Mannish Boy' by Muddy Waters were rolled out to an adoring local fanbase.
The classic 'Backdoor Man' by Howlin Wolf would also find a place on the group's debut album.
With all of the members of The Doors being long time blues fans more material was being worked up during rehearsals and added to the live shows along with new songs from The Doors forthcoming albums.
The Doors walked it like they talked it and sadly we will never see the likes of them again...a wonderful mixture of Blues and Psychedelic rock,they proved that in order to meet the future you must never forget the past..NO LIMITS,NO LAWS.................

The Smile veröffentlichen heute zwei neue Remixe für Tracks ihres dritten Albums "Cutouts". "Don"t Get Me Started" im Remix von James Holden und "Instant Palm" als Robert Stillman Remix sind ab sofort digital verfügbar. Für beide Tracks hat der Künstler Weirdcore, der bereits für alle Songs von "Cutouts" Videos kreiert hatte, einen "recycled video mix" erstellt. Die Remixe gibt es als limitierte 12". Das Sleeve-Design von Stanley Donwood kommt in Anlehnung an die ikonische Housebag-Serie von XL Recordings. James Holden und Robert Stillman arbeiten beiden regelmäßig sowohl mit Thom Yorke als auch mit The Smile zusammen. Robert begleitet die Band auf der Bühne, um bei ihren Live-Auftritten Saxofon und Keyboards zu spielen. Zudem steuerte er Saxofon zu allen drei Platten von The Smile sowie zu Thom Yorkes "Confidenza" Soundtrack bei. James hat bereits einen Remix zu Radioheads "Reckoner" veröffentlicht und war als Support auf den Touren von Atoms For Peace und bei Thoms Soloshows zum Album "Tomorrow"s Modern Boxes" dabei.

Although still very much a secret, Oakland, California's Justin Pinkerton has perfected and expanded his Futuropaco project to a stunning degree over the past seven years. The one-man band is deeply rooted in Pinkerton's masterful drumming, which builds on the legacy of 1960's and 1970's legends such as Tony Allen and Jaki Liebezeit. But he's an accomplished multi-instrumentalist as well, and the Futuropaco sound is a colourful fusion that sees him throw fuzz guitars, flutes, vintage synthesizers and Anatolian string instruments into the mix - seemingly without much effort. The second and final volume of the "Fortezza Di Vetro" series feels like a conclusion, the sound of an artist reaching his creative zenith. It's an experimental album, yet immediately seductive in its energy - channeling the vibey art-rock of Tortoise, Black Sabbath riffage and vintage Italian film music in equal measures. It's such a refined and esoteric blend, yet hits so directly. It's simply impossible not to crank the volume knob once this slab of vinyl is on the turntable, followed by immediate head nodding. Buy the ticket, take the ride. Justin Pinkerton is a vastly talented rhythmsmith, best known as a member of Californian stoners Golden Void. On this project he plays all the other instruments too so he can do what he blooming well feels. And it's not as if the drum solos go on for twenty minutes like those of John Bonham and his pale imitators. Nope. Into tracks that are both jam-packed and concise, Pinkerton has squeezed his love of vintage Italian library music, classic krautrock and heavy psych rock. At one point it suggests Grails have been performing super-speed cover versions of fusion-era Miles Davis with Adrian Younge on production. -The Quietus Futuropaco returns in a big way with Fortezza di Vetro, a buzzing, groove-heavy album that expands on what came before while staying true to the project's origins. Dizzying, fuzzed-out psych with just the right amount of melancholy for good measure. Justin Pinkerton and Futuropaco have done it again. Fantastico! -Complex Distractions

Apollo / R&S are delighted to welcome back The Primitive Painter, aka the duo of Roman Flügel and Jörn Elling Wuttke for a timely reissue of their 1994 lost classic self-titled album of sonorous IDM.

Growing up in Frankfurt, in the 80s and 90s the duo met at an indie rock club in their home town of Darmstadt, bonding over their shared obsession with the first wave of acid, Chicago house and early Detroit techno as well as their patronage of now iconic Frankfurt club nights like The Omen or Dorian Gray or the infamous Delirium Record shop run by scene stalwarts Ata (Robert Johnson) and Heiko MSO (Playhouse).

Taking inspiration from the likes of The Black Dog and Transmat as well as seminal compilations such as Planet E’s Intergalactic Beats and Warp’s Artificial intelligence compilation the duo honed their inventive take on the Detroit techno blueprint under the monicker Acid Jesus, debuting on their freshly minted Klang Elektronik label. The label was started in conjunction with Ata and Heiko after Fluegel & Wuttke (regular patrons of the Delirium store) pressed a demo on them, muttering the immortal line; “Please listen to the tape, we are big Mr. Fingers fans.”

Through the mid ’90s the project flourished giving rise to a classic album and a brace of singles that number amongst the best of the era’s techno, winning them a influential fans most notably Sven Väth, David Holmes and Andrew Weatherall who invited them to play live at one of the legendary Sabresonic parties in London.

Alongside the success of the Acid Jesus project, the duo found great inspiration in outside of the club, including an ambient happening when the KLF came to play Frankfurt; “There were live sheep eating grass on stage while they played at Mark Spoon’s club XS”, as well as cinematic influence from the likes of Jim Jarmush and Wim Wenders. It was however the euphonic IDM grandeur of Apollo Recordings self titled compilation of 1993 that really got their creative juices flowing: “It was a ten track compilation with artists like David Morley, Model 500, Aphex Twin which still sounds so good today,” Jörn enthuses. “ It was really the trigger to go away from the Detroit sound and more towards the big melodies of B12 etc.”

Deciding to make their tribute to this style of music the duo turned out 10 tracks of gauzy, melodious electronica in a white hot fever, one after another over the ensuing months. Settling on a name for the new project they picked ‘The Primitive Painters’ taking inspiration from the band Felt. “We are both children of the C86 movement,” explains Jörn. “this attitude of noisy art school influenced rock like Primal Scream, MBV, The Jesus & Mary Chain really inspired us to take a DIY approach to our music.”

They sent the resulting demo cassette to Renaat at R&S / Apollo. “We really had no expectations,” Jörn explains. “So we were shocked and delighted when we received a fax saying that he wanted to release it”.

The resulting release was bungled by an R&S mix up that attributed the album to the duo’s own Klang Elektronik label which confused both fans and distributors alike, denying the release the critical boost and attention that it so richly deserved. Accordingly the release slipped out without much fanfare, with a chastened Fluegel & Wuttke returning to their Acid Jesus activities which would eventually lead to their blockbusting success as Alter Ego.

Over the ensuing years the reputation of The Primitive Painter album has only grown, with second hand copies (only 500 vinyl were pressed) changing hands for exorbitant amounts on Discogs, leading us to this opportune moment of a richly deserved ‘first’ release on the label for which the project was started, Apollo / R&S.

“This really brings us full circle,” says Jörn. “Apollo / R&S meant and means so much to us as artists and so it was bittersweet to not have the official release - to put that right all these years later feels really good.”

This new vinyl release comes in re-created original gatefold artwork and includes all original 10 tracks (Stoned Soul Picnic was previously on the CD only).

Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.

Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.

Yukimi, die gefeierte Sängerin und Mitbegründerin der Grammy-nominierten Band, Little Dragon, veröffentlicht ihr Debütalbum „For You“ am 28. März 2025 bei Ninja Tune.

Mit ihrem Debüt-Soloalbum löst sie sich von einer Band und schafft einige ihrer schönsten und intimsten Werke, die es bisher gab: sehr persönlich und brillant nachvollziehbar. Auf „For You“ verwebt Yukimi auf elegante Weise Musikstile von Jazz über Soul und elektronischen Pop bis hin zu Hiphop, Folk und Psychedelic, aber die Themen ihrer Solosongs gehen tiefer als je zuvor und umfassen Liebe, Verlust, weibliche Energie und angeborene Widerstandsfähigkeit. Die Zusammenarbeit mit Erik Bodin (Schlagzeug bei Little Dragon) und Lianne La Havas war für Yukimi das erste Mal, dass sie mit einer anderen Frau Musik schreibt und kreiert, was ihr erlaubt, ihre weibliche Energie auf eine befreite und persönliche Weise auszudrücken. Passenderweise geht es in den Texten des Songs um die Erforschung ihrer inneren Stärke während herausfordernder Lebenserfahrungen. Es ist ein bemerkenswertes Statement einer Künstlerin, die eine neue Phase ihrer Karriere als Solokünstlerin einleitet, jedoch mit der Gelassenheit und Intuition einer „alten Häsin“ mit jahrelanger Erfahrung im Musikbusiness. Yukimis markante und anmutige Stimme hat seit der Gründung von Little Dragon ihre Fans in ihren Bann gezogen. Der Erfolg der Band führte dazu, dass sie auf einigen der größten (und kleinsten) Bühnen der Welt auftrat - von Coachella bis zu NPRs Tiny Desk - und mit Künstler:innen wie u.a. KAYTRANADA, Killer Mike, Gorillaz, Tinashe, Mac Miller, De La Soul, BADBADNOTGOOD, DJ Shadow, ODESZA, Kali Uchis, Faith Evans, Dave Sitek, Big Boi, Flume und JID zusammenarbeitete.

- Format: 140G schwarzes Eco Vinyl mit bedruckter Innenhülle und Downloadcode-Sticker

Sicksense (Metalband aus Phoenix, Arizona) nimmt seine NuMetal-Einfl üsse und verwandelt sie in ein Hydra-Monster, in dem sich die Köpfe von Metalcore, Progressive Metal und Power Metal zu einem modernen, extrem gelungenen Experiment vereinen. Insbesondere das Wechselspiel der beiden Sänger*innen der Band Vicky Psarakis (ex-THE AGONIST) und Robby J. Fonts (STUCK MOJO) macht Spass und sorgt schnell für hohen Wiedererkennungswert. Das Debütalbum von Sicksense,

On Chrystia Cabral's fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral's lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album's thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021's The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be. The title track, with its propulsive drum groove and anthemic chorus of "I don't belong here," is the most potent embodiment of the album's turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album's broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers_The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun. Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING's first duet on "Mount Analogue," Turnstile guitarist Pat McCrory turns Cabral's original piano demo for "Alibi" into the crunchy, riff-y version that appears on the record, while Zulu's Braxton Marcellous gives "Drain" its sludgy heft. These parts aren't just incorporated seamlessly into the album; they feel like an integral part of its universe. Ultimately, though, Portrait of My Heart is nobody's record but Cabral's. She fearlessly draws the curtain back on parts of herself that she's never included in SPELLLING before_her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. "It's very much an open diary of all those sensations," she says.

"Daft Punk brought me here, he brought me Daft Punk"

Just knowing that this slice of hyper-rare disco dynamite was crafted by Thomas Bangalter's dad should be enough for you to buy this on sight, if only to understand a little bit more about Thomas and Daft Punk's background. But this is so much more than a Daft Punk family curio.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who we have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various artists. Dubbed "the secret father of French disco" this here groove-fulled firecracker - using his Who’s Who moniker - is for disco-funk, library music and cosmic beat lovers.

The intense, evocative opener "Palace Palace" positively throbs with raw energy and sounds, honestly, like something off Daft Punk's Discovery. The title refers to the fashionable Parisian club Le Palace, essentially the Parisian Studio 54. "I’d been to a nightclub in New York, a big ring where people were roller skating with a whistle. The atmosphere was great. The music was all disco. I made this song when I came back. A vocoder transformed my voice. Back then, it wasn’t used much." The track rides a killer groove and is deceptively complex, with layers of fantastic percussion and ace synth work going on all over it. Listed to on repeat, it's brilliance is simply undeniable.

The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, *the* deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skating dance mania of the day. So deep, so disco, so instrumental. An unreal track and, as the title hints at, totally hypnotic. The side closes with the somewhat throwaway "Popeden" - it's a jaunty number that you're probably best skipping, in all honesty. Have we ever steered you wrong?

The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beautiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its time. This might be the real lowkey sleeper gem on this record. CHECK! This remarkable LP rounds out with the huge "Dancin' Machine". It's got sleek drums that emit an absolutely ace swagger and elements of Italo synth funk feels. A relaxed, slow rhythm throughout ensures you can't help but get your funk on when this crashes soundsystems. We'll leave the final word on this to Daniel: "It amuses me to think that my son Thomas was influenced by "Dancin’ Machine" for "Around The World", he says. Both songs being based on an hypnotic repetitive refrain. Both songs being, of course, timeless pieces of Euro genius.

Who's Who really is a fantastic late-70s-early 80s roller disco-funk essential. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland.

When it came to the sleeve for this we were presented with an unusual problem: we usually have to rely on an original sleeve as the starting point for the restoration, but instead we were able to scan the original 35mm transparency of the front cover photo. The problem is that with a modern scanner the results were far sharper than when they made the original sleeve. We’ve played around with the exposure and the colour grading but we’re sorry to say that our version of the front cover still ended up looking too good! Don’t hate us.

RUSSELL HASWELL is an artist, record producer, free improvisor, computer musician, noise aficionado and curator.
Trained at Coventry School of Art, graduating in 1992, Russell’s extraordinary conceptual oeuvre resists easy summarisation, focused on the site-specific, performance and methodology of large-scale sound works, sometimes in surround sound. Russell has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls, clubs, rock venues, and even squats in 30 countries, and counting. Most recently he has performed at SONIC ACTS, SONAR, Pirelli Hangar Bicocca and Coventry Cathedral.

As a curator, Russell has delivered projects for PS1/MoMa, All Tomorrows Parties, Aldeburgh Music, Thyssen-Bornemisza Art Contemporary, and Cafe Oto. He now lives and works in Glasgow.

Recorded in real-time (ADDAC System, ALM/Busy Circuits, Cwejman, Epoch Modular, FANCYYYYY Synthesis, Flight of Harmony, Instruo...)

Raúl Monsalve y Los Forajidos welcome listeners to a new day with SOL, their groundbreaking second album for Olindo Records. Venezuelan rhythms and traditional songs blend with spiritual jazz, psychedelic funk, and Afrobeat, delivering an exhilarating, boundary-pushing experience.
Led by Venezuelan bassist Raúl Monsalve, the group gained international acclaim with Bichos (2020), praised for its Afrobeat influences from legends like Fela Kuti and Orlando Julius, alongside Afro-Venezuelan rhythms. Featuring Luzmira Zerpa (Family Atlantica) and Betsayda Machado, the album earned praise from The Wire, Songlines, Gilles Peterson, and others, with airplay on BBC 6 Music, NTS, and Worldwide FM. This success brought performances at Super Sonic Jazz Festival and Shambala Festival.
SOL marks a leap forward for Los Forajidos, evolving from a studio project into a cohesive ensemble. Monsalve, now contributing bass, vocals, and percussion, is joined by vocalist Lya Bonilla, keyboardist Edgar Bonilla, flautist/guitarist Nando Guerrero, saxophonist Andrés Vela, drummer Mario Orsinet, and percussionist Yves Prud’homme.
The album features contributions from producer Nick Woodmansey (Emanative), singer Carlos Talez, mixing by Malcolm Catto (The Heliocentrics), percussionist Gustavo Ovalles, and Congolese guitarist Kiala Nzavotunga.
Drawing from Venezuelan traditions while embracing modern influences like George Clinton, Herbie Hancock’s Mwandishi, Jeff Parker, and Nyege Nyege Tapes, SOL bridges cultural heritage and forward-thinking artistry.

Mint green vinyl, limited to 350 copies. Dead Meadow's highly anticipated tenth studio album Voyager to Voyager marks a defining moment in their illustrious 26-year journey. Revered as a pioneering force in the heavy psychedelic rock scene since their formation in the late '90s, the band delivers not only their most emotionally charged and sonically expansive album to date but also a powerful tribute to their brother, late bassist Steve Kille, whose battle against cancer and untimely passing in early 2024 has made it the poignant end of a chapter in the band's history. Written and recorded across three intense sessions in downtown LA's Ultrasound Studios, Voyager to Voyager perfectly encapsulates Dead Meadow's raw energy and creative chemistry. During the sessions, the band worked quickly, using only the first or second take to preserve the immediacy found in their live show, with drummer Mark Laughlin delivering some of his best performances to date.

Rich in centuries of creolization*, the music of the Caribbean basin is among the most diverse in the world, and with Sono Mondiale, repertoires cross the oceans and are constantly enriched in a sonic and narrative mise en abîme.

Pambelé's debut album blends Afro-Colombian influences with the acidic, piercing sounds of the sixties psychedelic movement. This cross-fertilization is a powerful expression of the group's transatlantic and definitively Caribbean cultural universality.
Traditional percussion instruments from the north coast of Colombia intertwine and mingle with the joyful cadence of the vocals, while the chiselled words of the guitars, accompanied by the voluptuous sounds of wild organs, draw us into a torrid, exuberant atmosphere.
Pambelé's debut opus is a bewitching trance, a condensed blend of raw, composite material. A boundless playground where the culture of trance, improvisation and dance is the very essence of its strength.

By the close of the 1960's, Lloyd 'Charmers' Tyrell was firmly established as one of Jamaica's premier talents, having previously made his mark as a key member of leading vocal outfits, The Charmers and The Uniques. His move into record production in 1968 swiftly resulted in numerous Jamaican hits, with his success attracting the attention London-based reggae music giant, Trojan Records, with whom he swiftly signed a licensing deal in 1969. As the '60s drew to a close, Trojan released 'Reggae Is Tight', on which the multi-talented Charmers demonstrated his keyboard-playing talents over a dozen fast-passed rhythm tracks. This is from the golden age of boss reggae sounds. A must for all true fans of vintage Jamaican sounds. Reggae Is Tight is available as a limited numbered edition of 500 copies on orange coloured vinyl

"Music For Roads is a new immersive instrumental collaboration between Finnish psychedelic indie folk group Tuomo & Markus and jazz trumpet virtuoso Verneri Pohjola. It's a cross cultural collaboration between Nordic jazz and indie folk/Americana players, who created a unique, cinematic soundscape. They brought in some established guests in the studio, inc. NYC guitar legend Marc Ribot and French saxophone player Sylvain Rifflet. The inspiration for these tracks came from the many tours these Finnish musicians have had in America over the years. American landscape, history, Americana culture and the current political turmoil created a common thread for these tracks. The title for the album is a nod to Brian Eno’s Music For Airports. All the immersive tracks were captured live in the studio onto 2” tape and mixed in 7.1.4. format back onto magnetic tape, making it the world’s first fully analog Dolby Atmos master. The musicians used the immersive format in a creative way to enhance the music and arrangements."