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Another Classic reissue by Back To Life !!!
This time Orlando Voorn with his unmistakable touch.
The 2020 official license release include:
The Todd Terry like 'Damn Right' with funky drums and samples. The real killerdancefloors track 'Dance' and two others cuts with off strings and Herbie Hancock approach 'Reckless' and 'Soundclash'.
Originally released on E.S.P. this EP can satisfy any Detroit House and Techno lover.

"...The most beautiful thing about my burrow is the stillness. Of course, that is deceptive. At any moment it may be shattered and then all will be over. For the time being, however, the silence is with me." - Franz Kafka

In early 2019, at the Sonic Pieces 10 year anniversary in Berlin, label head Monique Recknagel hand-picked three duos from the imprint to perform live together for the first time. One of the collaborations was between Deaf Center's Erik K Skodvin and electronic composer Jasmine Guffond. The performance went so well that Monique commissioned the duo to record a full-length together.

Six months later, Guffond and Skodvin headed to Berlin's VOX-TON studio and recorded for two days, joined by Finnish musician Merja Kokkonen (Islaja), who improvised wordless vocals. With Guffond on laptop and a cymbal and Skodvin using piano, feedback, farfisa organ and percussion, the two composed an album of deep, enveloping sound that slithers through genre, absorbing Kokkonen's unique voice into five intricate and evolving pieces.

"The Burrow" takes its name from Franz Kafka's unfinished short story that was written only six months before his death. The tale, published posthumously in 1931, centres around a small creature who builds a burrow that's anxiously fortified in an attempt to protect against perceived attacks. This sense of fear of the outside world feels even more focused in 2020. Each track is named after animals that are either extinct or almost extinct, adding a sense of loss that hangs in the air, punctuated by screams and deep reverberating piano hits. As the world we thought we knew quickly retreats from view and the idea of safety shifts rapidly, Skodvin and Guffond explore the impulse to protect what we know with an emotionally charged sound that provides a foil with cautious, haunting spaces in between.

Presenting the original soundtrack to the hit series Friends which follows the lives of six reckless adults living their lives in Manhattan. The album features the iconic “I’ll Be There For You” by The Rembrandts as well as other tracks such as Joni Mitchell’s “Big Yellow Taxi” and Pretenders “Angel of The Morning”.

Arkham Audio presents yet another delicious techno EP by renowned French electronic musician Electric Rescue alongside a solid lineup of remixers. 'Dream Warriors' follows on from Electric Rescue's recent album release on none other than John Digweed's Bedrock Records, and comes bearing more of the intoxicating rhythms that we have grown accustomed to and equally as indulging reworks by Denise Rabe, TWR72, and Arkham label head Cri Du Coeur. This record firmly establishes that his hypnotising yet adrenalizing sound is a force to be reckoned with as he unveils a relentless yet minimalistic techno sound that shows inspiration from his friend and mentor Laurent Garnier.
The rave begins with the original mix of 'Dream Warriors', which leads with an infectious beat and hazy serpentine melody that thrusts your mind into a powerful yet entrancing oblivion. Heavy percussions and lively daunting melodies set the tone for rest of the record. Cri Du Coeur's rework of introduces itself with a pommelling baseline, layers of stimulating hi-hats, and transcendental melodies that create the perfect inebriating brew. The Denise Rabe remix spices things up with a mind-numbing visceral baseline and spooky industrial sounds that echo throughout the atmosphere.
Next up is 'Einoeino' which has a playful beat that contrasts with a dark and fuzzy looping melody to create the ultimate heart-racing and thrilling experience for the listener, leaving you to imagine being chased around a haunted circus. The remix of 'Einoeino' by TWR72 delivers his signature sound that encompasses pulsing rhythms, unyielding muffled baselines, and a slightly off-beat groove that concocts the perfect smoky dancefloor track.
Bringing together an innately well-suited collection of artists, Electric Rescue showcases his industrial techno-wizardry and prowess in putting together enthralling and boundless soundscapes with his new EP 'Dream Warriors' on the newly-founded yet tenacious Arkham Audio label.

Melissa Guion’s second offering for Kranky retains the glassy gauze of her debut, 2016’s Precious Systems, but shaded starker and darker, framed by mechanical rhythms and humid industrial moods. She speaks of Sour Cherry Bell as something of a reckoning with her tools of creation: “I was curious to see how far I could go with them, even if that meant reaching the ends of their capacity to do what I wanted. But I never exhausted them and they never exhausted me.”

Utilizing her trusted combination of instrumentation, Guion tracked the record between her New Orleans home and rehearsal space, capturing chemistries both intimate and expansive. The songs sway between twilit shoegaze, downer ballads, and gothic pop, mapping a delicate palette of electric melancholies, though in retrospect she cites as her primary muse the notion of power: “lost and found, corporeal and cerebral, harnessed and exploited, of one and many, in this reality and the next.” Sour Cherry Bell reverberates beyond the here and now into scenes unseen, worlds unheard.

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend, and Listen To The Wind, his iconic debut album, is simply a superb modern-soul/boogie album. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

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

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

Given his decades of work behind the scenes, it’s no surprise that it took until 1982 for Caiphus to get around to putting out the first album of his own. But all that experience shows. Listen To The Wind is a deeply impressive synthesis of early 80s US production and instrumentation together with his traditional South African musical roots.

It’s stylistically diverse but the ingredients are never diluted. There are elements of boogie, soul, funk and jazz, all shot through with pan-African flavour, and moving effortlessly from uptempo floor fillers to more meditative, slower soulful tracks. Produced by Caiphus himself, he makes full use of a stellar line up of session musicians including Nathan East, Michael Stanton, Sonny Burke and Paulinho DaCosta. And of course, there are Letta’s show-stopping vocals. To our ears, Listen To The Wind is just one big party, and lord knows we need that more than ever right now.

Opener “Angelina” is one of Caiphus’s most beloved tracks at Be With HQ. It’s a breezy, feel-good SA boogie-funk classic. Harmonic and horn heavy, it sounds as fresh today as it would’ve done in the early 80s. If this one doesn’t make you move, you may need your pulse taking. The drum breakdown alone, a little over halfway through, is sensational.

It’s followed by the gentle reggae lilt of “Play With Fire”. A real melodic slo-mo delight, carried by the tropical vibes and, above all else, by the extraordinary performance of Caiphus himself and his backing singers.

Closing out side one, the spectacular “Umoya” is driven by triumphant horns and slick bass. With its proto-Graceland vibes, we reckon Paul Simon must’ve been listening. Hard. Caiphus trades verses with the unmistakable tones of Letta, and it sounds divine. Yes, it’s as good as anything on Letta’s canonical In The Music… The Village Never Ends. A wide-eyed wonder, made for unity and togetherness, it’s all infectious, smiling faces for nearly nine minutes. But never mind nine, we could party to this for ninety minutes and “Umoya” would leave us re-energised for ninety more.

Elegantly firing up side two is perhaps the album’s best known track. “Without You” is a heavenly slice of modern soul, an end-of-nighter to end them all. Smooth strutting, disco-fied funk with that unmistakably South African sound, it’s just sublime, with those lyrics that keep coming back to smiling faces and community, “without You the sun won’t shine”. Big with the likes of Rush Hour’s Antal, this is aural perfection.

“Ziph’inkomo” is a soul-soothing, swooning epic. Gently building throughout, its final few minutes are genuinely stirring as the backing vocals and instrumentation swell. Jaw-dropping. The irresistible groove of frantic, percussive workout “Gumba Boogie” closes out what must surely be one of the greatest artistic statements of the 1980s. If his friend Quincy wasn’t feverishly taking notes for Thriller, then you could’ve fooled us.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The cover art, as breezy as the music, has been faithfully restored. All that’s missing is you.

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

YELLOW VINYL LP

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

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno.

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno

Russia's Nocow refuses to mourn the failed experiment of human contact on his Turbo debut EP, delivering cathartic anthems alongside giant warehouse jams you are free to call "deep" and "cavernous" with full knowledge of the risks involved. ??

On lead track "Never Leave Me," the Saint Petersburg-based creator of "Cloud Techno" runs emotive vocals through a hazmat filter and into the emo-globin contained within your fluorescent-green blood cells. Meanwhile, after-hours love-weapons "Back On," "Avalon," and "Soder" each take different routes to activating the phantom arousal mechanisms of your soul. Finally, some people have been calling closer "Starfall" a "magical ticket to Vocal Sample Heaven" and "a timeless all-inclusive ravecation from the cares of this workaday world." While we would never choose to word it that way, we concede that both descriptions are generally pretty accurate.??

In these times of social isolation and uncertainty, we remind you that it's vital your Restless Heart Syndrome not turn into Reckless Heart Syndrome. Instead of frequenting illicit "Droplet Transmission Parties," why not peep the vast network of Landline Raves we've been hearing about via our vast network of peeper-drones? Also, please try to keep in mind that all of this is simply selection pressure forcing you to evolve new and viable ways of connecting with the hottest singles in your area. So stay inside for now and stay inside our hearts forever.

It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.

yellow & red mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

blue & purple mixed vinyl

Mike Redman's Deformer project has achieved cult status throughout the years. Known for its extreme, horror infused electronic music and surprising collaborations with groundbreaking musicians, visual artists and film studios, Deformer keeps reinventing its sound while keeping its signature aesthetics. Consistent in being outrageous... with the new record "Inner-Outcast" musical boundaries are being crushed, again with a little help from some heavyweight invitees. On four of six tracks Deformer's fierce breakbeats enter into a deadly duel with the live drums of legendary ex-Suffocation drummer and blastbeat pioneer Mike Smith. Vernon Reid of Living Colour lays down some menacing guitar solos, Body Count's Ice-T provides some threatening words and many more legends are making "Inner-Outcast" an original, intense and above all, an unpolished release. A special appearance is made by iconic Hollywood actor Tony Todd, providing a haunting vocal performance as horror villain Candyman. Oh, and the cherry on top is definitely the amazing cover art by visual artist Ed Repka, known for his classic artwork for legendary bands like Death and Megadeth. With "Inner-Outcast", music journalists may have to come up with a new term for yet another genre, because Deformer's ever evolving sound is more unorthodox than ever...

Eglo Records are proud to present Fatima's highly anticipated debut album 'Yellow Memories'.

Featuring production work from the likes of Floating Points, Theo Parrish, Oh No, Scoop DeVille, Computer Jay, Knxwledge and more... the velvet toned Swede has truly crafted something special.

Offering a modern take on classic Soul and RnB, the album strikes a beautiful balance of cutting edge, contemporary production, soulful expression, melancholic introspection and vibrant, candy coated melody. An accomplished singer /song-writer with a stunning range, her prowess and versatility are a force not to be reckoned with. As powerful and mesmerising on stage as she is in the studio, Fatima possesses a talent heard all to rarely in todays musical climate.

New year, new you, new crew! Another rising star from France, Marina Trench, joins the WOLF Music family, following up an inaugural EP on DJ Deep's highly acclaimed Deeply Rooted with this accomplished and diverse four tracker of house goodness.

Absorbed by house music from an early age Marina Trench is already proving herself to be a humble, yet highly talented, force to be reckoned with. Waterside EP is case in point. The title track is summertime ecstasy through and through. Undeniably catchy and packed with a club-ready punch, Trench sets off at pace, revolving the track around a pinging techy bassline as layers of percussion, echoing pads and delicate vocal refrains from Marina herself glide on through. Peak time, earworm business that bangs.

Get up, ‘Get In’. Moving through the downright ethereal to some tough, dancefloor darkness. Sweeping pads and glitching arps ease you in before the breakdown leads to an unleashing of brooding bass chords and reverberating top end counterparts that marry with a mean acid bassline. Tough, tactile and firmly focused on the club.

On the flip, ‘Train Call’ is a chopped jazzy deep house roller. Heavyweight piano stabs intertwine with deft twinkles as crisp hats dance around thumping kicks before ‘Straight’ eases you off into the depths of the night. A sumptuous little slice of deepness - meditative, trance-like calls from the ocean and pensive pianos provide a perfect soundtrack for the early hours.

The second EP of remixes from Man Jumping's reissue on Emotional Rescue features luminaries Bullion, Reckonwrong, Gengahr and William Doyle with their reversions of songs from the Jumpcut album.

Nathan Jenkins aka Bullion follows his recent rerub of Thomas Leer (ERC072) to provide two remixes. His remake of In The Jungle keeps the originals (leftfield) dance floor roots, but sprinkles the ubiquitous warm glow and off kilter fun(k) that he evokes; while his retake of Walk On, Bye drifts back, highlighting intricate percussion; congas, bass and vocal atmospherics along some breezy swing.

Reckonwrong is next; turning the bossa vibes of Sqeezi into his own new wave meets italo reversion; topped with his unique 'under the cupboard stairs' vocals. Funky, driving, this overlooked star adds to his cannon for Whities, Pinkman and DEEK.

After a string of impressive releases for Trangressive / Beggars, Gengahr make a surprise addition, lifting Down The Locale from deceptive beginnings to anthemic heights, adding echo-laden guitar and vocals to the original's underbelly, before a bass break and return lifts to the heavens.

Finally, William Doyle provides perfect closure. Moving away from his East India Youth moniker (XL Recordings), his output has drifted towards ambient introspection, however, here points to addtional layers; rebuilding Belle Dux On The Beach with added bass, guitar, drums and finally vocals that culminate in a prefect 'to the skies' outrospection.

Boyband is the name of the newest project ran by Macarie with Andrei Petru. The three bangers that make up the AVi002 EP are Firematches (A1), along with Reckless Don (B1) and Troubled Hats (B2). Firematches impresses with its guitar-inducted energy and positivity, while Reckless Don offers a unique game of sound to its listeners, with somewhat dark and obscure elements. Troubled Hats is a trippy song on its way of becoming a classic of this genre. The sound is more industrialized compared to the one in Firematches, with metallic effects that linger inside your eardrums even after the song is over.