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Kraak & Smaak, eine treibende Kraft der elektronischen Musikszene der letzten zwei Jahrzehnte, Meister des Nu-Disco, Funk und allem, was mit Electronic zu tun hat, feiern 2023 ihr 20-jähriges Bestehen - mit einer handverlesenen Auswahl ihres herausragenden Katalogs auf Jalapeno Records und dem eigenen Label Boogie Angst. Das Doppelabum mit dem schlichten Namen TWENTY bringt 20 Band- und Fanfavoriten und viele der unglaublichen Gäste, mit denen das niederländische Duo im Laufe der Jahre zusammengearbeitet hat: von Lee Fields bis Parcels, Romanthony bis Mayer Hawthorne, Ben Westbeech bis Durand Jones. TWENTY ist von Anfang bis Ende ein abgefahrener Hörgenuss, der nie enttäuscht.

Global pointing Brazilian jazz trio releases their new album Agôra, that sparkles with electric funk and Herbie-esque eclecticism. It features a myriad of guest vocalists and musicians including Brazilians Xênia França and Zé Leônidas, Jembaa Groove's Ghanaian singer Eric Owusu and South African artists Bongani Givethanks & Mpho Nkuzo

Re-wiring the concept of 'fusion' for 2023, Agôra is Brazilian trio Caixa Cubo's resurgent new record with the title referring to 'now', based upon the intuitive and fluid nature of the trio's method, and this inspired recording. With shoots to black music culture, from Brazil to Brooklyn, Ghana and South Africa, Agôra is the group's ninth album yet is their first where they've invited guests, mainly singers, onto each track and follows their last, Angela from 2020, released on Heavenly Records, which won a BBC 6 Music Album of the Year (Huey Morgan's selection) granting them much deserved international recognition.

The core musical elements of Caixa Cubo are Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass), all from São Paulo, Brazil and where they met as teenagers and would continue their friendship and musical bond at the Royal Conservatory in The Hague, Netherlands. Now all in their mid thirties, João and Noa live back in the city where it all started but Henrique has settled in Cologne, Germany where the recording of Agôra took place, over the course of 3 days, at the home cum studio of Chris 'Dusty' Doepke, their friend and owner of the label they signed to, Jazz & Milk.

In line with all their creations where flow and energy provide the magic, allowing what the moment provides, the album shines not only for its virtuosity but for its minimalism, the depth of space, and for the first time, the ability to figure in and outside of the jazz fold, as the trio decided, for the first time, to bring in singers and add a new aesthetic to their sound.

"Agôra is a wake-up call to reality, a reminder that the infinite possibilities of technological progress should not disconnect us from the earth, from eye-to-eye relationships, and from moments lived in person" the band are keen to point out. "And that we must not be consumed by greed, for all we truly possess.... is the NOW."

Turning hope and metaphor into music, the debut single Sábado, an electrified future- jazz-fizz reflects perfectly the spontaneity that permeated the entire recording of the album. "When we got to the studio, we had no idea what we were going to record. We started playing a groove, kind of inspired by Gilberto Gil's 80s albums, and our drummer João started singing this funny song 'Sábado Barrigudão' (Big Belly Saturday) alongside the bass groove and that was that". Inspired by their city of birth, São Paulo, it features long time collaborator and vocalist Zé Leônidas, with cuicas, tamborim, agogo and shakers providing the most obvious Brazilian affect from the album.

Dreams is the band's first foray into R'n'B melding the group's simple and sporadic instrumentation of drums, keys and bass into a Jill Scott inspired song that could have been born in Brooklyn yet sung by Brazilian singer and Grammy nominated Xênia França and Zé Leônidas in both English and Portuguese. Xênia recently performed online for hip-to-it website Colors and it's her latest collaboration with Caixa Cubo, having first met in 2009 for a series of live performances.

South African artists Bongani Givethanks & Mpho Nkuzo come to the record with a wholly different approach on Ndiyakhangela, providing spoken word and vocal refrains on top of an Afro-Brazilian percussion jam with a delivery and verse in Xhosa, Zula and Ndebele. Asase is the album opener and features vocals of Eric Owusu who is part of highlife pioneer Pat Thomas's live band and most recently, co-leader of Jembaa Groove, an Afro-soul band from Berlin. It's a synth wig out with djembe grooves and offers a brand new take on Afro-soul-jazz.

Other contributions come from Cologne based jazz singer Rebekka Ziegler (Oblique Sunshine), São Paulo based guitarist Eduardo Camargo (Caio & Eric) and trumpet player Matthias Schriefl on Kismeti, a gorgeous and rolling number that ebbs and flows, exemplifying the group's effortless ability to craft a sound energised by a belief in one-self and the idea of having faith without the need to look at each other for verification.

As drummer and percussionist João Fideles perfectly surmised upon arriving for the recording session, "What drums do you have? Whatever you have, I'll use it". Agôra is testament to nearly 20 years of camaraderie, friendship and most importantly, trust.

Berlin-based Brizman is launching his label, Silvi. He is keeping the theme personal as a tribute to his dear mother, who sadly passed away recently. Roy has contributed two original cuts to this EP called The First Year.

On the A-side, the title track "The First Year" is featured a 12-minute implacable groove followed by a grand piano line that will ring in your head for days.

In contrast, the B side "Feels Like Home" is a classic morning glory moment track with a euphoric yet melancholic melody that will undoubtedly warm your club nights indoors or outside.

The EP comes to a satisfying conclusion with a well-crafted remix by Vid.

Single release from the forthcoming album “Catharsis”, produced by Sven Va¨th & Gregor Tresher The second release before the upcoming mighty new Sven Va¨th album “Catharsis” gives you another hint at what´s coming at you! Let us tell you, we couldn´t be more excited for everyone to finally experience Sven´s new masterpiece! But before we unleash the beast, we decided to release a second single. This time containing two absolute highlight tracks. If you have heard Sven playing in the past months, you will recognize both, as they were pivotal moments in almost every set! First up we have “Mystic Voices“, a track that was created during the early stages of the album production with Sven gathering ideas and words to finally record the unmistakable vocals during a hectic tour through India, and Gregor spending days and nights on the other side of the planet in his studio to process the stream of inspiration. When the two finally sat down together in the studio, the track emerged quickly. Some would call the instant vibe that magic that every creative mind is longing to find. “Butoh” is a raw and dark force, influenced by Japanese dance, an art form that deeply touched Sven during his travels on Nippon Island. It´s an otherworldly sounding track, still based in the Techno Realm but heavily twisted by a long break that introduces Japanese percussions that eventually get topped by the haunting vocals of Cana Hatsushiba.

Satori´s acclaimed Electronica album "In Between Worlds" gets the first bunch of Remixes by some great artists.

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

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

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

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

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

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

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

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

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

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

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

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


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

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

One listen and you’ll be transported.

The fourth single from Okinawa Delays (singer Satoko Ishimine and Okinawa-based producer Mizuki) is I Can't Sleep, a collaboration with Tokyo-based Balearic evangelist Max Essa.

This is a Balearic disco tune with a bassline reminiscent of the 80's electro-disco of Klein and M.B.O. and Gino Soccio, and a Japanese monologue that sounds like a daydream.

The Japanese monologue, penned by producer Mizuki himself, was inspired by his stay in Ibiza, and is an insomniac, daydream-like monologue of a girl after she returns from a party. (There is an English translation on the back of the vinyl sleeve.)

As always, her voice is great, but it's also interesting that the content is far from her innocent image.

The single features an original mix for the midnight dance floor as well as a dub version by Balearic master Leo Mas and a remix by Pete Herbert, perfect for the beach club or poolside.

Even in these most turbulent of times, dub musician and fatigued onlooker Elijah Minnelli remains an inexplicable stalwart on the lower rungs of the Breadminster County Council.

His latest record ‘Clams As A Main Meal’ continues his astute siphoning of council funds, this time with help from the Breadminster Board of Abstinence. As a further mark of respect, the original head of the Board, Dr. K'houldoux, graces the cover art in his infamous ‘Looming Moon of Desire’ guise.*

As fine a backdrop as any for Minneli’s off-brand dub experiments, and ‘Clams...’ is the truest representation of his varied wheelhouse yet...

We find vocal appearances from dub goliath Dennis Bovell and Welsh-language singer Carwyn Ellis. A pair of tracks which build on 2024’s acclaimed ‘Perpetual Musket’, a collection of folk songs reworked alongside reggae vocalists, released by FatCat Records. It garnered glowing reviews, with nods from The Guardian and The Quietus concluding with prominent appearances on their respective yearly round-up lists.

Elsewhere, the album finds Minnelli in a more experimental mode, all wheezing contraptions and cockeyed bass, creaking with the weight of creation, a satisfying tactility laid seam-side up.

As well as ‘Perpetual Musket’, the new album follows years of sold out 7" singles, handmade and self-released. Online, the tracks have amassed global streams numbering in the millions. His tracks have found play across an eclectic range of radio mixes and dance floors, most notably the likes of Andrew Weatherall, Batu, Optimo and Zakia Sewell (BBC6Music).

It is perhaps worth mentioning that this everbuilding interest in his work is at great odds with the growing suspicions amongst his fellow townsfolk, who see his Breadminster County Council Music Initiative as nothing more than an empty cash-grab.

Further Reading on the Breadminster Board of Abstinence

In the late 70s, Breadminster was awash with the last vestiges of the hippy era. Though the flared silhouette of the lower leg remained, the utopian ideals that had once flowed merrily around the youth's shaded ankles had begun to wane. LSD and free love had led to a sharp spike in population and a generation of children raised by air-headed psychonauts unprepared for the bleary-eyed strictures of parenthood.

Aware of the crisis, the County Council entrusted Dr. Paulinque K'houldoux to spearhead a pushback, and it was his pro-abstinence movement - a mixture of education initiatives and radical renutrition campaigns - that came to impact Breadminster's census deep into the new millennium.

Being a pseudo-archipelago Breadminster has fundamentally limited resources, however deep-seated ties to distant coastal villages meant that oysters were a regular part of the local diet. K'houldoux pinpointed this as a factor in the town's overpopulation, and believed that simply replacing these with clams (a “lesser mollusk”) would help lower the erotic urges of the people. It was his “anti-aphrodesia” movement that first championed the idea of “Clams As A Main Meal,” and the slogan “Consider Abstinence” carried the message yet further.

The Breadminster Board of Abstinence soon became involved in all cultural happenings in the area, with K'houldoux MCing at prominent festivals and performances, sometimes dressed as the “Looming Moon of Desire” - an idea of his relating to the tide, seafood, menstrual cycles, and his privately held celestial predilections.

It was in 1981 that it was revealed Dr. K'houldoux had never fully qualified as a doctor and was seeking exile in Breadminster due to a series of botched bracelet heists in which he had previously been involved. K'houldoux was subsequently extradited to Basingstoke, where he served 3 of a 12-year sentence, owing to the lunar-oriented prisoner health campaigns he helped implement.

It has been a strange twist of bureaucratic fate that the Breadminster Board of Abstinence has never stopped receiving public funding, despite its lack of clear utility. And while its roots are tied to a rose-tinted past, the Board continues to sponsor cultural events and projects to this day.

An extract from: Eugeniq Schooner's article in Sydney Parishioner: “Clams, Breadminster and Countercultural Abstinence Trends” (2008)

Carnival Diablos is an album of red-blooded metal that connected Annihilator’s legacy to their present-day and re-established Jeff Waters’ place in the thrash pantheon. From the frenzied call-and-response of album opener ‘Denied’ to the progressively-edged mid-tempo sway of the title track, Carnival Diablos is a wholly satisfying offering of steak and potatoes heavy metal thrash – more heavy metal, less thrash, but 100% Annihilator at one of their many peaks.

It seems almost inevitable that at some stage Blue Matter and The Green Ray would be working together, and we’re delighted to say that this is now about to happen. When Blue Matter co-boss, Nick Saloman, was living in Walthamstow, he sat in with The Green Ray many times at the late-lamented Plough Inn on Wood Street (now a mini-supermarket). In more recent times Nick’s band, The Bevis Frond has played live with them on several occasions, and without wishing to disrespect any former members, the current Green Ray line-up sounds as good as they’ve ever sounded, if not, dare we say, even better than before. The Green Ray was originally assembled in the mid-90s by Ken Whaley & Richard Treece, two key members of Walthamstow legends, Help Yourself. During the last 30 years or so, they have released 7 albums and one 12” single.

Sadly, the line-up has changed quite frequently due to the passing of several of their number. Ken & Richard passed away some years ago, and more recently bassist Jeff Gibbs departed this world. However, now under the all-seeing eye of guitarist Simon Whaley, the current line-up is continuing to fly the East London freak flag high. Not long ago Simon asked us if Blue Matter would like to issue their latest offering, and we came back with a resounding “yes please”. ‘Orchard House’ is a superb album, full of great playing and great songs. There are shades of Mighty Baby and Help Yourself (at their trippiest), plus a West Coast atmosphere which put us in mind of Quicksilver and The Grateful Dead. It’s taken some time to happen, but at last Blue Matter & The Green Ray have come together to issue an unmissable album. So don’t miss it.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.

The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.

Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.

The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.


‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.

Green Vinyl, limited to 500 copies. New album from the psychedelic, progressive folk rock band from Skien, Norway! The day belongs to the night The four songs on side A came about in November 2022 for a winter solstice celebration at Oslo Badstuforening. Our take on this was that the solstice invites reflections on the relationship between night and day. Does the day spring out of the darkness of the preceding night or does the night follow and swallow the light of the day? Is it Saturday Night or Sunday Morning? Are we running from the past or catching up with the future? Moving from A to B, Lidskjalv has existed as a demo since the 90s. Many versions have been made, but this is the first proper recording of the song. The passage of time is the future becoming the present. It moves forward in circles like a rolling wheel. Balder, Osiris and Jesus are all vegetation gods emulating the turn of the seasons in their eternal return. After the death of winter, life emerges anew. But not only this; there is also the promise of each dawn bringing a Better Day. According to Snorre, after the Fimbul Winter and Ragnarok, there is a new Earth. From the ashes emerges a better place. This holds also the idea of progress. It is at the core of being a prog band; each album is an improvement on the last, an exploration of new territory, a different perspective.

Motown Records: The Supremes, Stevie Wonder, The Miracles, Marvin Gaye, Martha Reeves and The Vandelas and, of course, The Temptations. It is antithetical to mention any of those without the others. The community of artists started as the Sound of Young America, but as history has proven, it became the sound, the look and the inspiration of so much more. And now, little nuggets of Motown's influence can be found the world over. David Ruffin, founding member of Motown superstars The Temptations, went on to become a successful solo artist even after he left the group. In 1969, Ruffin released two fantastic solo records, My Whole World Ended and Feelin' Good. Between 1970 and 1971 he recorded what was to be his third long playing solo record. However, his career was suddenly put on hold when Motown, for reasons unclear, shelved the album that had been dubbed David. The record had even been assigned a catalog number and final artwork. Ruffin returned in 1973 with a brand new LP titled David Ruffin (treated officially as his third LP) and the previously recorded album David sat on the shelves, unheard for decades. This deluxe 2xLP set features the original, rare David LP, plus an LP of bonus tracks and mono single mixes all packaged in a beautiful gatefold jacket, featuring extensive liner notes and striking color photographs of Ruffin. His red and yellow suede suit featured in the interior gatefold LP jacket is an absolute must-see! The record was cut and pressed at Third Man's Detroit HQ, just a couple miles away from the original Motown HQ. For the first time ever on vinyl, Third Man is proud to present the essential, true third LP from the Temptations' mighty David Ruffin.

all new super sexy girl group vinyl is here xo
includes: 12 inch black vinyl, a sheet with stickers of us on so you can customise your own cover, inner sleeve with lyrics from Think They're Looking, Let's Perform and Little Sticky Pictures which you can read and study for at least 2 hours a day