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Munich-based quintet Fazer return to Squama with their fourth studio album, ‘Yamaha’, a record that melds indie jazz and psychedelic rock with humour and depth.
The band recorded the album in their own studio for the first time, taking time time to experiment with sound and overdubs, while retaining the vigour of a live performance.
Suspenseful two-voiced themes and tickling solo interplay by Matthias Lindermayr on trumpet and Paul Brändle on guitar is still at the core of Fazer’s music, as well as the meticulous work of their two drummers Simon Popp and Sebastian Wolfgruber, whose grooves are more rooted in the rock vernacular compared to previous records. The restrained playing of bassist and producer Martin Brugger remains a grounding force that rounds out the sound of the group.

'Vended' ist das mit Spannung erwartete selbstbetitelte Debütalbum der gleichnamigen Nu-Metal-Band aus Des Moines, Iowa.
Die 2018 gegründete Band besteht aus Griffin Taylor (Gesang) und Simon Crahan (Schlagzeug) – Söhne der Slipknot-Mitglieder Corey Taylor und Shawn „Clown“ Crahan - sowie Cole Espeland (Gitarre), Jeremiah Pugh (Bass) und Connor Grodzicki (Gitarre).
Bekannt für ihre rohe Energie, ihren aggressiven Sound und ihre unverblümten Texte hat sich die Band schnell einen Namen in der Heavy-Metal-Szene gemacht.
Ihr Name wird auf der zweiten Silbe betont ausgesprochen: „ven-DEAD“, in Anlehnung an das Wort Vendetta (Blutrache).

Two seminal 12" mixes of a pair of enormous tracks from Surface. Housed in the super-rare and - until now - French-only picture sleeve of the eternal "Falling In Love", we've backed that classic with Be With's favourite deconstructed mix of the swirling electronic soul / synth-driven slow jam "Happy". These sought-after versions have never been paired on the same record before. This fresh Be With edition ensures these legendary tracks now sound, looks and feel as sensational as they deserve to. You know what to do...

American post-disco/R&B trio Surface were a New Jersey vocal group made up of Bernard Jackson, David Townsend and David Conley. The majesty of boogie ballad "Falling In Love" was their first single, released in 1983 on Salsoul Records. The mellow magic of this track is loved the world over; it's a feel-good smooth boogie jam that's forever coveted. The slick, crystal clear beat, the legendary minimoog bassline, the melody, Karen Copeland's superb vocal, the great flute solo (referenced on the cover) all of it is literally perfect and beautifully encapsulates that mid 80s international club vibe. This here is the original Shep Pettibone mix in its entirety - it's the only one you really need.

Flip for the legendary "Love Mix" of 1987 hit single “Happy". You all know the original. At least, you *should* all know it. But the "Love Mix" is a deconstructed, boldly produced mix which is the one the heads have turned to for so long. Yet, in our opinion, its hypnotic groove has flown under the radar for too many years. This killer remix begins with Jackson's spine-tingling isolated vocal, cleverly subverting expectations by actually delivering the first words of the original's second verse "You must be Heaven sent...Sent into my life...And I compliment you baby...Baby" before a heavy 808 drum kicks hard with echoey handclaps. It's super sparse and a dubbed out slow-mo boogie banger like no other. The synth bass, atmospheric synth pads and synthesized flute glide in and out with effortless style and the whole thing is a wonder to behold.

It's a slow jam, for sure, but crafted in the straight up funk tradition, using the digital tools of the day and this sparser than sparse version almost sounds like a precursor to UK Street Soul. A unique combination of undeniable funk, electro beats and an earnest, youthful tenor; it should be slamming out of every jeep forevermore.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year. Simply flawless.

Die britisch-bengalische Musikerin Tara Lily aus Südlondon verbindet auf ihrem Debütalbum "Speak In The Dark" Alternative-R&B, Jazz, Electronica und traditionelle indische Klänge zu einer einzigartigen Fusion. Produziert von Dom Valentino, sind ferner US-Jazz-Trompeter Theo Croker, UK-Rapper Surya Sen und Archy Marshall (aka King Krule), mit dem sie schon die Bühne teilte, beteiligt. Erste EPs erschienen bei Motown UK, der Musikexpress zählte sie zu den hochgehandelten internationalen Newcomer*innen 2023".

- "Spellbinding" - The Guardian

- "Beautiful, melancholic" - Jamie Cullum, BBC Radio 2

- "One to watch!" - Jamz Supernova, BBC 6Music

- "An all-star jazz collaboration." - Clash

- "One to watch for 2024" - Simon Phillips, Jazz FM

- "Soulful and heartfelt" - Jack Saunders, BBC Radio 1

Ein neu aufgenommenes 12-Track-Album mit einer klassischen Sammlung der stärksten Songs aus Gilberts umfangreichem Katalog der letzten 55 Jahre - darunter auch der brandneue Titel "A Kiss is A Kiss", aufgenommen im Lafayette, King's Cross, Ende 2023. Die Idee zu Songbook entstand nach O'Sullivans Barbican-Show im Jahr 2022 (bei der Tim Burgess von "The Charlatans" mit ihm "Nothing Rhymed" im Duett performte). BMG hatte die Idee und schlug O'Sullivan vor, das Album so aufzunehmen, dass es die Instrumentierung und das Zusammenspiel zwischen ihm und dem Gitarristen Bill Shanley gekonnt einfängt. Gilbert O'Sullivan, der als "Songwriter der Songwriter" beschrieben wird, hat sich bei seinen musikalischen Kolleg*innen eine große Fangemeinde erspielt, darunter; Paul Weller, Elton John, Nina Simone, Mick Hucknall, Ron Sexmith, The Lemon Twigs, Michael Bublé und Diana Krall.

Das Londoner Post-Punk-Quartett Desperate Journalist kehrt im Herbst 2024 mit ihrem nunmehr fünften Studioalbum voller sardonischem, schrägem Humor und leidenschaftlicher Musik zurück. Auf ,No Hero", das die Vorab-Singles ,Unsympathetic Parts 1 & 2" und ,Afraid" sowie die kommende Leadsingle ,You Say You're Lonely" enthält, versucht die Band, ihren zerklüfteten, düsteren Trademark-Sound in immer interessantere Bahnen zu lenken. Als kreativer Neustart sind die vorab veröffentlichten Singles glänzende, strahlende Wegweiserfür die Richtung in die Desperate Journalist ihren ursprünglichen dunkelen Indie-Sound in neue, immer reizvollere Formen und zerklüftete Winkel schieben und ziehen, ohne dabei die ihnen ganz eigene glühende Essenz zu verlieren. Es gibt klirrende Synthesizer, erhabene Gothic-Anklänge, es gibt stürmische Melodien, es gibt gespenstische Klaviereinlagen, berserkerhafte Gitarrenausbrüche und das eine oder andere Stück, das ein bisschen nach den famosen The Icicle Works klingt. Und es gibt (mindestens) einen gigantischen, verzweifelten Desperate Journalist-Refrain im Song ,7", der mit höchster Logik tatsächlich als Track Nummer 7 des Albums fungiert. Die beste aller Album-Tracknummern, ganz sicher, in diesem Fall ein Song, der auch als mögliche Single funktionieren würde und deshalb Album Fokus Track ist. ,Immer wenn wir etwas Neues schreiben, möchte ich, dass es gleichzeitig verrückter und poppiger ist als das, was wir vorher gemacht haben, und ich denke, dies ist das Album, auf dem wir in dieser Hinsicht wirklich einen Sprung nach vorne gemacht haben." - Jo Bevan 2024 Desperate Journalist besteht aus Jo Bevan (Gesang, Synthesizer und Drum Machine), Robert Hardy (Gitarren, Synthesizer und Klavier), Caroline Helbert (Schlagzeug, Drum Machine und Percussion) und Simon Drowner (Bass und Synthesizer). Erhältlich als weiße Vinyl-LP, Digipack-CD & Musik-Kassette!

Das Londoner Post-Punk-Quartett Desperate Journalist kehrt im Herbst 2024 mit ihrem nunmehr fünften Studioalbum voller sardonischem, schrägem Humor und leidenschaftlicher Musik zurück. Auf ,No Hero", das die Vorab-Singles ,Unsympathetic Parts 1 & 2" und ,Afraid" sowie die kommende Leadsingle ,You Say You're Lonely" enthält, versucht die Band, ihren zerklüfteten, düsteren Trademark-Sound in immer interessantere Bahnen zu lenken. Als kreativer Neustart sind die vorab veröffentlichten Singles glänzende, strahlende Wegweiserfür die Richtung in die Desperate Journalist ihren ursprünglichen dunkelen Indie-Sound in neue, immer reizvollere Formen und zerklüftete Winkel schieben und ziehen, ohne dabei die ihnen ganz eigene glühende Essenz zu verlieren. Es gibt klirrende Synthesizer, erhabene Gothic-Anklänge, es gibt stürmische Melodien, es gibt gespenstische Klaviereinlagen, berserkerhafte Gitarrenausbrüche und das eine oder andere Stück, das ein bisschen nach den famosen The Icicle Works klingt. Und es gibt (mindestens) einen gigantischen, verzweifelten Desperate Journalist-Refrain im Song ,7", der mit höchster Logik tatsächlich als Track Nummer 7 des Albums fungiert. Die beste aller Album-Tracknummern, ganz sicher, in diesem Fall ein Song, der auch als mögliche Single funktionieren würde und deshalb Album Fokus Track ist. ,Immer wenn wir etwas Neues schreiben, möchte ich, dass es gleichzeitig verrückter und poppiger ist als das, was wir vorher gemacht haben, und ich denke, dies ist das Album, auf dem wir in dieser Hinsicht wirklich einen Sprung nach vorne gemacht haben." - Jo Bevan 2024 Desperate Journalist besteht aus Jo Bevan (Gesang, Synthesizer und Drum Machine), Robert Hardy (Gitarren, Synthesizer und Klavier), Caroline Helbert (Schlagzeug, Drum Machine und Percussion) und Simon Drowner (Bass und Synthesizer). Erhältlich als weiße Vinyl-LP, Digipack-CD & Musik-Kassette!

Das Londoner Post-Punk-Quartett Desperate Journalist kehrt im Herbst 2024 mit ihrem nunmehr fünften Studioalbum voller sardonischem, schrägem Humor und leidenschaftlicher Musik zurück. Auf ,No Hero", das die Vorab-Singles ,Unsympathetic Parts 1 & 2" und ,Afraid" sowie die kommende Leadsingle ,You Say You're Lonely" enthält, versucht die Band, ihren zerklüfteten, düsteren Trademark-Sound in immer interessantere Bahnen zu lenken. Als kreativer Neustart sind die vorab veröffentlichten Singles glänzende, strahlende Wegweiserfür die Richtung in die Desperate Journalist ihren ursprünglichen dunkelen Indie-Sound in neue, immer reizvollere Formen und zerklüftete Winkel schieben und ziehen, ohne dabei die ihnen ganz eigene glühende Essenz zu verlieren. Es gibt klirrende Synthesizer, erhabene Gothic-Anklänge, es gibt stürmische Melodien, es gibt gespenstische Klaviereinlagen, berserkerhafte Gitarrenausbrüche und das eine oder andere Stück, das ein bisschen nach den famosen The Icicle Works klingt. Und es gibt (mindestens) einen gigantischen, verzweifelten Desperate Journalist-Refrain im Song ,7", der mit höchster Logik tatsächlich als Track Nummer 7 des Albums fungiert. Die beste aller Album-Tracknummern, ganz sicher, in diesem Fall ein Song, der auch als mögliche Single funktionieren würde und deshalb Album Fokus Track ist. ,Immer wenn wir etwas Neues schreiben, möchte ich, dass es gleichzeitig verrückter und poppiger ist als das, was wir vorher gemacht haben, und ich denke, dies ist das Album, auf dem wir in dieser Hinsicht wirklich einen Sprung nach vorne gemacht haben." - Jo Bevan 2024 Desperate Journalist besteht aus Jo Bevan (Gesang, Synthesizer und Drum Machine), Robert Hardy (Gitarren, Synthesizer und Klavier), Caroline Helbert (Schlagzeug, Drum Machine und Percussion) und Simon Drowner (Bass und Synthesizer). Erhältlich als weiße Vinyl-LP, Digipack-CD & Musik-Kassette!

It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut. Cleopatra proves Schultz and Fraites - along with cellist/vocalist Neyla Pekarek- are neither taking their good fortune for granted, nor sitting back on their laurels. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes. This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood and the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's East of Eden. Cleopatra also deals with what Wesley terms "the elephant in the room," the band's success and the way it can sometimes put a target on your back. The syncopated piano rolls in "Ophelia" , the organic sound of fingers squeaking on guitar strings in "Angela" and the Faustian bargain described in "My Eyes" consider the perils of getting what you wish for, with everyone knowing your name, and your songs. The band had total artistic freedom in writing and recording the album, so Wesley and Jer pushed the envelope. "We continue to make the kind of records we want to," says Wesley. "We believe in this music. It's a true labor of love. We just want to keep reaching more people with our songs." Given the evidence on The Lumineers' sophomore album Cleopatra, that shouldn't be a problem.

It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut. Cleopatra proves Schultz and Fraites - along with cellist/vocalist Neyla Pekarek- are neither taking their good fortune for granted, nor sitting back on their laurels. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes. This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood and the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's East of Eden. Cleopatra also deals with what Wesley terms "the elephant in the room," the band's success and the way it can sometimes put a target on your back. The syncopated piano rolls in "Ophelia" , the organic sound of fingers squeaking on guitar strings in "Angela" and the Faustian bargain described in "My Eyes" consider the perils of getting what you wish for, with everyone knowing your name, and your songs. The band had total artistic freedom in writing and recording the album, so Wesley and Jer pushed the envelope. "We continue to make the kind of records we want to," says Wesley. "We believe in this music. It's a true labor of love. We just want to keep reaching more people with our songs." Given the evidence on The Lumineers' sophomore album Cleopatra, that shouldn't be a problem.

Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.

Due to it's super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.

The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story" and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As".

This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous
4 page folded insert - has been faithfully restored. Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

In this electrifying 2024, we're buzzing with excitement as we celebrate 40 years of Flexi, the record emporium that's weathered countless storms amidst the ever-shifting tides of the music industry, catering to vinyl aficionados across the ages. Alongside the raves and swag, no doubt, there's a killer compilation dropping on the indie label "Flexi Cuts," dubbed evocatively as "Musica Solida" spread across 3 or perhaps 4 12-inch samplers, boasting a carefully curated selection of singles from cherished Flexi-affiliated artists and producers. The vision? To cultivate a virtuous movement of sublime tunes, echoing the fervor and zeal to persist within the realm of quality that Flexi embodies within the Italian scene, alongside kindred spirits... despite the daunting challenges of the market in recent years.



Musica Solida # 1 showcases

DJ Rocca: One of the most solid producers on the panorama, a respected maestro of the clubbing scene in Italy and worldwide.

Club Soda: Live electronic ensemble, still dreamin' from their latest EP 'Basso e Batteria', which packs an unreleased track recorded directly from their house-flavoured jam sessions.

Lex (Athens) & Locke : A Greek producer who is well established in today's dance house scene, with quality-vibey releases and a very nice and classy and groovy sound. We will definitely hear from him in the future!

Hiroyuki Kato: Emerging Osaka-based multi-instrumentalist makes his debut with a very punchy and catchy track!

The Mechanical Man (feat. Bob Vito) : Neapolitan super producer. Raw-sounding, gritty, powerful and never dull, a pleasure to have him with us.



The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful silver cover.



Compiled by Simone Guerra aka Relative

Mastered by Francesco Brini (except track B1, Mastered by Marco Spaventi)

Distributed by Rubadub, Glasgow

Pressed by Desslab

Design by GLZ

We can't hide the fact that we're a Manchester label with some very strong feelings for the Red side of the city. Regardless of your tribal affiliation - whether you have one or not - Edric Connor's "Manchester United Calypso" is an undisputedly joyous, soulful classic. Like the bunch of bouncing Busby Babes the song sought to raise up, it's remarkable, stylish and profoundly memorable; and its magical legacy has only grown in the 70 years since it first surfaced.




A testament to its enduring brilliance, "Manchester United Calypso" is heard to this day on the terraces of Old Trafford and beyond. However, it's impossible to find a copy of the original 78rpm shellac release or, indeed, the 45rpm vinyl. So, we're delighted to reissue this unforgettable anthem - with Lord Kitchener's equally dazzling "Manchester Football Double" on the B-Side - and make it available on 7" vinyl to United fans of any vintage; as well as fans of vintage calypso fire! Featuring typically striking, specially commissioned artwork from the legendary Stan Chow, this record is a collectors item for the ages.


"Manchester,
Manchester United
A bunch of bouncing "Busby Babes",

They deserve to be knighted

If ever they're playing in your town,

You must get to that football ground

Take a lesson come to see,

Football taught by Matt Busby

Manchester,

Manchester United"



Whether you have United in your heart or not, "Manchester United Calypso" is a record that, like the best football teams in Old Trafford's history, swaggers with an addictive beauty that's impossible to ignore.
It's impossible to discuss the significance of the calypso without remembering what ultimately ripped through the heart of this most beloved youthful side.
Eight of the Babes who were celebrated in the Calypso tragically lost their lives on 6th February 1958 in the Munich air disaster.
Like the players and the club itself, the United calypso radiates a special type of magic and speaks to the spirit of United:
the demand to be fearless, unrelenting, creative and obliged to entertain the viewing public.



The Calypso was written by Eric Watterson and Ken Jones and sung by Edric Connor, who moved to England from Trinidad in 1944.
Connor is considered a pioneer, popularising calypso music, becoming the first black actor to perform with the Royal Shakespeare Company, setting up the Afro-Asian Caribbean Agency to represent Black and minority artists with his wife, Pearl and establishing a theatre workshop.
“I would think coming to this country right after the war, as Edric did, and getting into BBC radio, and moving among the people, he did a great deal of good for our own community,” Pearl once revealed.
He saw himself as a self-appointed ambassador for his country, Trinidad. We were very nationalistic back then. We believed we had a country worthy of recognition”.



The B-Side is another doozy.
Swoon along to Lord Kitchener's fantastically woozy "Manchester Football Double" - a fitting ode to the city where you'll "find football's headquarters".


Then and, after the 2024 FA Cup Final, now.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 7" well and truly soars.

The immaculate Record Industry pressing will ensure this sought-after gem finds a home in many more collections, from Manchester to Malta, Mumbai to Malaysia.

It is with great pleasure that we announce Mitchum Yacoub's debut album Living High in the Brass Empire_ a showcase in unique stylings of tropical funk, afrobeat, cumbia, and soul; a musical patchwork threaded by a heavy, hypnotic rhythm section and powerfully vibrant horn lines. What sounds like a 12-piece ensemble was actually mostly recorded and performed by Yacoub at his home in San Diego, featuring a few close friends from local groups Sure Fire Soul Ensemble and Boostive. The horn section is comprised of Travis Klein, Bradley Nash, and Wesley Etienne (featuring Todd Simon on "Los Muñequitos"), each with distinguished performances that send the music to higher heights. Nuanced vocalist Divina Jasso lends humanity and introspection throughout the head-nodding soul sounds of "Never Knew", latin dance anthem "Cumbia Divina", and the syncopated funk of "Empire". You'll hear rhythms from Colombia, folkloric percussion of Cuba, interlocking grooves à la Fela Kuti, 70's r&b influence, and something in between it all. Drawing many inspirations into a refreshing and unified record, we think you'll enjoy Living High in the Brass Empire.

Mariachiara Troianiello, the force behind Katatonic Silentio, continues her exploration of spatial and sound design, slicing various forms of dub while following her instincts and storytelling through each work.

Troianiello's music and live sets are known to be meditative, with each transition subliminally serving a purpose. As 'Axis Of Light' delves into five pieces for this EP, one can experience the drops and transitions connecting, gradually uncovering hidden meanings.

Written and produced by Mariachiara Troianiello
Artwork by Apolo Cacho
Layout by Takashi Makabe
Digital Master by Paul Mac
Mastered and cut by Simon at The Exchange

Three Quarter Skies – the new band formed by Simon Scott from Slowdive – release their
debut album Fade In on September 6. It was recorded by Simon and mixed with the help
of elusive Flying Saucer Attack mainman Dave Pearce.
The eight-track album includes the singles ‘Crows’ and ‘Leave A Light On’, a Nick Drake
cover and brand-new versions of ‘Holy Water’ and ‘Pieces Of Roslin’, which was originally
released on last year’s introductory EP, Universal Flames. While that grew out of a semiimprovised live recording, the new album is as focused as it is ferocious; a cohesive body
of work that came together after a fertile creative period following the death of Simon’s
mother earlier this year.

The Heads’ Simon Price returns to his kandodo project with 'theendisinpsych'; "primitive pieces of psychedelic tuneage+years of wasted time=43 minutes of headphone bliss." It's the follow up to the 2019 collaboration with Wayne Maskell and Hugo Morgan, Kandodo 3 – K3, but this time back in solo-mode. He is now relocated in Northumbria, and has recorded the album himself in his home studio, drawing on his wide collection of music/instruments and the rural environment for inspiration. The new album fizzes and crackles with a verve that will activate the “turn on, tune in, drop out” sense in all listeners… Simon explained the album in a focused/out of focus track by track way… is this Price’s paean to his obsession with Bowie? chamba7 - octave mandolin through fuzz, tambo beat, in praise of Bowie compilations. chamba is malawian weed theendisinpsych - bought a reel to reel tape off ebay in 2005, ('Bowie radio interview tape, USA, 1970, 3 minutes?') then bought a machine to play it on in 2015. Heard the words and laid them onto a fuzzy break bed. Thought it all too relevant to today, prophetic David from his 'hippy' days (not a prophet or a stone age man) fuzzy oceans - played on 1 string spamjo, bouncing echo over 70's drum machine, 'we've fucked the oceans' freefalling - rolling cello and hissing cymbals with vocoder dreams comes with african/stationtostation artwork stylings for the sleeve..pre-apocalypse blues (and pinks), the world isn't going a good way a sumptuous 4 course sonic supper, tuck in.

Spanish new grooves for the new era! The latest sample of some of the best tracks from the effervescent and creative new scene of funk, soul and R&B produced in Spain!

For the first time on vinyl! We present the fourth volume of the SAMPLADELIA series. After the resounding success of the previous volume, Enlace Funk magazine has selected sounds from funk, soul and R&B made in Spain 2023 and which are published for the first time on vinyl format.

The fourth installment of Sampladelia opens with an infectious tribute to Prince by Calequi, El Sr. Rojo brings then a bomb of raw hip hop and funk. Astrid Jones & The Blue Flaps delights us with their luxury soul and Chacho Brodas with the production by Griffi, surrounded by an all-star of names, offers solid R&B.

Lalo López ends the side A with his Limited Orchestra with the best electro funk hit. The B side starts with Julia Martín´s modern soul anthem with a positive message for the dance floor. The second track, the debut of Donny's Black Shoes, is a shocking declaration of principles that will give a lot to talk about.

Drunk In Palace updates the sound of the 80s in a personal way and Juli Giuliani brings the groove to the dancers. The last track, “Las paro todas” by Javier Simón offers R&B loaded with a message. This volume of Sampladelia presents the effervescent and creative new scene of proposals based on funk, soul and R&B made here in Spain and never before published in physical format.

Tracklist Side A A1. Calequi Y Las Panteras: Sandía A2. El Sr. Rojo: Dos Gatos A3. Astrid Jones & The Blue Flaps: Shine A4. Chacho Brodas: Sta. Mandanga A5. Lalo López Limited Orchestra: Contradicciones (Ft. Brigitte Emaga Y Kapi One) Side B B1. Julia Martín: Low B2. Donny´S Black Shoes: Why?! B3. Drunk In Palace: Hardfunk B4. Juli Giuliani: On My Way B5. Javier Simón: Las Paro Todas

VDR Remixes: Beyond Music

The concept for this remix album evolved gradually through various encounters and exchanges. Despite its complexity, the project would not have come to fruition without the firm dedication of each artist involved.

Artists were given the freedom to select any track from my discography for their remix. With no directives, the LP's magic emerged from their unique styles and creative visions, resulting in a diverse palette of tones and rhythms.

The first record opens with Stephen Brown's electrifying remix of Blunt's "Later For It," originally released on Bright Sounds. Stephen's reinterpretation infuses the track with dark, captivating techno.

On the B-side, Markus Suckut presents his masterful adaptation of "Thrust It," a track marking my first release. Following this, Sawlin transforms "The Venue" from The Cruiser series, infusing it with his signature 'Made by Sawlin' style.

The second record continues with two compelling versions of "Moon, Sea and Waves" by Alek S. These reinterpretations—one dub techno and the other Detroit-oriented—offer a unique and immersive vision of the B+A+D tracks, originally released on Newmont.

On the flip side, Joe Metzenmacher delivers a daring electro remix of "1NON1" on D1, followed by Sicaa's bass music rendition of "Archensweet" on D2.

The third record is entirely dedicated to remixes of the Ashppe series, which I hold dear. Drexl provides a powerful breakbeat cut of "Flexit," a true bomb. Simon Ferdinand from Polycarp Records, with whom I had the pleasure of working, captures the punch and melancholy of "Fudge It". The LP concludes with two Dub 3.0 adaptations of "Let's do it" by Anthony Cacharron, using the aliases Alpha GPC and Redrop, ending on an exploratory high note.

A heartfelt thank you to all the remixers for their boundless creativity and commitment to this project

Isik Kural returns with Moon in Gemini, a luminous scrapbook of slow-flowing narratives couched in intuitive and symbolic storytelling. Bending a playful take on environmental music to the folk song form, Isik's vocals coo atop pastoral field notes, airy chamber instrumentation and archival recordings culled from a curious musical life. A tender pastiche coalesces across the suite of Moon in Gemini's fourteen pieces, and Isik invites the listener to daydream as-deep-as-possible. "The songs on Moon in Gemini don't mind being slower or taking their time to reach the listener," says Isik, who wanted the title to speak to the album's dreamy, liminal nature. "I enjoyed how the phrase could be used to describe an object, a time or a place simultaneously," he explains. Similarly and subsequently, these songs contain a multiplicity of sonic artifacts, moments and spaces that span Isik's rich musical career to date. With the bulk of the album realized between Amasya, Turkey and Isik's current home in Glasgow, in both domestic and studio recording environments, additional tracks unearthed from his personal recording archive lend their lush patina. The record emerged as a fertile space to reimagine a handful of previously unreleased songs and unfinished ideas spanning the past fifteen years of his life and work, including streetside sounds documented while growing up in Turkey and recordings made while studying music engineering in Miami, Helsinki and Glasgow. Looking to the more recent past, Isik found himself wanting to build upon some of the methodologies and textures explored on his 2022 album in february, seeking a newly intimate, vocal-forward sound. He points to the track "film festival" from that album as a door through which to enter Moon in Gemini, where sample-based arrangements are presented in the context of asymmetrical "build ups and progressions" and ambience and vocals intertwine. Inspired in part by listening to iconic, if not sometimes misunderstood, singers such as Nina Simone, Aldous Harding and Ed Droste of Grizzly Bear, Isik aimed to carve out a new space for his voice on Moon in Gemini, experimenting with novel recording and mixing techniques. Captured at his aunt's farmhouse in Amasya during an extended three week recording session, we find Isik's vocal high in the mix, front-and-center and on newly expressive terms. As a songwriter, Isik is an intuitive and playful lyricist who allows his deep love of literature to flow through his off-kilter texts. Here, echoes of Silvina Ocampo's poem "Dialogues of the Silence" reverberate from the margins of "Most Beautiful Imaginary Dialogues". Likewise, Elliott Smith and Virgina Astley shapeshift through "Behind the Flowerpots," some lines of which were based on misheard lyrics from Smith's "Stickman" and Astley's "Some Small Hope." Attuned to the magic of happy coincidences, other unexpected "themes and connections between tracks flourished" during the recording process, resulting in some songs being more "thematically and lyrically connected to each other compared to previous records." The duos "Prelude" and "Interlude" as well as "Grown One Iota" and "After a Rain" explore connected stories, while "Almost a Ghost" and "Behind the Flowerpots" serendipitously emerged out of a conversation with Stephanie "Spefy" Roxanne Ward, whose balmy vocals heard highlighting in february return and call out to Isik's in sweet dialogue. Plumbing these new potentials of structure and songwriting, Isik also developed a taste for an expanded sonic palette, one enriched by the lulling undertones of live woodwinds and strings. The resulting collaborations with flutist Tenzin Stephen, harpist Kirstin McCarlie and clarinet player Giulia Tamborino envelop the record in an altogether "dreamier sound," swaying pastel and awash in lunar light. Moon in Gemini, brimming with natural imagery and lullaby-inflected tones, tunes into states of being where the wonder filled sound of everyday is heard and felt, perfectly imperfect in its poetry; where the invisible steps forward; where dauntless ghosts wait around every corner and play enriches the soul; where bird song fills sun-soaked afternoons and carries us on its wings into each enchanted evening. Isik Kural's Moon in Gemini will be released on vinyl, Japanese import CD, and digital editions on September 6, 2024. On behalf of Isik and RVNG, a portion of the proceeds from this release will benefit Mor Çaty Women's Shelter Foundation, whose social work at their solidarity centers and shelters supports women building lives unhindered by gender-based discrimination and male violence under free and equal conditions.

1999's 'Tilt' was the fifth album from The Lightning Seeds. The album features co-writes with Terry Hall, Stephen Jones and Mike Pickering and was produced by Simon Rogers with 'Get It Right' produced by Tim Simenon. The album saw the band incorporate a more electronic sound and is home to the singles 'Life's Too Short' and 'Sweetest Soul Sensations'. Avalable as x12 trk, Standard Black & Orange LP Vinyl formats.

Repress!

Condition is the 2019 debut, full-length album from Natty Reeves. 11 tracks painting internal monologues and complex feelings across mesmerising groove-driven melodies and brightly coloured guitar soundscapes.

“I wanted to create an honest musical reflection of my past year. Condition is an attempt to balance my perfectionist approach and the imperfections in day-to-day life. The album was made in my bedroom with some help from close friends.”

All music throughout is written, performed, mixed and mastered by Natty, with the exception of Living Lonely & Living Lonely (Reprise) in which he brought in his good friend and long-time collaborator, Simon Jefferis. As well as being an expression of himself as a musician, it was also an opportunity for Natty to show off his artistic side with a paintbrush – Using paintings he has created himself as the artworks throughout.

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Natty Reeves is a multi-instrumentalist, producer and singer-songwriter currently residing in Brighton, UK. Taking inspiration from the likes of Chet Baker, Blake Mills and Antonio Carlos Jobim, Natty produces music riddled with charm and honesty that blurs the lines between Soul, Jazz and Hip-Hop. Drawing from real-life events and human interactions, Natty's song-writing is simple but potent, often cutting straight to the core of an emotion with a single turn of phrase.

Wilson Simonal and Trio Mocotó provide a double dose of Brazilian classics for this Brazil 45’s 7 inch.

First up, an infectious, samba-MPB hit from one of Brazil’s most popular artists of the ‘60s and early ’70s, Wilson Simonal. Originally released on 7 inch by Odeon in 1967 and landing on Simonal’s Alegria, Alegria !!! album in the same year, ‘Nem Vem Que Nao Tem’s fame had a new lease of life in 2002 when it was used as part of the soundtrack to the critically acclaimed film, ‘City Of God’.

On the B side, one of Jorge Ben’s main backing bands and a group that was highly influential to his sound, Trio Mocotó. Alongside recording with Ben on the seminal Força Bruta, Negro É Lindo and Tábua de Esmeralda LPs, they were also key figures in the development of the samba rock sound – a fusion of samba, soul and rock influenced by music from the USA.

First appearing on Trio Mocotó’s self-titled 1977 Arlequim LP, ‘Nao Adianta’ is a dynamic orchestral-infused gem, laced with that sun-kissed, samba flavour.

Remastered with refreshed artwork.

Steve Moore returns to the library music fold and it's a total doozy: Cursed Objects is truly sensational prog-synth-wave. Featuring epic electronic explorations with chamber music and symphonic flourishes, it's our favourite thing Steve has ever done. In keeping with the horror heat of the music contained within, this vinyl release is frighteningly limited, with just 500 pressed for the world.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across hallowed labels like Future Times, Mexican Summer, LIES, Static Caravan, Kompakt, Death Waltz, Ghost Box and, of course, Be With Records.

Steve released Cursed Objects for fresh library label Fold. Run by ex-KPM head Paul Sandell, it's a library with values we can all get behind. It's the first production music platform working exclusively with independent labels, publishers and artists to create a truly authentic artist-led sound, at production music rates. Here's what Steve had to say: "I had worked with Paul before, at KPM. After he left, he mentioned that he had started a new library - Fold - and I was very interested in being a part. And I happened to be working on a bunch of music at the time that I thought could fit." So here we are!

The LP opens by letting in "The Uninvited One". Calm and relaxed arpeggiated synths build around sweeping strings and plucked harp to create a mystical and hopeful feel. The title track sees dark synths merge and swell with a piano, string and harp melody that is dark, mysterious and brooding. "Evolutionary Steps" is an electro synthwave track that builds with epic strings and beats, offering an expansive and dreamy approach with a mystical and driving rhythm. Next up, "The Icarus Feather" is daring, pulsing and cinematic synthwave that builds with arpeggiated synths to a hopeful end. "Daily Affirmations" offers calm and meditative ambient synths with plucked harp and strings for a reflective, peaceful, daydreamy feel.

“Mesmer's Bauble” ushers in side two, its dark synth backing builds with plucked harp and strings building with a sense of unknown and dread; it's introspective and heartfelt. "Quiet Springs" is all mystical synths, harps and strings, building to an epic panoramic scope with a hopeful and poignant atmosphere. "Festival Of Samhain" presents a dark and brooding piano melody which builds with synths and strings to create a slow and desolate feel. "The Icarus Feather (Revisited)" is epic building synthwave with arpeggiated synths and strings and a driving rhythm - the beat builds with the strings entering a forceful and marching mood. To close, "Shard Of Medusa" rides a serious and dark piano melody and, in concert with harp and strings, it creates a suspenseful and solemn atmosphere.

Steve recorded Cursed Objects, as always, at his home studio in Albany, NY. For synths, he mostly used his trusty Prophet 6, as well as his Moog Minitaur and lots of Korg Polysix too. But he also utilised a lot of virtual instruments - he doesn't have the budget for a full string section, or a harpist, alas.

The album’s cover was designed by Chris Stevenson. The artwork is a nod to first wave cyberpunk and in particular Neal Stephenson’s Snow Crash and the idea of mind viruses and cursed data. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at AIR Studios to be pressed in the Netherlands by Record Industry. Far from being cursed, this is another future classic library LP.

Reeling In The Weeks—which felt like Years — after my first Current 93 album, I had started on the difficult second C93 album, DOGS BLOOD RISING.

Having been asked to appear on both Top Of The Pops AND The Old Grey Whistle Test 93 times in the same week after the release of NATURE UNVEILED, I realised that God was telling me that I had hit on a winning formula of Christian eschatology and Apocalyptic Christian texts over a SoundScape As Cool As Flies, but that I was missing the vital ingredient of a Simon & Garfunkel song. DOGS BLOOD RISING — which I described to myself in a VISION as an album which hoped, wished, and made bad trips sound like good trips — was essentially the Mirror Night of NATURE UNVEILED, although only half of it was recorded at Roundhouse Studios. Squats were calling, and 8-track studios were all I was able to afford. DOGS BLOOD RISING didn’t chart, except in my NightSweats. Listening to it now, it makes me as restless as I was then, staring beyond the windows there, watching and praying for something, someone, anything, anyone.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

SWASTIKAS FOR NODDY is possibly, probably, maybe, or not, a seminal and sidereal masterpiece, the inspiration for 93,000 Masks On Nothings, none of which were Groovy. For me, well, it was my first Hallucinatory PickNick, and the skies turned Pixie Red for it.

I was given the album’s title during an Acid Trip: seeing Noddy Crucified In The Sky, I asked God what the most inappropriate BirthDay present for Noddy might be. God answered me from the Acid Whirlwind: “Swastikas!”

I recorded her in a run-down basement studio in West London, whilst I was simultaneously recording IMPERIUM. On playing the finished album to certain well-chosen friends, I was told by them that I had “destroyed Current 93”, and that it sounded like “demented children on drugs singing Simon & Garfunkel in a playground”. I then knew the album sounded exactly as I had dreamed it to sound, and as God had intended it to sound. Had I ditched the earlier darkness, and skipped into flowered fields? Great Black Time had already told me “NO!—GO!”

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Two classically trained musicians from vastly different traditions, MD Pallavi and Andi Otto came together to create a jewel of a record in ’Songs for Broken Ships’ and Multi Culti have whipped up a stunning remix package for it featuring Simone de Kunovich, Auntie Flo, Peter Power, Kaleema and more.

Hailing from Bangalore, trained in Hindustani music and poetry since childhood, MD Pallavi’s beautiful voice makes an elegant companion to cellist / composer / producer Andi Otto’s idiosyncratic and unconventional style. Andi’s music has featured on labels such as Shika Shika and Pingipung (which he co-runs and curates) and, of course, Multi Culti, who released his previous album ‘Bow Wave’ which featured his first collaboration with Pallavi.

While the heart of "Songs for Broken Ships" showcased the duo's unique meld of cross-cultural folktronica and acoustic ballads with MD Pallavi's poetic Kannada verses at the core, "Remixes from the Clouds” reframes these elements for a vast spectrum of electronic listeners and club go-ers.

An ethereal hypnotic techno re-interpretation of ‘Prayer to the Cloud’ from Italian producer Simone de Kunovich. Scottish ambient maestro and mushroom aficionado Auntie Flo's ecstatic reinterpretation of "Clockshop". Multi Culti veteran downtempo wizard Peter Power's organic and earthy rendition of "Prayer to the Cloud." The mystic sounds of Kaleema breathing new percussive life into "Clockshop". The package concludes with a 'prayer-a-pella' version of "Prayer to the Clouds", spotlighting MD Pallavi's vocals in their purest form, for DJs and producers seeking to slather their rhythms with spiritual voice.

The Multi Culti imaginarium also present an expanded digital package that includes mixes from Hannah Lee, Bliz Nochi & Emil Jourjou, Migramara, and Poligra. In the words of Shawn Christopher: "people from all nations, dancing together." Celestial harmony, one 12” at a time.

2024 Repress

140g schwarzes Vinyl, mit Spot UV-Sleeve, 2LP 45rpm. Das beste Post-Rock-Album aller Zeiten" - Fact Mag // ,Ihr Einfluss ist allgegenwärtig` - The Quietus // ,Mysteriös, eindringlich und atemberaubend visionär` - Allmusic // Bark Psychosis waren eine der innovativsten Bands ihrer Zeit und der Legende nach wurde der Begriff ,Post-Rock` erstmals von Musikkritiker Simon Reynolds verwendet. Nach mehreren Singles und EPs erschienen die avantgardistischen, auf Drones und Samples basierenden Klanglandschaften des 21-minütigen Titeltracks ,Scum" nur zwei Jahre vor ihrem bahnbrechenden Debüt ,Hex" (1994). Ihr Sound entstand aus ihren Improvisationen in einem provisorischen Studio in der St John's Church in Stratford. Die Fertigstellung von ,Hex" dauerte ein Jahr und brachte die Band an den Rand des Zusammenbruchs, so dass sie sich zum Zeitpunkt der Veröffentlichung bereits aufgelöst hatte. Indem sie ihre Songs zerlegten und im Studio neu zusammensetzten, entstanden charakteristische Ambient-Soundscapes und ein atmosphärischer, experimenteller Sound. Letztes Jahr hat das Fact Magazine das Album verdientermaßen auf den ersten Platz der ,30 Best Post-Rock Albums Of All Time" gesetzt. Neu gemastert im Jahr 2017 von den originalen analogen Bändern in den Metropolis Studios von Graham Sutton und Stuart Hawkes.

Tommy Musto digs deep to uncover his next unearthing from the DAT vaults that we all can’t wait to hear…and now, OWN! 4 mid 90’s NYC delights to bring that Red Zone, Club Zanzibar, Twilo, and Sound Factory vibe that Knuckles, Humphries, Sanchez, Simonelli, Master at Work, and Morales would have all been spinning.

Yours for a limited time. Buy or cry.

One of the greatest UK White Labels of all time. Terrestrial Funk brings you an absolute summer sensation over three decades delayed. Relegated to obscurity until now, this four track EP boasts the downtempo hit ‘Summertime’ alongside three electronic bangers… and mash. The dubbed out stabs of ‘Jennifer’ on the A2 and two never before heard versions of ‘Let’s Climb’. Feel the festival ready power of the ‘Come To Me Mix’ and lose yourself to the hypnotic squelch of the ‘Glad You Made It Dub’, ready for sweaty summer nights.

In the late eighties, Simon Akers and Jason Brown began producing in a quaint home studio. Later collaborating with likeminded talents through the early nineties. Terrestrial Funk has worked with the group to transfer all their old digital audio tapes and bring you a series of fresh music yet to see the light of day. Jacqueline Foster aka Jacquoda brought her stunning voice to the project on this massive single showcasing vocals that shine brighter than the summer sun. Grab your copy today!

It's difficult to ''label'' the songs of this authoritative and necessary official reissue (after the shameful fake of 10 years ago). ''Zombi'' and ''In the Land of the Zombi'' are two electro disco-funks from 1979, therefore from three years before was born the ''Italo-Disco'' style, certainly more powerful, aggressive and more electronic than the ''Made in Italy'' disco style of the 2nd half of the 70s (Fratelli La Bionda, Pino Presti, Claudio Simonetti, Celso Valli and others.). The creation of the original 7" by Salvatore Ida, great musician and bandleader - to whom this excellent reissue is dedicated - was a sort of game for the authors of the two pieces: Federico Ida and Massimo Ida, were protagonists 4 years before of the Italian progressive rock scene with the sister Silvana Ida, Marcello Surace and Franco Vinci thanks to the immeasurable and acclaimed album ''Apoteosi''. So The Zombies were destined to pair with another easy '79 joke by the Ida brothers: ''Let's Go'' and ''Mustang'' by Sandwich, also reissued on 12inch by Best Record Italy. The Zombies comes out with the original artwork of the time, but in a full embossed picture sleeve and released in the classic black vinyl and on red vinyl with black shades (limited edition with red copies numbered manually (1/250: 2/250 and so on...) What else to add except that: the two long versions of ''Zombi'' and ''In the Land of the Zombi'' were re-edited by Massimo Berardi, always diligent and active, as well as tidy and aware of where he was putting his hands, are fundamental in order to complete this 12" fully remastered by Dom Scuteri.

Milton + esperanza wurde 2023 in Brasilien aufgenommen und ist eine traumhafte Kollaboration und musikalische Verkörperung einer Freundschaft, die vor fast 15 Jahren begonnen hat. Das Album enthält
16 Tracks, die fünf von Nascimentos geliebten Klassikern feiern und neu interpretieren, neu geschriebene Originale von Spalding und faszinierende Interpretationen von „A Day In The Life“ von den Beatles und „Earth Song“ von Michael Jackson, neben anderen Werken, die liebevoll die Musik Brasiliens und weit darüber hinaus erkunden. Zu den besonderen Gastauftritten gehören Paul Simon, Dianne Reeves, Lianne La Havas, Maria Gadú, Tim Bernardes, Carolina Shorter, Shabaka Hutchings und andere. Milton +
Esperanza glänzt mit Duetten zwischen diesen beiden ikonischen Stimmen, exquisiter Musikalität und dem, was Spalding als zentrales Thema des Albums identifiziert: Die Bedeutung jüngerer Generationen, die mit den Älteren zusammen neue Räume schaffen, von ihnen lernen und neue Ideen entwickeln.

bring you a 7 inch scratchsafe™ battle record.

A narrow head-gauged deep cut non skip 7" DJ battle tool at 83bpm.

Standard scratch samples with AI generated voices from well known celebrities!


Featuring - Alex Jones, Bart Simpson, Kermit the Frog, Stan Marsh, Angry Male, Adam Sandler, Alan Partridge, Cleveland Brown, Jerry Springer, Rick Sanchez, Snoop Dogg, Donald Trump, Tucker Carlson, Eric Cartman, Stewie Griffin, Greta Thumburg, Arnold Schwarzenegger, Joe Rogan, Limmy, Peter Griffin, Peter Kay & Simon Cowell
Includes an additional x2 Portablist Lounge vinyl marker stickers for easy application
Digital download not available.

Weighing in at 40gms.

Steve Marion, the critically acclaimed-and completely wordless-songwriter and guitarist known as Delicate Steve, has unveiled a new album called Delicate Steve Sings. Is the album title a reference to the instantly recognizable "voice" of his guitar? Does he actually sing this time? Has he not been singing all along? That"s the crux of Sings-Marion is the rare guitarist where you can put on any of his records and know exactly who"s playing. In an indie rock landscape stuffed end-to-end with guitars and amplifiers, nobody else sounds like this. That unique voice has kept Steve busy in an unpredictable variety of settings. The sheer spread of his work outside his own records-collaborating with Miley Cyrus and Paul Simon, playing in Amen Dunes and the Black Keys, and being sampled by Kanye - doesn"t mean Steve"s a chameleon. It means he"s singular. Delicate Steve Sings is a record centered on channeling iconic voices with his guitar. In doing so, Marion is casting himself in the role of iconic singers like Willie who make standards their own. In the process, he reveals just how singular (dare we say iconic) that voice is. The guitar sings these songs-smoothly, sweetly, boldly, and on its own terms. Recorded with Jonathan Rado on bass, Kosta Galanopolous on drums, Renata Zeiguer providing strings, and co-writer Elliot Bergman, the album features both original songs with titles that suggest they might be new recordings of classics. "I"ll Be There" is smooth like a lost Bill Withers track; "Easy for You" isn"t the Elvis song of the same name, but there"s a hint of the king in there, in addition to Marion"s own takes onclassics such as the Emersons" "Baby," The Beatles" "Yesterday" and Otis Redding"s "These Arms of Mine." "You"re tapping into something universal and in the consciousness of pop music," Steve says-tacit permission for his guitar to drift into vocal expressions he"s internalized through years of close, repeated listening. Just like all the great singers.

As one of the most enigmatic figures of the 1970's Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the otherwise male-orientated business. * Strictly limited to 1000 copies.*
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Born in Rocca di Papa, near Rome, into a flourishing musical environment Emma was the younger sister of future award-winning composers Guido And Maurizio De Angelis, a duo, who under names like Oliver Onions and Dream Bags, would write chart-topping lyrical theme tunes for a wide range of Italian crime, Giallo and Spaghetti Western films featured alongside full scores by Ennio Morricone and the Magnetic System composers (Bixio Frizzi Tempera).
With encouragement from her brothers, Emma, who would also write music under the pseudonym of Juniper, would record a tight clutch of solo-penned material and seldom credited studio contributions to Guido And Maurizio's film commissions, such as the score for Giuliano Carnimeo's Simone e Matteo: Un gioco da ragazzi (aka Convoy Buddies). While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose up-and-coming Flirt label was finding success providing custom built mood music for use in TV and film. Alongside important composers like Alessandro Alessandroni, Gerardo Iacoucci and A. R. Luciani, the young Emma Di Angelis would record a small number of tracks for a compilation called Underground Mood (credited in the small print to E De Angelis - not to be confused with Italian singer Edoardo De Angelis). It is from this rare LP that the record you are now holding is compiled. Within the Flirt family of labels Emma De Angelis would also share schedules with other important female composers such as Daniela Casa and Giulia Kema' De Mutiis - both of whom have appeared on dedicated Finders Keepers releases.
The tracks on this record provide us with a rare glimpse into Emma De Angelis' short musical career before she became a full-time visual artist. With an unknown personnel or studio date it is easy to speculate a potential family jam in Piero Umiliani's Sound Workshop studio in 1972. One only has to take a listen to Guido And Maurizio's instrumental theme Gangster Story from Enzo G. Castellari's 1973 thriller High Crime (which later appeared on Tarantino's Death Proof soundtrack) or the trippy title theme to Paolo Poeti's kinky 1976 drama Inhibition to spot the family resemblance

It is limited to 140 sales copies on red vinyl and comes with an insert "Snax for Trax" detailing how to make a tasty snack to eat whilst enjoying the music.
The tracks are from co-label owner Inkipak who kicks off with a big breaks tune which rises and falls, followed by Toytronic label boss Gimmik exploring the outer limits of drum programming and acid. The b-side sees Detroit legend Brian Kage deliver an acid infused house track, and lastly Pop Out & Play (Simon Tappenden and co-label owner Wil Russell) combine talent for a dancefloor friendly techno/house track finally pressed on vinyl, as supported by Grum on his mixmag mix and featured on Air Frances dance radio station. This is limited to this pressing only.

Simon Huxtable’s alias Inhmost, returns to Tonight's Dream Records with a new album, Breaks & Dreams, a continuation of his 2022 release, Space & Awareness. This album is a captivating blend of deep baselines, downtempo breaks, and atmospheric ambient textures. Its rhythmic breaks and ethereal melodies create a nostalgic tranquillity that invites you to immerse yourself in its delicate atmosphere and let your mind wander and dream.

Back in 1993... Early acid Techno from the U.S. … Golden age of the Electronic Music... When Trance, techno and Breakbeat were one and only scene called Rave ! 25 years later, here comes a reisuue of these praised records, remastered by Isotop, cut by Simon The Exchange... The second vinyl brings 3 remixes : one from Biri & The Geezer for a bloody Hackney Acid style ! Another oldschool acid story for a familly meltdown... Then comes a Magy remake more than a remix, re-playing all instruments and all melodies entirely... Sampless tune ! For the last track we have this Big-Beat/Breakbeat version from Monstafunkaz... The remix EP coming with the album is the result from a little challenge remix done on social medias last year... Visual is from Artcoton.

Dark Horse Records is proud to release a very limited pressing of Nina Simone’s debut studio album Little Girl Blue, celebrating the album’s 65th anniversary. Originally released in February 1959, Dark Horse’s limited pink vinyl reissue includes a 12x12 insert with an introduction written by Dhani Harrison. Little Girl Blue includes some of Simone’s best-known tracks, including "My Baby Just Cares for Me" and “I Loves You, Porgy,” and even at this early stage in her career, listeners can hear the profound impact she would have on the musical landscape in the ensuing decades.

ohn Fahey’s Takoma label is best known for pushing the envelope when it comes to acoustic guitar playing, but in 1967 it released a record that has become one of the true cult classics of the ‘60s free jazz movement. Charles Martin Simon was an aspiring writer whose artist wife died in 1965. When he tried to pick up the torch and become an artist using her art supplies, he was, in his words, “reduced to nothing,” and thus created an alter ego or “psyche fragmentation,” Charlie Nothing. Under that moniker he became most famous for creating “dingulators,” working guitar sculptures made from parts of American cars; in 1967, though, he recorded The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic, an album consisting of two separate saxophone improvisations accompanied only with gong, tabla, and ukelele. Its cover adorned by Nothing’s own hand-drawn art, this record has since become not only something of a “secret handshake” among free jazz fans, but also a classic of outsider art, fitting right next to your Moondog records if not in sound than in spirit. For its first ever reissue in any format, we’ve gone back to the original tapes to present an all-analog release of The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic on black vinyl with the original art intact, offering an unfiltered experience of this man’s cracked genius. A memorable look ‘n’ listen to say the least.

Second album from the Lightning Seeds, originally released in 1992. Produced by Ian Broudie and Simon Rodgers, the album features hits 'Sense', co-written with long time writing partner Terry Hall and 'Flaming Sword', co-written with Paul Simpson. The album also features 'Life of Riley', which was used as the Goal of the Month music on Match of the Day. A x10 trk album, pressed on standard Black & Blue Vinyl versions.

3rd release for Simon Heslin aka SY on RAWAX!
He keeps the quality level again very high!
Big future-retro release - not to be missed.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


In anticipation of Gitkin's upcoming album in October, Wonderwheel drops a cheeky little 7" with two Latin covers from the man himself. The A-Side finds an instrumental Cumbia cover of the eternal 80s classic by The Human League. Leading with the guitar for the verses, the song chugs along nicely with a faithful interpretation of the original with Simon Moushabeck's accordion leading the chorus. On the flip, Gitkin covers Peru's infamous Grupo Celeste's 1975 classic "Mi Lamento" with friend and collaborator Gabe Case on vocals. Keeping with the Tropical Andean sound of the original, Gitkin's funky, wah wah guitars drive the track set over uptempo, cumbia inspired drums while Case's melodic vocals float on top. Two fun, happy tunes to light up dancefloors this summer!

After ""Down Two Then Left"" and ""Silk Degrees"", Boz Scaggs again worked with the members of Toto to create Middle Man; another amazing mix of soul, harder rock, slow ballads and catchy songs. The two singles Breakdown Dead Ahead and JoJo were two of his most successful, both reaching the Billboard Hot 100. The album itself reached the US album top 10 and went Platinum. Middle Man is available as a limited edition on crystal clear vinyl and includes an insert.

Squama regulars Enji and Popp join forces on ‘Nant’, the debut LP by their newly minted duo ‘Poeji’, exploring the confines of Post-Dub and Downtempo.
2022’s 3-track EP ‘031921 5.24 5.53’, released as a limited run of dubplates, was the first testament to their open approach to writing, which takes only very basic ideas and relies on non-verbal communication to define form and pace.
Enji’s vocals are less centre-stage than on her solo endeavors, piercing through reverb plates and guitar pedals while Simon inked his signature set of wooden and metal percussions with chains of tape echoes and analog delay.
Listening to ‘Nant’ as a snapshot of Poeji’s artistry at a certain time and place can instill a sense of gratitude within the listener that something so fleeting can be captured.

Coloured vinyl repress of Penguin Cafe album Rain Before Seven… A sense of optimism infuses Penguin Cafe’s fifth studio album, not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life... from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much- loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

Encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven... have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

Archeo Recordings' rewarding relationship with Tony Esposito continues on AR027, as the label provide a remastered reissue of his transcendent fusion-pop masterpiece "Pagaia" alongside a trio of brand new reworks from Perugia's mighty Feel Fly. Whether you're looking for cosmic house, mellow acid, trancey techno or dubby downbeat, these remixes have you covered, and the original remains a true work of art. Available in all good record stores on 12th July as a 50 copy super limited edition on Solid Blue Vinyl (including gadget scarf) and limited black vinyl edition.
50 copy Solid Blue Vinyl Edition (including gadget scarf), and also limited black vinyl run "Pagaia" hails from the Neapolitan percussionist's 1982 LP Tamburo, his first release for the brilliant Bubble imprint. Though the album delights and excites from start to finish, dancing through jazz-funk, Mediterranean pop, slow disco and smooth fusion, it's "Pagaia" which is first among equals. Esposito's nuanced hand drums lay the foundation for Claudio Pizzale, Sara Borsarini and Simona Pirone's wordless vocals, a life affirming chorus which carries us onto the swell of bass, piano and horns which drive the track through four and a half minutes of emotional release. Emphatic and expressive, the track transports the listener into a state of body moving rapture, all driven by Tony's rhythmic fluency. The song found its way into Italian living rooms over the credits of TV show Domenica In, and found its way into club culture thanks to fanatical support from the likes of Daniele Baldelli, who even included it on his first official Cosmic compilation.
Following a string of essential releases for the likes of Internasjonal, International Feel and New Interplanetary Melodies, Daniele Tomassini, better known as Feel Fly, now joins the Archeo family with a trio of contemporary club translations of the killer "Pagaia". The Perugian's "Cosmical Remix" extends that familiar introduction into a deep and DJ-friendly blend of drum and voice, awash with airy reverb and augmented by additional percussion, building through the original piano and bass into the churn of a dance floor wormhole. Driven by an unstoppable sequencer throb, the interpretation skirts the dark side of space before landing in the light of the miracle, those heavenly vocals and lush keys leading the way. The "Instrumental Cosmical Remix", not entirely instrumental, but utterly cosmical nonetheless, sees Daniele serve a tense and tracky arrangement of his first rework, perfect for deep space exploration. Stripped of the joyful exuberance of the original, this variation is a complex blend of shadowy trance idents and the mature techno we'd expect from the likes of François K. Not content with soundtracking either side of the peaktime, Feel Fly serves up a third version, following the Compass Point through a musical map of club-dub to turn out an immersive interpolation of deep bass, spring reverb and stabbing keys that sits perfectly beside the Rhythm & Sound catalogue. Each interpretation is an emphatic demonstration of Tomassini's musical talent, production prowess, and stylistic range, and furthermore a fitting tribute to the lasting genius of Esposito's original.

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

Things are getting better is a bold statement to make in a time when the world seems to be on the verge of world war 3 and the cost of living is rising beyond most of our reach. Five years ago when I started the Voices of Creation with Jack I knew the world would need new songs, new mantras and prayers for this new day that is dawning. We would need more faith, we would need love, we would need vision, and we would need each other. A part of every beginning is an ending, this is an observable law of nature. So it is with unyielding faith and a hopeful heart that I look out at this world and find reasons and ways to keep moving forward with love; making music that echoes with the sparks of this new world I’m working to see come into view. Things may be falling apart, old ways of being becoming unsustainable; death, war, chaos, genocide, famine, and floods; symptoms of the internal combustion of a society wracked with fear and given more access to weapons than to their own feelings.

This collection of songs are my testimony in a way, a sonic exploration of finding my faith and figuring out how to use my faith to navigate life and this great big old world after losing family (my mother Betty and my brother Keith) and in a way losing my sense of hope for what my future could even be. Through the writing and singing of these songs I healed myself of the doubt and mistrust of the unknown. I found a way to forge my faith into what is now a mighty sword of song, community, and ministry with the intention of healing myself and others. I’ve always felt as though melody and language were tools that could be agents of change and healing if used with intention and integrity. To witness the expanding joy and shared purpose grow within the choir and to see the contagious nature of faith and togetherness through our rehearsals and shows showed me how necessary it is to the human experience. This has been truly revelatory, further anchoring me in what I feel my purpose is on the planet; and that is to sing and bring to life more joy, peace, love, community, unity, faith, and praise. With more of those energies flowing around the planet, things will surely get better and better and better…ad infinitum. Word to Nina, Jimmy & Betty, and all my angels and ancestors riding wit me. We still here and God is still good.

"An artist's duty, as far as I'm concerned, is to reflect the times." Nina Simone

'The Masquerade Overture' war das Album, das Pendragon 1996 zu größerer Popularität verhalf. Es verkaufte sich über 90.000 Mal und wurde zu einem Maßstab für melodischen Progrock in den 1990er Jahren. Das Album wurde ursprünglich als 2-CD-Set mit den zusätzlichen Titeln 'Schizo' und 'King Of The Castle' veröffentlicht. Diese beiden Fan-Favorites sind seit 1997 nicht mehr erhältlich, und wurden nun nochmals diesen 2LP-Reissue beigefügt. Das aufwendig von Simon Williams illustrierte und wertig verarbeitete Gatefold kommt inkl. fester bedruckter Inner Sleeves sowie einer Lederoptik! Die Band tritt im Juli beim 'Final Night Of The Prog'-Festival als Headliner auf.

Following a ten-year hiatus, multi-instrumentalists Rafael Anton Irisarri and Benoît Pioulard return with »How to Color a Thousand Mistakes«, their third LP together as Orcas. Building on the electronic minimalism of »Orcas« (2012) and the Twin Peaks-inspired haze of »Yearling« (2014), the duo have expanded their sound and vision into a full-spectrum ensemble.

In the time since their last major collaboration, Irisarri and Pioulard have done plenty on their own, while also traversing significant life changes: relocation from Seattle to New York, separation and divorce, illness, hospitalizations, and the loss of siblings, parents, and friends. Yet from these tribulations, they gleaned inspiration to reconstruct their lives, creating music with new collaborators and partners. Recorded in a variety of studios and cities including Brooklyn, Cambridge, Oxford, Seattle, and upstate New York, the resulting album, under the tutelage of UK producer James Brown (Arctic Monkeys, Kevin Shields, Nine Inch Nails), is a patiently-crafted beast, equally inspired by impressionism, British new wave, and dream pop.

With Irisarri’s guidance and Brown’s encouragement, Pioulard brings his velvety voice to its harmonized peak on songs like »Wrong Way to Fall« and the Durutti Column-indebted »Fare«. Where his most recent solo albums for Morr Music (»Sylva« and »Eidetic«) navigated foggy forests of ambient pop and stacked tape loops, here his characteristic blur shifts into focus with a unique degree of clarity and confidence. »How fare against balance do I / Navigate my errors?«, Pioulard sings in a heartbreaking tenor, echoing the album’s broader themes of introspection, grief, loss, trial and trauma.

Lead single, »Riptide«, is a summary of Pioulard’s life changes and personal upheavals in the past decade, »flitting eastward toward a yen deep in the past« and learning to glide through the tumult of ocean waves, as a metaphor for the punches one takes in pursuit of grace. Its towering, key-changing midsection arrives with the monumental drumming of Slowdive’s Simon Scott, a long-time friend and cohort who appears on most songs in the set. Scott’s quintessentially English, jazzier approach offers a balance of force and restraint as the backdrop for Irisarri’s majestic guitars, analog synth lines, and Martin Heyne’s Fender Rhodes counterpoints.

Second single, »Next Life«, began as a sketch by Scott, and reached its final form in the hands of Pioulard and Irisarri, at a point that each had endured major concurrent losses, finding a commonality in the need to gaze over the horizon while acknowledging the unavoidable bittersweetness of letting go – not only of people, but of routines, places, and expectations. It’s one of Orcas’ most nuanced pieces, with a mid-tempo, sunset glow that unfolds into a sparkling, slide-guitar finale as it disappears in the rear view.

On third-act highlight, »Bruise«, Scott is doubled on the drum kit by MONO’s Dahm Majuri Cipolla, whose Liebezeit-influenced metronomy anchors a nimble bass groove from Andrew Tasselmyer (of Hotel Neon), and some of the album's most syncopated, spaced-out interplay, courtesy of Puerto Rican guitar player Orlando Méndez (a childhood friend of Irisarri’s). Originally a droney, fingerpicked guitar demo, »Bruise« is the most storied composition here, having gone through almost a dozen versions and lyrical edits, with Brown distilling hours of improvised performances into the final arrangement.

Throughout »How to Color a Thousand Mistakes«, Irisarri uses his deep well of production experience to paint the stereo field with meticulously designed textures, exemplified on the slow burn of »Heaven’s Despite« and the heady rush of »Swells«. As a mixing and mastering engineer with Black Knoll, he has built a client list that reads as a who’s-who of modern, forward-thinking composition, including Temporary Residence, All Saints Records, and Ghostly International, among many others.

As with previous collaborations, Irisarri and Pioulard bring disparate styles and specialties to the table, but with an interpersonal dynamic that transcends friendship into brotherhood, their open-minded workflow and mutual respect are evident at every turn. »How to Color a Thousand Mistakes« brims with tight, complex art rock songwriting, masterful production, and sonic versatility, informed by a plethora of genres and tonal hues. The title might promise answers, but the gravitational center of the album is the dawning realization that, as you reckon with the infinite whims of the cosmos, there could be none.

Entdecken Sie auf diesem schönen Vinyl eine besondere Auswahl von 14 Klassikern der Queens of Soul Music wieder. Mit Aretha Franklin - The Supremes mit Diana Ross - Nina Simone - The Shirelles...

2024 Repress

Innercity Griots, the second album from Freestyle Fellowship, is perhaps *the* essential West Coast left-field rap album of the early ’90s. Released in 1993 on 4th & Broadway, it’s a towering, progressive hip-hop masterpiece that expanded rap’s boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz.

The original single vinyl LP is now hideously scarce, and of course the sound suffers from not being officially released as a double. This Be With re-issue fixes both problems, and for completeness also includes “Pure Thought” from the CD version of the album. This incredible display of imaginative hip-hop sounds better than ever.

Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter - along with DJ Kiilu - forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city’s finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic.

Innercity Griots has been described as the Rosetta Stone for rap styles. The group’s dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city’s hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo.

With the bulk of the album’s production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard’s “Red Clay” and Miles Davis’s “Black Comedy” were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, “Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the ’50s without verging into jazz-rap parody. Their innate jazziness felt tangible and hard-earned”.

The unusual approach to the music was matched by the Fellowship’s lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism.

Remastered by Simon Francis for double vinyl and cut by Pete Norman, we hope this long-overdue re-issue of Innercity Griots satisfies the legions of fans that have since been bewitched by the majesty of this record. It should also introduce some new listeners to yet another overlooked classic.

Kiioto ist das Liebeskind von Lou Rhodes, der für den Mercury Prize nominierten Singer/Songwriterin und Mitbegründerin des Trip-Hop-Duos Lamb, und dem mehrfach mit Platin ausgezeichneten Songwriter und Keyboarder Rohan Heath. Gemeinsam haben sie ein Album aufgenommen, das gleichermaßen instinktiv und neugierig ist: "As Dust We Rise" basiert auf den Wegen, die die beiden bis zu diesem Punkt eingeschlagen haben, und ist getragen von einem Spirit ständiger Erkundung und Entdeckung.

Die Songs wurden in den Heimstudios von Lou und Rohan in London und Wiltshire geschrieben und teilweise aufgenommen und anschließend in das Studio des Produzenten Simon Byrt (Emiliana Torrini, Charlotte OC, Jessie Ware) gebracht. Zu den Mitwirkenden gehört Valerie Etienne von der Acid-Jazz-Band Galliano. Byrts Befürwortung analoger Aufnahmen und Vintage-Equipment erwies sich als entscheidend für den warmen und organischen Klang der Platte, der mit Hilfe von Gastmusikern an Live-Schlagzeug, Streichern, Bass, Gitarre und Horns liebevoll ins Leben gerufen wurde: kollaborative Prozesse, sagen Lou und Rohan, die sie auf ihrem nächsten Album weiterzuentwickeln beabsichtigen.

"Es ist eine Platte, die vor den großen Themen des Lebens nicht zurückschreckt", sagt Lou, "wir haben dafür irgendwie die Ärmel hochgekrempelt."

Inhaltsangabe:Lautes Gekrächze und Hilfeschreie schallen durch den Park. Peter eilt zu Hilfe, als ein Mann von einem wild gewordenen Schwarm Krähen attackiert wird.Mit ihren spitzen Schnäbeln hacken die Vögel wütend auf den Mann ein und lassen nur schwerlich von ihm ab. Was hat die Krähen so in Aufregung versetzt? Justus, Peter und Bob folgen dem Ruf der Krähen und stoßen auf ein geheimes Projekt, das die Zukunft der Menschheit auf den Kopf stellt. Sprecher:innen & MitwirkendeErzähler: Axel MilbergJustus Jonas, Erster Detektiv: Oliver RohrbeckPeter Shaw, Zweiter Detektiv: Jens WawrczeckBob Andrews, Recherchen und Archiv: Andreas FröhlichGoldie June: Uli HeissigGordon Dust: Till HagenRoy Hancock: Nicolas KönigKimberly Cryder: Viktoria FleerBuch und Effekte: André Minninger - Regie und Produktion: Heikedine KörtingRedaktion: Maike Müller - Titelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von André Minninger, erschienen im Kosmos Verlag, Stuttgart. © 2023Based on characters created by Robert Arthur. Mit freundlicher Genehmigung der Universität Michigan. Die drei ??? © 2024 Franckh-Kosmos Verlags-GmbH & Co. KG. (P) & © 2024 EUROPA a division of Sony Music Entertainment GmbH

Inhaltsangabe:Lautes Gekrächze und Hilfeschreie schallen durch den Park. Peter eilt zu Hilfe, als ein Mann von einem wild gewordenen Schwarm Krähen attackiert wird.Mit ihren spitzen Schnäbeln hacken die Vögel wütend auf den Mann ein und lassen nur schwerlich von ihm ab. Was hat die Krähen so in Aufregung versetzt? Justus, Peter und Bob folgen dem Ruf der Krähen und stoßen auf ein geheimes Projekt, das die Zukunft der Menschheit auf den Kopf stellt. Sprecher:innen & MitwirkendeErzähler: Axel MilbergJustus Jonas, Erster Detektiv: Oliver RohrbeckPeter Shaw, Zweiter Detektiv: Jens WawrczeckBob Andrews, Recherchen und Archiv: Andreas FröhlichGoldie June: Uli HeissigGordon Dust: Till HagenRoy Hancock: Nicolas KönigKimberly Cryder: Viktoria FleerBuch und Effekte: André Minninger - Regie und Produktion: Heikedine KörtingRedaktion: Maike Müller - Titelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von André Minninger, erschienen im Kosmos Verlag, Stuttgart. © 2023Based on characters created by Robert Arthur. Mit freundlicher Genehmigung der Universität Michigan. Die drei ??? © 2024 Franckh-Kosmos Verlags-GmbH & Co. KG. (P) & © 2024 EUROPA a division of Sony Music Entertainment GmbH

Limited edition "Coke Bottle Cloud" color vinyl with etched b-side. Australian duo Armlock make music for having your head in the clouds. On new album Seashell Angel Lucky Charm, Simon Lam and Hamish Mitchell bring you on a steady ascension through compressed and heavenly sonic realms. The band's second proper release, and first for Run For Cover Records, showcases the songwriters' experimental electronic roots through an indie rock lens. Free from distortion or overindulgence, Seashell Angel Lucky Charm is a collection of consistent rhythms decorated with clean guitar tones and eccentricities. Through playful layers of vocal harmony and minimal arrangements, Armlock capture the inventive and uncomplicated essence of Pinback or Alex G. Self-described as "indie rock with a touch of spirituality and emo", Armlock's journey into a higher realm is seeped with the looming confusion that comes with exploring the unknown. With an introverted demeanor, Armlock explores the human desire to find guidance in a world much bigger than its people. Every sound on Seashell Angel Lucky Charm feels precise and intentional, making the anthemic choruses on tracks like "Fear" and "El Oh Ve Ee'' feel expertly placed and pop-oriented. These two songs show Armlock's savvy with harmony as they use octaves of angelic sounds to stretch a simple one-word chorus until it soars with meaning. Unlike most indie rockers, Armlock use guitar as a tool in their belt rather than a vessel for songwriting. Where their 2021 EP Trust set foundations in downtempo acoustic guitar, Lam and Mitchell's evolved songwriting is a testament to where an electric guitar can amplify a song's groove, or usher in sonic space.

INSIDE is the third album (and second in a row on Brixton Records) by the respected ten-piece group from Barcelona that fuses Jamaican music and jazz. DROP COLLECTIVE bravely faces the so-called third album syndrome and makes a sincere declaration of principles, a public manifestation of their musical identity. The two sides of the album are clearly identified. Side A is Inside-Out, displaying five own-penned compositions, including three songs sung in Catalan and two in English, in which DROP COLLECTIVE make it clear what they like to do and what they are capable of offering. The album opens with "Com Estimo Jo" (The Way I Love), a reggae ballad composed by Andreu Domènech (baritone sax) that is dedicated to the growth and learning we do when we love. It is followed by "Let Us Dance", a fluid ska with Latin airs and an invitation to dance, which recaptures the sound of some of the most celebrated passages from their previous album. "Estel" (Star) is a melancholic reggae song, sung in Catalan, in homage to someone who is no longer here - "now you are the star that watches over us from up there, bright, bright". Prior to the release of this LP, four advance tracks have been published on digital platforms, but "Life's Too Short" is, perhaps, the album's single. This resounding reggae with a powerful brass section could have easily taken more elaborate instrumental and studio developments, however, the band has preferred to produce a compact track brimming with strength and lasting less than three minutes. “Ombra" (Shade) closes this side of the album with solemn roots sonorities. The B-side is Outside-In, four reinterpretations of jazz classics that DROP COLLECTIVE internalize, make their own and, therefore, also form part of their identity. The choice of pieces is hair-raising, because of the risks they take. "Yearnin'" is a cover of the song originally included in one of the most epic albums in the history of jazz, "The Blues and the Abstract Truth", by saxophonist Oliver Nelson. DROP COLLECTIVE take the song to their own territory with the skill and freshness of expert ska-jazzers and with the special collaboration of trumpeter Joan Mar Sauqué, they make one of the most famous riffs in jazz sound unashamedly contemporary and... Caribbean. "Day by Day" is an adaptation of the standard from the late forties of the last century that was part of the regular repertoire of, among others, Frank Sinatra. The result is a swinging ska love themed, sugary and romantic, with an exquisite interpretation. And to close the album, two extraordinary trials by fire for Maria del Rio, the band's vocalist, which she solves with total ease and mastery of the situation. "What a Little Moonlight Can Do", a composition by Harry Woods that the legendary Billie Holiday recorded in 1935 and which, after 90 years, still sounds fresh in up tempo ska mode, and "Sinnerman", a traditional spiritual from the early 20th century made popular worldwide by Nina Simone, becomes a lively ska-jazz with soulful touches and an infectious organ solo by Daniel Ferruz. INSIDE is an album with a compact, solid, and synchronous sound, but full of details, which gives a total sense of permanence and singularity to their skareggae- jazz mastery, in which many universes fit.

Iconic early 90's Ibiza downtempo sound, “Daybreak” would have undoubtedly been the soundtrack to many sunrises in the Baleares. Simon Monday mixes the essential ingredients for bliss in perfect balance, a production so simple yet so effective, no rocket-science just pure intuition, honesty and sharp club sense. All elements coming together to make such an effortlessly powerful sounding instrumental house classic that will forever stand the test of time. Repacked in this new remastered re-issue with full artwork and with 2 new mixes: an extended 9 minute dub version with a new religious edge to it along with an additional re-drummed percussion heavy “bonus beats” for good measure. A no brainer buy-on-sight release for any proper record collection, just in time for the summer season.

2024 Reissue

Although he rose to prominence in the NYC jazz scene, working as Nina Simone's exclusive touring pianist, he never blossomed as a solo artist, so he decided to take the plunge and create "Liberated Brother" on his own. This work, which was completed in just 2 days of rehearsal and 5 hours of recording with trusted musicians, is an important work that instantly boosted his popularity as a composer!

The opening title track, "Liberated Brother," is a Latin-taste instrumental covered by Weldon's mentor, Horace Silver. Freddie Hubbard, J.J.Johnson, Peter Hervorzeimer and others have covered "Mr. Clean", which has a complex melody but a memorable phrase. Stanley Turrentine covered jazz-funk "Sister Sanctified" with comical synth phrases, and the version was re-evaluated with the sampling of Boogie Down Productions' "My Philosophy". The album "A Tribute to Brother Weldon" released in 2004 on Stones Throw after Weldon's death covers Blakestra. And jazz funk with a strong blues taste, "Homey" is a super classic that was heavily played on the dance floor in the 90's. The simple and groovy drums with few sounds and the melancholy melodica played by Weldon are cool and very sophisticated songs, and I agree that it was useful in the rare groove scene.

A work that triggered the recognition of his talent as a composer, with such a large number of masterpieces recorded. Don't miss this opportunity!

"For A Fleeting Moment" is the result of the dialogue between the Swiss photographer Simone Kappeler and the Japanese musician Tomotsugu Nakamura initiated by IIKKI, between March 2023 and May 2024.

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the French label LAAPS.

Born in 1952 in Frauenfeld (Switzerland) where she lives and works, Simone Kappeler started taking pictures at the age of 11. After studying German literature and art history, she studied photography at the Zurich University of the Arts. During a three-month trip to the United States in 1981, she took her first pictures using cheap cameras, especially the Diana camera.
Hasselblad, Leica, Diana, Brownie, Polaroid, disposable camera, expired or infrared films, since 1970, Simone Kappeler has explored all types of photographic techniques. Her work, experimental and poetic, reveals to us the curiously foreign world that surrounds us.
Since 1982, ongoing projects in southern France and the Grisons.1982/83, studio in New York, conceptual photography and Super 8 films. 1983/84, theater photographer, Schauspielhaus Zürich. 2009, six-week photographic study of Japan, 2015 studio in New York. Her work was the subject of a first monograph: "Seile. Fluss. Nacht. Fotografien 1964–2011", edited by Hatje Cantz and is regularly exhibited in Galleries and Museum in Europe and United States.
For A Fleeting Moment is her first book gathered exclusively a part of her wide polaroid works from 2011 to 2023.

Fine Art Book, Ltd. to 700 copies:
Hardcover book printed on Glossy Modern Paper 170g/m2 // 104 pages, 19cm x 22.5cm, 66 photos // Front cover points and back cover logo embossed // Selective UV varnish // Hand-numbered.

For Patricia Kaas' her sixth album Dans Ma Chair, she went to New York to work together with the successful producer Phil Ramone (Ray Charles, Billy Joel, Paul Simon), Lyle Lovett and, for the second time, James Taylor. With Taylor, she recorded the duet ""Don't Let Me Be Lonely Tonight"". Two singles from the album received silver status, ""Je voudrais la connaître"" and ""Quand j'ai peur de tout"". The latter was written by Diane Warren and later succesfully translated and covered by Sugababes as ""Too Lost in You"". The album went to #1 in Belgium and reached the Top 10 in Finland, French, Germany, and Switzerland. Dans Ma Chair is available as a limited edition of 1000(?) individually numbered copies on red coloured vinyl and includes an insert.

There's not much to add, two of the greatest Heavy Psych bands of the scene join the forces to give birth to an incredible Split Album. Packed with 32 minutes of the highest quality heavy rock you can find out there; a joint venture which can happen only once every 100 years!! Heavy Psych king-pioneers Nebula bring to life three brand new songs, recorded expressly for this incredible project. Three new gems which follow their latest "Holy Shit" and "Transmission_." Black Rainbows add in three songs of their own, handpicked from the recording session of their latest success "Superskull", released back in 2023. Delivering two Stoner in-your-face Heavy Fuzz pieces and one Heavy Space tune to celebrate this awesome collaboration!! The cover art pairs perfectly with the vision and vibe of the album and is credited to the mighty Simon Berndt.

Yellow vinyl, limited to 400 copies. There's not much to add, two of the greatest Heavy Psych bands of the scene join the forces to give birth to an incredible Split Album. Packed with 32 minutes of the highest quality heavy rock you can find out there; a joint venture which can happen only once every 100 years!! Heavy Psych king-pioneers Nebula bring to life three brand new songs, recorded expressly for this incredible project. Three new gems which follow their latest "Holy Shit" and "Transmission_." Black Rainbows add in three songs of their own, handpicked from the recording session of their latest success "Superskull", released back in 2023. Delivering two Stoner in-your-face Heavy Fuzz pieces and one Heavy Space tune to celebrate this awesome collaboration!! The cover art pairs perfectly with the vision and vibe of the album and is credited to the mighty Simon Berndt.

“With their debut record, the merry order of musically miscreants from Los Angeles bring you their eccentric, eclectic, electric Polywave experience” The core members are: Neight Trion (The Black Angels, The Shine Brothers), Rocky (Death Valley Girls), Jay Eraser (Grooms, Roya), Oh-Ra (?) and Malware (Dead Meadow). Recorded and mixed by Jason Simon at Tekeli-li Sound. Mastered by Howie Weinberg "World Destroyers’ Pleasure Club is a musickal order formed during the great plague of the 20’s in Los Angeles in thanks to a constellation of fortuitous alignments. In the midst of the isolation that connected all people across the globe, in that unsettling quiet, a vision was obtained of community, ecstasy and revelry. The vision took on a life of its own as the band found each other and continues to propel the unit forward in their journey toward its realization. When asked to describe their strange, mutant music some fans and even members have found it difficult to do so. For this reason they have chosen the term Polywave as their designated genre which they envision as including other forms of expression besides music, a tendency to be hyper-eclectic and bearing the distinguishing mark of a commitment to continual, intentional self-transformation. WDPC has performed at venues such as Permanent Records Roadhouse, Zebulon, Lodge Room and more, both headlining and supporting artists such as The Intelligence, The Black Lips and The Nude Party. Nicknamed The Mysterious Party Band, they’ve been told they sound like a “Gospel Devo” by DJ Al Lover (Fuzz Club Records), and drawn comparisons to Talking Heads, The Fall, Butthole Surfers and Peter Gabriel. As influences they cite artists as varied as Hailu Mergia, Psychic TV, Scott Walker, Fela Kuti and Red Crayola but these influences don’t necessarily reveal themselves sonically as much as resembling the spirit in which they were conceived. Artist Neight Trion, the principal songwriter, spends as much time on the lyrics as composing the music, aiming for both to be strong enough to stand on their own. Membership includes a revolving and evolving collection of instrumentalists and collaborative mimetic entities but the core members are Neight Trion, singer/keyboards (The Black Angels, The Shine Brothers), Rocky, bass guitar (Death Valley Girls), Jay Eraser, guitar (Grooms, Roya), Oh-Ra, drums (?) and Malware, synth (Dead Meadow). Hailing from all across the US and Europe their operations are based in the Los Angeles area. Armed with their eponymous debut released by Blow Your Mind Records based in Santiago, Chile, they’ll be coming to a town near you and preparing the way for the coming Polywave. This is only the beginning, the first stages of metamorphosis. They invite you to join them in their pursuit of the communal ecstatic experience

Sometimes music is supposed to feel weird and indescribable. It’s the moments of clarity within the dense, sonic mess that often feels the most satisfying. That’s the space that Earth Tongue occupy. At times, their songs are shrill and disorientating, other times their reverb-washed textures and instantly- familiar hooks can wrap you in a warm, loving embrace. The one consistent thread through their music, however, is the thick and all encompassing fuzz. Guitarist Gussie Larkin has become a master of the fuzz-smothered riff, and along with Ezra Simons’ off-kilter drumming, they’ve been sending punters into transcendental states since they began gigging in their home town of Wellington, New Zealand in 2016. Floating Being will be released this June 21st. The album was pieced together throughout their travels of Australia and Europe, with the finishing touches being added in their hometown. The album contains songs they’ve been playing live for the past year, and it captures the raw, primitive energy that exists within their live performance. Earth Tongue embrace the imperfections in their playing and recording - drawing influence from early 70s psych and prog rock. The last thing they wanted was to create a shiny, over-produced record - with that in mind, they recorded the drums to an old 8-track Tascam reel-to-reel in a friend’s garage in Melbourne. The result is a punchy, raw and fuzzy journey into psych-rock with songs that weave between melodic and jarring. Unexpected twists and turns leave the listener in a disorientated yet satisfying haze.

Loud UK Drum & Bass and Roots Ragga Jungle. Masterpiece for Master Peace Jamasky ! Mastering is louder than ever... The sleeve is wicked ! Enjoy the little Jamaksy special speech bonus on track 5...

Gabriel Birnbaum cuts straight to the spiritual essence of the characters he inhabits, painting affecting and lovingly drawn scenes bolstered by cathartic hooks. Like one of his own espoused patron saints, Paul Simon, Birnbaum sets new challenges for himself with each recording, honing the nuts and bolts of his songcra and pinpointing unexpected new aesthetic contexts for it. The lush and psychedelic folk-rock songs on his new album Patron Saint of Tireless Losers confidently cut to the essence of his artistry, highlighting a mature narrative voice, and a consistently surprising musical syntax. As much as anything Birmbaum has put into the world, it's a tour de force that thrives on both self-assuredness and restlessness_marks of a crucial and constantly evolving artist whose work it's impossible to turn away from once you tap into its frequency.

THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.

So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.

Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.

Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!

"The Coroner's Gambit" wurde ursprünglich im Oktober 2000 veröffentlicht. Fünf der sechzehn Songs wurden im Studio von Simon Joyner in Omaha, Nebraska, aufgenommen, fünf weitere in John Darnielles Haus in Colo, Iowa, und der Rest in Ames. Das Album entstand langsam; die Mountain Goats hatten von von 1991 bis 1998 jedes Jahr Musik veröffentlicht, aber zwischen der Veröffentlichung der "New Asian Cinema" EP und "The Coroner's Gambit" verging das Jahr 1999 ohne eine offizielle Mountain Goats-Veröffentlichung. Die zusätzliche Zeit, die "The Coroner's Gambit" in Anspruch nahm hatte sich gelohnt: Es war ein Durchbruch für Darnielle als Songwriter und als Produzent des kompletten Albums, der sich als Gitarrist und auch stimmlich weiterentwickelt hatte. Seine Charaktere sind hier scharf gezeichnet, die makellose Überlieferung der Welten, in denen sie leben, bieten ihnen etwas Schutz vor dem Sturm. Die Mischung aus Heim- und Studioaufnahmen verleiht The Coroner's Gambit ein mitreißendes Gefühl der Unmittelbarkeit und deutete gleichzeitig in eine Zukunft, die die 2002 mit "All Hail West Texas" und "Tallahassee" anbrechen sollte. "The Coroner's Gambit" ist ein eigenständiges Meisterwerk, ein introspektives Epos, das Darnielles Ruf als einer der größten Songwriter unterstreicht, dessen Talent für bekenntnishafte Fabulierkunst nur wenige Rivalen kennt. In den Jahren nach der ursprünglichen Veröffentlichung von "The Coroner's Gambit" wurde es schwierig das Album in seiner Gesamtheit zu erfassen. Die LPs waren damals in einer Papiertüte untergebracht, bedruckt mit zusätzlichen von Darnielle verfassten Liner Notes. Eintausend Vinyl-Exemplare wurden herausgegeben und glaubt man den Berichten aus der Sammlerszene, haben weit weniger als eintausend dieser Papiertüten überlebt. So existiert der Text heute hauptsächlich durch Flickr-Alben und auf Fanseiten weiter. Die Neuauflage von 2024 kommt mit neuen Texten und Liner Notes von Darnielle für sowohl CD als auch LP.

Ein exzellenter Tribut an den Budapester Komponisten und Pianisten Stephen de Bastion, dessen Karriere in den 1930er Jahren grausam unterbrochen wurde, er aber die Schrecken überleben konnte. Kuratiert von seiner Enkelin Roxanne de Bastion, die - parallel zu ihrem Buch "The Piano Player Of Budepast" - mit diversen Musikern und dem Produzenten Simon Tong (Damon Albarn, The Verve) einen Schatz von Kassetten auswertete und die Stücke (teilweise auf Stephens Originalklavier in Berlin) liebevoll neu interpretierte. Entstanden ist ein zutiefst ergreifendes Album mit Stephens wundervoller Musik.

ChôKô Enûma composition is a 170 BPM sweet captivating sparkling acid Hardtek tune exploring sweetness : Instead of getting more and more violent, it goes more and more Trance with its evolution... Rare kind of tune !

Statek composition is a roaring threatening acid tribal track, mental stable secret weapon.

This time again, Cult Collective deliver a super sound :
Mastered by StefanZMK
Cut by Simon Davey at The Exchange.
Visuals by Collision.
Pressed at records Industry.

DJ Support: Don Letts (6 Music), Piet Blank Blank & Jones / Dj Ease Nightmares On Wax / Macca Nts Radio / Coyote / Mike Salta Music For Dreams / Pete Gooding / Layne Fox 40 Thieves / Chris Coco / Richard Dorfmeister Kruder & Dorfmeister / Bill Brewster / Simon Mills [Bent. Plus Loads More.

DJ Feedback:

Lovely laid-back vibes. Excellent! - Francois K [NYC, USA]

Ay what a beauty! Takes you away from the madness for a moment. - Macca (NTS)

Following on from Los Rayos Del Sol (2021) & the follow up Los Rayos In Dub (2022) NuNorthern Soul presents ‘Moonbeams’ by Ibiza based producer, per-cussionist and sunset selector, George Solar.

Inspired by nocturnal moods and illuminated by the moon in all its phases, this collection follows the vibrations of 'Los Rayos Del Sol.' It's a journey into night-time peace and harmony, embracing the moonlit atmosphere.

MEDIA LUNA (feat. Ken Fan)
Opening with angelic dubby downtempo, this track translated is 'Half Moon,' sets the tone for the night.

MOONBEAMS (feat. Ken Fan)
Featuring love poet JEN, 'Moonbeams' captures the rise of the moon and the message of love.

COUNTERMOON (feat. Ken Fan)
Originally a slower cumbia demo, this track evolved into a retro dance piece with a minimalistic touch. Reflecting the off-center vibe of lunar forces.

LUNATICOTINA (feat. Ken Fan)
A tribute to the global beats scene, this ritual tune incorporates grooves from all continents, dedicated to Ibiza's 'global beats' oasis LAYLAH venue.

O LUAR
Influenced by Samba vibes and the Brazilian approach to moonlight, this track combines Solar dub and cosmic stardust.

MOONBEAMS reprise (for KS)
A tribute to Klaus Schulze, a secret Solar Moon band member, this reprise is a spontaneous improvisation recorded in memory of the spiritual godfather.

*REMASTERED ROUGH TRADE 4 TRACK E.P LIMITED TO JUST 500 COPIES*

Everything on “Up Home!” is bigger, richer; the guitars are huge, as though they’re being played through the clouds, massive gusts of blue-green noise that move across the stereo spectrum like weather systems. “Baby Milk Snatcher” is built around face-flattening dub bass, with glinting piano and shards of guitar ricocheting through the song. “W.O.G.S.” is delirious to the point of expiration; “One Way Mirror” is their attempt at weird, lopsided ‘anti-funk’, the song’s melody crushed by avalanches of six-string interference. And the closing “Up” is AR Kane’s masterpiece, a disembodied thud pulsing at its heart as a six-note guitar melody spirals ever onward, Ayuli’s voice lost in its own reverie, hymning escapism via references to Jamaican political activist Marcus Garvey’s ‘black star line’.
• Jon Dale, lead review in Uncut Magazine
who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and
artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!
The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in
1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding
landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This
remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

ESCAPE MUSIC PRESS RELEASE first album entitled ‘Power’. Atlantic was never supposed to be a long term band and following its worldwide release Simon moved on to other writing, recording, production and mix projects. In the late nineties Simon met Mark Grimmett. He recorded several songs with Mark over the following few years and they decided at some point they would make a record together. Fast forward to 2021 Mark was talking to Simon about writing and recording a new album. Originally entitled the MGB Band, work started in the fall of 2021 … By early 2022 they had written a number of songs and they both felt they would best suit a new album under the Atlantic banner. Several members of Grim Reaper were recruited to give the Album an edge, whilst retaining the essential melodic rock/Aor feel that is Atlantic. Mark Pullin, Julian D.Hill and Ian Nash were duly recruited into the band along with keyboardist Gareth David Noon from Serpentine .. The lineup was to change later in the project with Simon and Tim Bristow taking over the keyboard role and the addition of Nick Burr and Andy Margrett on lead guitar. Work continued over the next year and finally the production was completed in late 2023. Mark Pullin stepped up to mix the album after some unforeseen issues at Simon’s studio and it was completed in March 2024. Escape Music had re released the original Power album and were absolutely the first choice to work with on the new album. Their new album “Another World” will be released exclusively by Escape Music, exciting times

Kairos Creature Club (KCC) is a new psychedelic rock project from Lena Simon (La Luz) and Glenn Van Dyke (BOYTOY). After years of playing in bands confined by genre, Van Dyke and Simon founded KCC definitively as an exploration of music. As an ever-evolving project, KCC is fueled by collaboration, the duo seeking out individuals who are moved by the moment, and subsequently capturing the minutiae when different combinations of artistry and creativity collide

Continuing from the release of Northern Soul Classics, this excellent value 2LP compilation brings together 40 essential tracks from a generation of artists inspired by gospel and rhythm and blues. Immerse yourself in the sweet soulful voices of Aretha Franklin, Marvin Gaye, Stevie Wonder, Nina Simone, The Supremes, Ike and Tina Turner and many more!

A Gilles Peterson-approved deep jazz-rap classic.

2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork.

Limited and Non-Returnable.

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this.

It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.