Search:sound of soul

Fantastic masterpiece, considered one of the best Italo-Disco songs ever. A mega-classic produced by Stefano Zito and Carlo Favilli (the latter passed away too soon) characterized by a heartbreaking melody and lush strings that exemplify the mood and rhythm of the Italo-Disco style with the use of some sounds of pre-bleepy keyboard and siren that technically make it one of the very first rave songs ever, inspiring the style of many artists that came later, like Duft Punk. However, many of them don't even come close with their imaginative computers to that bassline and string sounds that melted the souls of many of us back in that distant April 1983, even if it seems that part of the melodic line has been copied not very subtly by Casco from that of El Deux's Computer-Madchen released in 1982 in Switzerland, where Salvatore Cusato was working as a club-DJ. On the flip another excellent remix version by Danilo Braca of the song revisited a few years later. The confirmation of the wisdom and foresight of its producers, aware that the BPM would soon be lowered by a lot. In the more than 8 minutes of "Cyberlover" the constant melancholy background together with the drum/bass/synth lines are preserved intact, giving us a complete reissued product.

The apartheid boycott In the 80s, the world – rightly - stepped up its boycott against South Africa’s apartheid government. But this had unexpected and sometimes adverse consequences for South Africa’s music professionals and consumers. Musicians still needed to work live shows both at home and abroad, and to make and sell records. The youth still aspired to clubbing and partying at the weekend after hard, poorly paid jobs under the thumb of an oppressive government. Music was their sanctuary: specifically, African- American inspired soul, jazz, boogie, disco and funk. Unique diversity Producing musical excellence was nothing new for South Africa, even in the 80s: both traditional and jazz music of various genres had been performed, showcased and recorded for decades with the assistance of some of the most skilled and ingenious sound-engineers and producers in the world, the jazz players rivalling their American peers in many cases. But what makes Mzansi 80s popular music unique is that it had to – and for the most part, did- appeal to a multi-ethnic, multilingual population almost like no other in the world, for its geographical size. There may have been many tribal and political differences between Zulu, Sotho, Xhosa, Tsonga and others day-to-day, but when it came to the weekend, those differences often melted away for a while on the dancefloor. Paul Ndlovu had kwaZulu fans as well as Shangaan followers; Black Moses and the Soul Brothers had followers and fans with everyone..and so on. And everyone- detractors and lovers alike- were content to settle on the monicker ‘Bubblegum’ as a general description. Mzansi took disco- and slowed it down a bit.. ..exactly as 90s and early 2000s South African DJs and mixers took House- and slowed it down a bit to develop Kwaito, Gqom and – later – Amapiano. The Roland TR-707 sampler came along in 1985- at just the right time for the flowering of Mzansi disco and boogie. And in the artful hands of arrangers, engineers and producers such as Peter “Hitman’ Moticoe, whose work figures on several of the tracks here, it became something unique to South Africa. 'Yebo! Rare Mzansi Party Beats from Apartheid's Dying Years' compiled by John Armstrong is out BBE Music on x3 vinyl set in a gatefold sleeve, CD, and across digital platforms for download and streaming.

After the recently released cooperation album "Nathan Johnston & The Angels Of Libra", the Angels are now releasing their first own work. Warm analogue sounds and a lot of groove. Guest musicians include Milo Milone (Rhonda) and also Nathan Johnston on Revelations. The project came about in a Danish holiday home, where producer & guitarist Dennis Rux, keyboardist Chris Hartel, bassist David Nesselhauf and drummer Lucas Kochbeck spent two weeks together writing instrumental songs and recording them on a 1980s TASCAM 388 8-track tape recorder . A large number of songs were created, some of which the band released on an independent album with singer Nathan Johnston. Other songs, some with other guest musicians, are now finding their way onto this album. "Revelations" sounds so varied that it would simply not be enough to classify it as a soul album; soundtrack-like film noir passages can be found here as well as progressive space rock elements.

Repress coming!

A year on from 'Good Evening', the critically acclaimed collaborative album with Verb T & his
stellar contribution to Ocean Wisdom's UK TOP 40 'Wizville' album, producer Pitch 92 is
ready to show off his new works to the world, as he enters a new stage in his career and begins
to spread his wings as a solo artist. Known for his soulful sound, inspired by the likes of
Madlib, Pete Rock & J Dilla, Pitch 92 has carved out his own unique style and pulled out all the
stops for his debut release on High Focus Records.
Entitled 'Lost In Space', this new EP is a perfectly balanced mix of vocal and instrumental
tracks showcasing the raw talent of the Manchester based producer. Pitch 92 has assembled a
healthy roster of artists to work alongside, ranging from UK Hip Hop royalty to up & coming US
artists as well as accomplished musicians.
Spanning from UK Hip Hop favourites such as Jehst & Verb T, to new faces such as K S R ,
Sparkz and Doctor Outer as well as hooking up with Sony Music's Ashely Henry, one of the
UK's most accomplished jazz pianists as heard on 'One Handed' - Pitch 92, armed with his
trusty MPC, expertly provides the perfect backdrop to accommodate each of his guests, as well
as putting forward instrumentals that stand out as masterpieces in their own right, Pitch 92
applies finesse and the ability of a veteran producer, despite only being 26 years old - One
listen of lead single 'Lost In Space' featuring Jehst and Confucius MC is all you need to
confirm that we are indeed listening to a master at work.
In short, 'Lost In Space' is a production masterclass and serves as the perfect introduction to
the Pitch 92 sound, of which you will be hearing more and more, guaranteed.

The Healer is a critically acclaimed album by the legendary blues musician John Lee Hooker. Released in 1989, it stands as a testament to Hooker's profound influence on the genre and his ability to evolve his sound while staying true to his roots. The album showcases his distinctive guitar style, gritty vocals, and masterful storytelling, creating an immersive and emotionally charged musical experience.

The Healer features an impressive array of guest artists, each bringing their unique talents to the table. Renowned musicians such as Carlos Santana, Bonnie Raitt, Robert Cray, Canned Heat, and Los Lobos join forces with Hooker, creating a rich tapestry of blues, rock, and soul.

On the title track Hooker's deep, resonant voice combined with Santana's searing guitar work creates an unforgettable blues anthem that speaks to the power of music as a healing force. The lyrics are introspective, introspective, and poignant, reflecting on the struggles of life and the solace found in the blues.

Throughout the album, Hooker explores a range of themes, from love and loss to societal issues and personal introspection. Tracks like "I'm in the Mood" and "Baby Lee" exude a raw sensuality, showcasing Hooker's ability to infuse his music with passion and desire. Meanwhile, songs like "Cry Baby" and "The Healing Game" delve into deeper emotional territory, capturing the pain and resilience of the human spirit.

Hooker was 73 years of age when The Healer came out and earned his first — of many future — Grammy accolades, winning Best Traditional Blues Recording for "I'm In The Mood." This edition features lacquers cut by Bernie Grundman, and pressing on 180-gram vinyl at Quality Record Pressings, for superior sound.

With its exceptional musicianship, thought-provoking lyrics, and powerful collaborations, The Healer remains a standout album in John Lee Hooker's discography.

Suburban Architecture continue their series of now highly collectible 4 track EP releases with their 5th offering, 'Turning Point'. Following in the footsteps of 2022's 'Exploration' EP, this new collection once again draws heavily on influences from the jazzier, atmospheric strains of mid to late 90s Drum & Bass. Putting their own spin on sounds rooted in this golden era of dance music, the Turning Point EP delivers more of the London duo's trademark warm atmospheric production and Jungle-adjacent drum programming at a variety of tempos.

Opening track 'The Drifter' pulls no punches - Jazz Fusion flutes and delicate arps float over dreamy pads before giving way to a smashing Amen track, creating a classic roller with enough punch to hold a dancefloor. Title track 'Turning Point' delves further into Jazz Fusion sonics: underpinned by lush Rhodes, intricate drum programming sets the scene for a rousing vocal refrain and an atmospheric blend of flutes and horns. 'The Believer' delivers a similar blend of instrumentation, this time adding muted horns to the mix, building to a motivating, Soulful vocal hook. Closing out the EP 'Memoriam' lowers the tempo with a slo-mo roller placing deep, atmospheric pads and unexpected subtle guitar licks over a punchy, rolling drum track.

Byard Lancaster was a composer/multi-instrumentalist born in Philadelphia in 1942. He started playing alto saxophone at an early age and later took up flute and bass clarinet. While attending Berklee College of Music, Lancaster and pianist Dave Burrell organized late-night jam sessions with fellow students and touring musicians. In 1965, he moved to New York and quickly became part of the city's burgeoning scene – playing with jazz luminaries such as Archie Shepp, Sunny Murray, Bill Dixon and Marzette Watts.

It's Not Up To Us, Lancaster's 1968 debut as a leader, was originally released on Vortex, a subsidiary of Atlantic responsible for first albums by Chick Corea, Keith Jarrett and Sonny Sharrock. Featuring guitarist Sharrock (another Berklee alum), It's Not Up To Us is true fire music – fusing elements of free jazz, soul/R&B and traditional folk song.

On the opening title track, Lancaster's luminous flute draws the listener in, while bassist Jerome Hunter grounds the tune with a simple descending theme over Keno Speller and Eric Gravatt's syncopated rhythms. "John's Children," a reference to the group's status as post-Coltrane players, showcases the modal strumming of Sharrock's steady drones as Lancaster cries into the void. After repeated listens, Lancaster's original compositions become visceral aural memories ingrained in the ear, while the standards ("Misty" and "Over The Rainbow") sound the most avant-garde pieces on the album.

This first-time vinyl reissue is recommended for fans of Albert Ayler, Don Cherry and Pharoah Sanders.

Director's note : "My encounter with Wild Dee, the main actor in DOUBLEPLUSUNGOOD, was a determining factor in the making of this film. Not only are we strongly influenced by the same literary atmospheres - Among them American authors like Harry Crews, Iceberg Slim, N.Tosches and Belgian horror author Jean Ray - we also share the same cinematic tastes - low budget cinema be it French, Japanese or Spanish. Our main aim was to recreate the spirit, and play with and even subvert, the codes of Exploitation cinema. We also share the same taste for Rock & Roll, as our parallel musical backgrounds show. We were both singers in emblematic Belgian rock bands of the 80's and 90's - Wild Dee in The Wild Ones and me with Marine (79/81 - 3 singles with Les Disques du Crepuscule) and La Muerte (84/94 - 6 albums with Pias). The film's soundtrack, inspired by Francois de Roubaix, John Carpenter, Lalo Shiffrin, is like its second layer of dialogue: the original compositions of Renaud Mayeur (winner of the Magritte 2013 Belgian cinema awards for best soundtrack) and of J-M Lederman (Fat Gadget, TheThe, ... ), Moaning Cities, Ashtoreth, The Nick Leonardo Orchestra, The Manarays, Jack'O'Roonie. " A further thing that brings us together is something that has been with us since childhood and that we Belgians call: Belgitude...

Repress!

‘Shapes,’ the third album from London-based multi-instrumentalist, Robohands, fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character: “My favourite guitar sound achieved on this LP project is a Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings."

* Strictly limited-edition 12” vinyl in full colour sleeve
* Lemon D is an iconic name in the world of Jungle and Drum & Bass. He's been at the forefront of the scene since the 90s, producing pioneering tracks that blended breakbeats, hip-hop, and soul into a unique sound that was all his own. Releasing on some the most influential labels in the genre, including V, Metalheadz, Prototype Recordings, and of course his own imprint Valve.
* First releasing on V with the sonic depth charge that is 'I Can't Stop' in 1995, Lemon D has been part of the family since the start and with the release of this Legends 12", his second in the series, that partnership is still going strong! This new release features two previously unreleased tracks from the 90s, which have been carefully sourced and remastered from DAT by head honcho Bryan Gee for the ultimate listening experience. First up is 'Cold Chillin'' from circa 1996, and on the flip 'Get Loaded' from circa 1998/99
* The 'Legends' series is all about celebrating the classic sound that defined Jungle and D&B, and Lemon D is a key part of that. With his innovative productions and undeniable talent, Lemon D has helped shape the sound of a generation. These two tracks are a testament to Lemon D's incredible legacy in the Jungle and D&B world, and still sound as fresh
* We're celebrating 30 Years in the game this year and Lemon D has been a part of the family from the start, with tracks like 'Unexplored Terrain', 'Grimey', and '40Hz' amongst many others that are widely considered as timeless classics that have made a lasting impact on the genre.
* This vinyl release is a must-have for anyone who loves Jungle and Drum & Bass. The 'Legends' series is all about showcasing previously unreleased gems from the archives and taking fans on a journey through the history of the genre. So, don't miss out on this limited edition release and add a piece of Jungle and Drum & Bass history to your collection today!

Ravanelli Disco Club is a disco house label based in Marseille that was established 2019. Over its three short years they have worked with key artists including Ron Basejam, Jimpster, JKriv, Cody Currie, Retromigration, Joe Corti, and Scruscru, with releases in the wings by Prins Thomas and Pete Herbert.

Next up on Ravanelli Disco Club comes slick French duo Palavas who hail from the sun-drenched coast of the South of France, somewhere between Montpellier and Marseille. Named after the Pavalas resort - that was once the splendid queen of Mediterranean sandy beaches - the AZZUR Records founders are the epitome of the French dolce vita! With previous releases on Toucan Sound and Future Disco, their music is an intoxicating blend of nostalgia and cosmic futurism that dazzles discerning dancefloors every weekend with their shimmering solar odyssey.

On ‘Déesse D’été’ – which poetically translates to Summer Goddess - Palavas pay homage to the vibrant and infectious sound of the 80s, blending disco, funk, and new wave with a contemporary twist. This full-length journey provides us with a perfect summer soundtrack for the sunshine season, with upbeat rhythms and warm catchy melodies designed to get sun drenched bodies moving and grooving. Composed and sung in both French and English, the duo show case their tasteful aesthetic, versatility, and artistic flair effortlessly blending their musical influences resulting in a sound that is totally unique.

From the infectious beats of ‘We Are Strong Enough’ to the soulful ballad ‘One Night is Not Enough featuring Ryan Konline' or the new wave tribute ‘You Can't Get Away’, each cut is a beauty in its own right. Guaranteed to make you feel the warmth of the sun on your face and to lift your winter spirits.

Greg Paulus joins forces with fellow Brooklynite Taylor Bense for a new Freerange EP showcasing their left field, raw house sounds across three original tracks plus a bonus Martinez Brothers edit.

With previous releases appearing on labels as diverse as Soul Clap, Let’s Play House, Ghostly International and Kompakt, the producer, DJ and trumpeter is perhaps best known for being one half of No Regular Play who have recorded LP’s and EP’s for Wolf & Lamb, Crew Love, and Let’s Play House. Never one to be confined to one genre, Greg takes influence from Jazz, Funk, Hip Hop and underground house to form a unique sound primed for discerning dance floors. Taylor Bense is an in-house composer and producer at the highly regarded Hyperballad Studios in Brooklyn, where he works and records a wide spectrum of music for everything from high end commercial work to EP’s for Wolf + Lamb and Soul Clap Records. The entire EP was recorded and produced at Hyperballad Studios over the past few years.

Title track Heat Make Sense wears its Prince inspiration on its sleeve with a hooky whistled tune, crunchy live bass fills and punchy, raw beats. Next up we have Switch which features Brooklyn MC’s Stimulus and Malik Work on vocal duties and Greg’s own trumpet adding top lines to the deep pads and rolling groove.

Marino takes us back to golden era jacking Chicago house of the 00’s but with Greg’s trumpet flourishes bringing a live, jazzy energy to the track. Fellow NYC mainstay Big $exy provides his trademark deep baritone vocal to give a little hip house flavour. Closing out the EP we have NYC’s Martinez Brothers providing an uptempo minimal edit of Do You Love Me, a track from Greg’s previous Freerange EP. The MB’s keep things rolling and stripped back for maximum club impact creating a useful DJ tool whilst allowing Greg’s musical and vocal parts to shine.

Welcoming the inimitable DJ and Producer Dan Shake with his forthcoming EP Verde, set for release on May 26 2023.
Renowned for his infectious charm in the booth and an expert ear for funk, soul and disco rarities, the producer who cut teeth making maximum impact dancefloor groovers is now taking an introspective new direction. Dan was inspired after his relocation to Devon from London where a new found feeling of escapism and appreciation for nature allowed him to experiment with his own sound more than before, including using his own vocals at the forefront for the very first time.

Dan Shake (Daniel Rose-Weir) began his notoriety with the Mahogani Music released 3AM Jazz Club / Thinkin’ in 2014, using Moodymann’s seal of approval as a springboard for his ambitions. Even as dancefloor-igniting releases piled up year on year, such as the Ibiza-smashing ‘Claudia’s Trip’, or any number of Shake Tapes white label edits, Shake’s expertise as a DJ began to match his production chops. This makes for two combined sides of what Dan Shake represents: an explosion of colour, variety and flavour, no matter whether he’s jamming on a rotary in the booth, or juicing fresh joy from old samples in the studio. Basements, lofts, tents, festival stages with the production dialled up to 11 – all are welcome opportunities to let loose. But as his sound has evolved and his reputation as a killer DJ has grown, Shake’s love of connecting to the dancers in front of him has remained, well, unshakable.

"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
"

"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
"

Introducing the freshest entry to our Little Beat More family with the very debut album by Magnetic Tailors out now!


The self-titled 'Magnetic Tailors LP' showcases the diverse influences that have shaped the style of this emerging project straight from Marseille's deepest underground, in a perfect blend of two unique sounds that represent the very soul of the group. Half hip hop and soul, half reggae the album features some of the most talented African artists such as Bhekiwe, Indigo Saint and Adam Raad, as well as leading exponents of underground hip hop such as Blurum13, DJ Vadim's partner in the Oneself project, and Blacc El, protagonist, among others, of an exceptional duet with the amazing voice of Giulietta Passera, from Sweet Life Society and Mangaboo.


A sound that reflects the influences and roots of the Magnetic Tailors and their city, a vibrant place of encounter and contamination for very different cultures and realities that come together in a unique and original artistic expression.

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

As a member of seminal hip-hop group The Pharcyde, Fatlip helped expand the boundaries of the 1990s L.A. rap scene, releasing classic albums steeped in eccentric creative excursions rather than hard-edged gangsta bravado.

Following in those footsteps, acclaimed emcee Blu has been at the forefront of the independent hip-hop landscape since the late 2000s, narrating the full range of experience in the City of Angels with impressive lyrical ingenuity.

These two famed artists recently joined forces for the collaborative album Live From The End Of The World, a dazzling rhyme whirlwind boasting an overwhelming collection of West Coast lyrical talent, including Del The Funky Homosapien, Gift Of Gab, MC Eiht, and Ras Kass, along with members of iconic groups Jurassic 5, Tha Alkaholiks, Souls Of Mischief, Freestyle Fellowship, and Digital Underground. With production by Madlib, Nottz, Sa-Ra, Knxwledge, and Exile, the album is now available in physical form for the first time ever. This deluxe release includes two new bonus tracks featuring Slimkid3 (of The Pharcyde) and Pigeon John.

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. DIXIE CHICKEN (2023 REMASTER) [3:55]
[b] A2. TWO TRAINS (2023 REMASTER) [3:06]
[c] A3. ROLL UM EASY (2023 REMASTER) [2:30]
[d] A4. ON YOUR WAY DOWN (2023 REMASTER) [5:31]
[e] A5. KISS IT OFF (2023 REMASTER) [2:56]
[f] B1. FOOL YOURSELF (2023 REMASTER) [3:10]
[g] B2. WALKIN’ ALL NIGHT (2023 REMASTER) [3:35]
[h] B3. FAT MAN IN THE BATHTUB (2023 REMASTER) [4:29]
[i] B4. JULIETTE (2023 REMASTER) [3:20]
[j] B5. LAFAYETTE RAILROAD (2023 REMASTER) [3:40]
[k] C1. TWO TRAINS (DEMO) [3:19]
[l] C2. FAT MAN IN THE BATHTUB (DEMO) [3:56]
[m] C3. WALKIN’ ALL NIGHT (ALTERNATE VERSION)* [3:40]
[n] C4. ROLL UM EASY (ALTERNATE VERSION)* [2:36]
[o] C5. ON YOUR WAY DOWN (ALTERNATE VERSION)* [5:57]
[p] D1. ELDORADO SLIM [4:42]
[q] D2. JULIETTE (ALTERNATE VERSION)* [3:34]
[r] D3. HI ROLLER (ACE IN THE HOLE) [3:27]
[s] D4. DIXIE CHICKEN (ALTERNATE VERSION)* [4:06]
[t] E1. TWO TRAINS (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:23]
[u] E2. GOT NO SHADOW (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:35]
[v] E3. ON YOUR WAY DOWN (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:26]
[w] F1. WALKIN’ ALL NIGHT (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)*[3:34]
[x] F2. FAT MAN IN THE BATHTUB (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [5:31]
[y] F3. WILLIN’ (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [4:31]
[z] F4. A APOLITICAL BLUES (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:33]

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. EASY TO SLIP (2023 REMASTER) [3:19]
[b] A2. COLD, COLD COLD (2023 REMASTER) [3:58]
[c] A3. TROUBLE (2023 REMASTER) [2:15]
[d] A4. TRIPE FACE BOOGIE (2023 REMASTER) [3:14]
[e] A5. WILLIN’ (2023 REMASTER) [2:54]
[f] A6. A APOLITICAL BLUES (2023 REMASTER) [3:25]
[g] B1. SAILIN’ SHOES (2023 REMASTER) [2:49]
[h] B2. TEENAGE NERVOUS BREAKDOWN (2023 REMASTER) [2:10]
[i] B3. GOT NO SHADOW (2023 REMASTER) [5:05]
[j] B4. CAT FEVER (2023 REMASTER) [4:35]
[k] B5. TEXAS ROSE CAFE (2023 REMASTER) [3:43]
[l] C1. SAILIN’ SHOES (DEMO)* [2:57]
[m] C2. EASY TO FALL (EASY TO SLIP) [DEMO FOR DOOBIE BROS.] [2:41]
[n] C3. TEXAS ROSE CAFÉ (DEMO FOR DOOBIE BROS.) [3:24]
[o] C4. COLD, COLD, COLD (ALTERNATE VERSION)* [4:17]
[p] C5. ROTO/TONE [4:07]
[q] D1. A APOLITICAL BLUES (ALTERNATE VERSION)* [3:46]
[r] D2. BOOGIE – TRIPE FACE BOOGIE [3:58]
[s] D3. TROUBLE (ALTERNATE VERSION)* [2:23]
[t] D4. DORIVILLE [2:44]
[u] D5. WILLIN’ (ALTERNATE VERSION)* [3:00]

[w] E1. TRIPE FACE BOOGIE (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:30]
[x] E2. HAMBURGER MIDNIGHT (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:41]
[y] E3. CAT FEVER (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)*[5:19]
[z] E4. WILLIN’ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:06]
[xa] E5. STRAWBERRY FLATS (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:11]
[xb] F1. GOT NO SHADOW (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [5:08]
[xc] F2. TEXAS ROSE CAFÉ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:05]
[xd] F3. SNAKES ON EVERYTHING (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:18]
[xe] F4. HOT ROD (ELDORADO SLIM) [LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71]* [5:08]

Now, this release is really special. Warsaw's finest producer, envee (yes spelled in lower case) has been around the block since the early 2000s and is arguably Poland's #1 producer of underground dance music...with soul.

With a sound that often leans towards the UK underground, we thought that we should enlist one of envee's (and our) fave producers to remix his new Local Talk release; Manchester’s finest Zed Bias.

We asked Zed to give us that deep, soulful 2-Step rub but with a slight jazz edge and boy did he deliver.
Not only did he remix one of the tracks, he got so inspired and remixed both tracks...don!
It's proper UK deep UK 2-step / garage that will work in any (!) decent club. Yup it's that good.

We of course need to mention the original mixes from envee himself.
Sum Luv is a warm and melodic hip hop / soul jam with a slight Dilla(ish) backbeat. A proper tune!
Styrax sounds like a killer jazz-funk banger straight out the Bugz In The Attic playbook with jazzy Rhodes, breakbeats, big strings, and a bad bassline. West London meets Wars aw...bam!!

Repress!

Leeds soul and funk label ATA Records are proud to announce the new single from The Sorcerers. Available on 7" vinyl and Digital Download from Friday 30th March, this single is a driving Ethiojazz track aimed squarely at the dancefloor, backed by the Yorkshire Film & Television's original recording of "The Anderson Spectrum" (Later re-recorded and re-named by The Sorcerers as "The Viking Of 5th Avenue")

Taking influences from Ethiopiques Ethiojazz as well as the soundtracks to the European horror films of the 60s and 70s, The Sorcerers seamlessly blend these disparate elements into one cohesive package. Based in ATA Records' home of Leeds, The Sorcerers are made up of the cream of the city's jazz and world scene. Forming the backbone of the ATA Records house band they incorporate bass clarinets, flutes, and vibraphone alongside bass, guitar organ and drums, providing Ellingtonian textures on top of a solid rhythmic foundation.

Initially inspired by the work of Ethiopian composer Mulatu Astatke, The Sorcerers have developed their sound from the foundations laid out on their debut LP "The Sorcerers"."In pursuit of Shai Hulud" eschews the atmospheric textures of their previous material, replacing them with driving percussion and propulsive bass. Organ and flute tear into the melody as temple blocks beat out an insistent rhythm throughout.

The B-Side ("The Anderson Spectrum") is the original track from The Yorkshire Film & Television Orchestra that The Sorcerers re-recorded and re-named "The Viking Of 5th Avenue" when they recorded it for their debut. Tremolo-fuzz guitar and heavy brass place the track firmly in the sonic realm of 1960s British Library Music, bringing to mind the work of John Barry and Portishead rather than Mulatu Astatke.

Four years on from his explorative third full-length ‘Aquamarine,’ Londoner Ash Walker returns with an equally ambitious follow-up, set for release via Night Time Stories on 30th June. Alongside a plethora of award-winning collaborators and combining a dizzy- ing array of sounds, ‘Astronaut’ hears Walker push his astral shower of rhythm and vibes to new heights. If 'Aquamarine’ was the take-off of his audial spaceship, ‘Astronaut’ is the cosmic voyage reaching terminal velocity; a rocket-powered masterclass spanning jazz, blues, soul, funk, and reggae.
An avid record collector, Walker has DJed far and wide... from the infamous Royal Mail squat party to the canals of Venice, spinning vinyl in Brixton with The Specials to scattering dub across San Francisco and LA. His own production output is similarly explor- atory: his journeys have taken him far and wide, from tunnels under the river Thames to recording local percussionists in the Atlas mountains of Morocco. Inspired by a deep dive of sounds from artists includ- ing Duke Ellington, Quincy Jones, King Tubby, Bo Diddley, 4Hero, J Dilla, Pete Rock, Curtis Mayfield, Philip Glass, and Steve Reich; his first two albums, ‘Augmented 7th’ (2015) and ‘Echo Chamber’ (2016) gained attention from the likes of BBC 6 Music DJs Gilles Peterson, Don Letts and Gideon Coe.

Music follows strange paths, goes where it wants, always. This is how music created for use only as a background for adult films in the 70s today sounds so current, sophisticated, groovy and cool.

In this new chapter of Sexopolis "Beyond The Valley Of The Beats" ( Pornobeats ), we will in fact find songs "for adult listeners" who have made non-trivial musical research their final destination. 23 soul, funk, jazz, lounge and more songs that are not so easy to label with a musical genre, believe me.

18 of the songs in this selection have never been made on phonographic support before, a real "first time" that you can discover with all the taste, curiosity and kindness due, please.

The fourth chapter of the Sexopolis series is certainly the most alternative and ambitious, the result of an accurate and difficult musical research that will satisfy listeners at all times. The turquoise double vinyl is as always a limited edition. Then, all that remains is to add it to your collection and ... make your own mental private film.

Enjoy!

„Phyktoria“ is the first album of Stavros Tilkeridis aka Second Tension. Very few projects have managed to develop such an unmistakable signature sound as it is laid out on this album and the two previous EP’s on Persephonic Sirens. Hailing from Central Macedonia, Second Tension influences of Greek cultural and mythological heritage are obvious while the music acquires transcendence through relentless loops of maximal euphoria and hypnotism. Effortlessly Stavros conducts crispy noise experiments without ever sounding academic or nihilistic. Literally uncompromising.

Lost soul phenomenon Lewis Taylor's Numb finally arrives on double vinyl! One of UK soul’s most fascinating artists, most enigmatic figures and most under-appreciated talents, Andrew Lewis Taylor is a prodigious multi-instrumentalist and eclectic polymath. He enjoys a fiercely loyal following which, over the years, has included celebrity champions like Bowie, Elton and D'Angelo. Numb is Taylor's sixth album, initially released on his own label Slow Reality (an anagram of his name) and licensed to Be With for this long-awaited physical edition. It captures Taylor's wholly unique, intoxicating take on lush, late-night psychedelic soul music.

Lewis wrote and recorded these 10 brand new tracks after a 17 year break from making music, although the album came together over a two-year period. The years away have done nothing to dull Taylor's unique musical vision. He still astounds. The lyrical themes, however, have shifted. Understandably, more than a decade and a half of soul searching and unflinching self-examination cannot fail to influence this most honest of songwriters, and boy does it show. Numb marks a return to the darker, more mysterious side of his output: "Brian Wilson-channels-Smokey Robinson atmospheres", as Mojo put it recently.

After playing a rapturously received gig at the Bowery Ballroom in NYC in 2006, Lewis unceremoniously walked away from music and disappeared completely. An interview in 2016 shed light on some of the reasons for Taylor’s withdrawal from the business, but there was no hint of a return anytime soon. Then in June 2021, news emerged out of the blue that he was readying new music alongside Sabina Smyth with whom he had worked first time around.

On Numb, Lewis deftly balances stark, soul-bearing lyrics with moody mid-tempo pop-soul sheen. He deals candidly with depression, mental turmoil, even thoughts of suicide - clearly more personal than Taylor's earlier songs. The music is rich, warm and layered, with infectious melodies and hooks that stick with you. A true grower of an LP, it really does reward repeated listens. As Jim Irvin in Mojo reflected, "despite the depths these plumb, it's a curiously uplifting experience, unfurling like a concept album about life's challenges with an optimistic beauty at its heart."

Triumphant dubwise horns ring out yet, almost instantly, “Final Hour” takes on a dark, downbeat vibe. With lyrics that confront (and, seemingly, confound) death head-on, Lewis ensures the groove is still there, the beats still swing and your head still nods, strings glissade. Woven around delicate yet insistent piano and subtle strings over a killer bassline, the title track “Numb” is a good example of the lyrical themes throughout the album. As Taylor reflects, "So removed I feel no pain / And for all I know I could be having the time of my life" with a coda that feels very much in conversation with Brian Wilson's finest harmonies. "Feels So Good" is sophisticated 90s-sounding soul of the highest order. The music and vocals feel simultaneously optimistic and despondent. Downlifting. A neat trick, and one Lewis has been so adept at over the years. "Apathy" is a mini-epic, a symphonic-soul gem which builds and glides and, eventually, soars. “Worried Mind" is another slow-builder, creeping out the gate in a sketchy, discordant fashion before climbing to half-crescendo but never quite breaking free of its disorientating restraint.

The brighter "Please" presents a more hopeful mood, with the refrain "I still believe" ringing out as Lewis harmonises with himself. "Brave Heart" quietly struts from step one, as Lewis's falsetto swaggers over a downtempo backdrop with ace echoey drums, beautiful strings and serene electric guitar. Closing out Side C, "Is It Cool" answers its own (non-) question with a spellbinding five and a half minutes of swoonsome deep soul that oscillates between a restrained, barely-there backdrop and a lushly full musical accompaniment of acoustic and electric guitar and organ over bass and slick drums. The penultimate track "Nearer" is a magical, soul-stirring ballad in which Lewis sings of reaching a sweet salvation and achieving a peace of mind. If the hairs on the back of your neck aren't standing up by the midway point, you might need to check your pulse. Album closer and true tear-jerker "Being Broken" places Lewis's gorgeous voice high in the mix and the wordless falsetto and melodies invite you to ponder what Pet Sounds might sound like if it were refashioned as a dubby 21st Century electronic soul album. Astonishing.

Simon Francis’s vinyl mastering spreads out the ten tracks over a double LP so, as ever, nothing is compromised. And as usual, the records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Turn it up and let the Lewis Taylor sound envelop you.

Stoned Part I was the first self-released album from lost soul phenomenon Lewis Taylor. His third album proper, it was initially released on his own label Slow Reality in 2002 and it's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. The songs are varied, hook filled and outstanding. Beloved by his legions of diehard fans, it's nothing short of a masterpiece.

After parting ways with Island, and without a label deal, Lewis went back to his home studio and began to record Stoned Part I in 2001. Co-written and co-produced with longtime collaborator Sabina Smyth, Lewis sings and plays all the instruments on this beautiful, emotional and very human album. It represents Lewis at his most accessible and finds him in the middle ground between his two Island releases. In some ways, Stoned Part I distills the best of his musical sensibilities. The flawless production is dense, layered and very early-2000s slick. The bottom end is thick, funky and sexy.

The complex, proggy-soul of title track "Stoned" opens the album and instantly captivates. Deep swinging funk with truly sweet soulful vocals, complemented by wah-wah guitar and swelling acidic synths. As Lewis himself told us, the ad libs at the end of the track were a nod to Paul McCartney at the end of "Hey Jude". Fan favourite "Positively Beautiful" has shades of Curtis and Marvin; its richly layered harmonies propelled by a simple, metronomic click-track that gives way to a more fully fleshed beat for the magnificent coda.

The slow, sweeping majesty of "Lewis IV" is all moody atmosphere, featuring dense, richly textured music and heavenly multi-tracked harmonies. The stop-you-in-your-tracks incredible "Send Me An Angel" could have been a huge AM radio hit, beautifully crafted sophisticated soul-pop songwriting in the vein of the very best Sade records. Yep! *That good* The smooth, psychedelia-lite "Til The Morning Light" is a gorgeous, sun-dappled love song, layered with Lewis' distinctive honey drenched vocals and, again, the type of record you could've easily heard all over the radio at the time of initial release.

The remarkable, wide-eyed "Shame" packs so many shifting styles into one song, it has to be heard to be believed. Opening in a laconic, breezy style, not unlike a Dallas Austin or Rodney Jerkins produced R&B hit of the day, it morphs into a heavy psych-soul Soulaquarians wig-out (the solo bearing an uncanny resemblance to Carlos Santana’s on "She’s Not There") before elegantly sliding into string-assisted symphonic soul and then back around again. And again. Sheer brilliance. The sublime, gentle head-nod funk-soul of "When Will I Ever Learn" (Part 1) is a strikingly well-turned-out tune, a neat, sweet bass-driven guitar-soul jam that ensures our jaw won't be leaving the floor anytime soon. "Lovin’ U More" sounds like a classic turn-of-the-century Neptunes production, the likes of which they'd lay on for JT BITD. A Latin-tinged groover with more than a little Nile Rodgers-driven slick funk stylings, it's yet another instant Lewis bomb with those gorgeous harmonies and chart-friendly irresistible key-changes to boot. Another indisputable (non-)HIT!

The funky seductive swagger of "From The Day We Met - Part II" opens the final side of wax, giving way to the gigantic buzzing synth-funk beast "Lovelight", a track so insouciantly mighty it should have been a massive hit for someone. Wait, what's that? Robbie Williams covered it? Ah, OK, well, I guess that says something about the effortless pop genius contained within. Containing a seemingly unnoticed nod to Kraftwerk’s "Computer World", it's Lewis's favourite song on the album. It's easy to hear why: "Sabina’s production totally nails it. I love the restraint and the subtlety, and that mixture of warmth and sweetness from the singing against the slightly cold, yet beautiful airy-ness of the backing track." To close this phenomenal album, the twisted electronic soul of "Sheneverdid" marries Lewis's beautiful falsetto to his virtuoso playing and an easy-cum-ominous musical backdrop. Stunning.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the eleven tracks over a double LP so, as ever, it sounds sensational. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned.

Stoned Part II is Lewis Taylor's pure, perfect dance-pop album. His second self-released album and fourth album proper, it initially appeared on his own label Slow Reality in 2004. It's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. Gravely misunderstood at the time by hardcore fans and the music press alike, it has aged quite magnificently. An experiment in the sounds of contemporary pop and dance music, Lewis's wonky take on funky pop would annihilate anything kicking around the charts, then or now. If only it were given half a chance.

Stoned Part II is brimming with Lewis's trademark soul, his singing as beautiful as ever, but the rhythms throughout are more upbeat, the overall sound a more smooth and slicker dance-funk presentation. Roughly half the tracks are absolutely essential, fascinating re-workings of tracks from the eternal Stoned Part 1, as Lewis explains: "When we were doing Stoned we were trying different approaches with everything so we ended up with more than one version of nearly all the songs which left us with more than an album's worth of material. There was a lot of really cool house tunes around at the time which we were both really into and that shaped the sound and production, some songs more directly than others." Amen to that.

The swoonsome, string-drenched opener "Madman" is quite the departure, a bleepy, bumping soulful disco-house record with a bassline to die for. Is there anything he can't do? It's followed by another huge dancefloor stomper, "Keep Right On" again riding another killer bassline over funky drums and featuring Lewis's dazzling vocals. There's no let-up with the sparkling "Reconsider" which sounds an awful lot like Daft Punk meets Nile Rodgers (prescient as ever, our Lewis). The wide-eyed French filtered house vibe is to the fore here, and how this wasn't picked up by someone like Kylie and taken wholesale to the top of the charts is something we'll never understand.

Opening the B-Side, "When Will I Ever Learn 2" really slaps, presenting a breezier, more upbeat funk take on the brilliant original and incorporating "From The Day We Met" from Stoned Part I. "Out Of My Head Is The Way I Feel" is absolutely fantastic and one of Lewis's very best songs. The vocals, self-harmonising and virtuoso playing are next level. To close out the side, "Carried Away" is a real standout, Lewis's gorgeous falsetto riding a quasi D&B groove to begin with before adorning a more classically funky 2-step rhythm. The marriage of undulating synths and guitars is stunning, giving way to Lewis indulging his goosebump-inducing Brian Wilson harmonies.

The funky, Rhythm King drum machine soul of "Stoned Part 2" refashions the original in the style of an unearthed Sly Stone classic, circa There's A Riot Going On. Yes, it's that good. On we then glide to "Positively Beautiful 2" which, if it's even possible, manages to be better than the original. The epic, orchestral opening truly captivates before Lewis truly gets down with kaleidoscopic dancefloor-slaying Philly soul-funk. It's surely tracks like this which help explain why he was soon to be tapped up by Dangermouse and Cee-Lo for the musical director role with Gnarls Barkley. "Throw Me A Line" closes out the side

"Shame 2" is a blissful, restrained version of the massive original, without the crazy psych-soul wig-out. Definitely more radio-friendly, that's for sure. The gorgeous mellow vibe continues with "Won't Fade Away", featuring more Beach Boys harmonies over a barely-there pulse (a version of which later pops up in an altered state on The Lost Album). The album bows out with - you guessed it - a psych-soul wig-out! "Keep On Keeping On", a real highlight, opens with looped sampled drums a la Massive Attack and Lewis's multi-layered self-harmonising again very much high in the mix. It amps up gradually to feature vocals dripping with tune and bite before screaming guitars and crashing drums really blast this whole set into the stratosphere.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the twelve tracks over a double LP so it sounds exactly as it should. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned, Part II.

Brazilian soul, psych, bossa and jazz, reimagined from Berlin, via the Dead Sea, on Moriah Plaza’s dreamy first album for Batov Records.

Moriah Plaza co-founders Tamir Chen and Moosh Lahav first encountered and fell in love with the beautiful and hypnotic sounds of Brazilian bossa nova and samba as children in Tel Aviv in the nineties, via the many local bands and tribute groups that had sprung up since the first wave of bossa had hit swept across the world. Likewise
they developed a fascination with elevator muzak, film soundtracks, and even the hotel pianist performing day-by-day in the lobby of the Sheraton Moriah where Tamir’s mother worked, overlooking the Dead Sea.

Relocating years later to the vastly different environment of Berlin, capital of a country that enjoyed its own Brazilian moment, Tamir and Moosh’s shared passion for Brazilian music would encourage them to create their own songs inspired by the warm pulse of Brazil, albeit a world apart, through a vastly different lens.
Whilst the initial inspiration for Moriah Plaza can be traced back to Tel Aviv and the Dead Sea, the band itself was conceived by Tamir and Moosh in Solarium Studio, Berlin, from the broken fragments of their former shoegaze band, Soda Fabric, who had the honour of backing outsider legend Daniel Johnston. They would go on to write and record their debut album in close collaboration with two Brazilians and fellow Berlin residents,, poet and singer Cecília Erisman, and singer, songwriter, synth operator and Tropical Disco Club founder Flavia Annechini.

The album opens with “Desendereçada”. Dirty drum machine beats thud away under flutes and extraneous noises and a spoken word commentary. The oddness and allure of the intro is a perfect introduction to the world of Moriah Plaza.

The pace picks up on “Mais Amor”. A beautiful Brazilian soul jazz number with a sublime vocal from Flavia Annechini that will surely appeal to the global dancefloor jazz scene. “Te Peço” daws us in deeper with sweetest jazz vocal over an irresistible bassline and bossa drums that transforms halfway through into a modern soul rhythm crowned by flute and horns. A flute solo from Moosh Lahav leads us into the final uplifting refrain.

The Pharoah Sanders meets Ravi Shankar in Rio grooves of “Estelar”
have that fresh feeling that will certainly appeal to fans of modern favourites Rebecca Vasment and Ruby Rushton. Next up, the mysterious “Lagoon de Merim” is practically two songs in one, the first half an atmospheric string-topped number somewhere between Arthur Verocai and Cinematic Orchestra, before snappy drums beats and playful organ chords introduce a slow brassy samba that fills the whole sonic room.

“Teu Porto” is a must for all DJs, mixing calypso, highlife and house, lilting guitars and smooth vocals by Cecilia Erismann.. The deep samba house grooves of “Samba Moosh” close us out. The rich blend of sweet vocals, soaring flute and gritty synths carry us off into the sunset.
Moriah Plaza’s self-titled debut album is a major addition to the global soul and jazz scene. providing the perfect summer soundtrack for music lovers around the world.

If a record goes for around $3000 on the second-hand market then you know it's something special. And that is the case with New York vocal soul group The Topics' gold-standard and one-and-only album 'Giving Up'. Now you can own two of the best tunes from it on this new 7" from P-Vibe for a much more reasonable price. The tunes selected are indicative of the heart-achingly sweet and yellow soul sounds explored across the whole album. You get both 'God And You' and 'At Last It's Over' which have some utterly next-level vocal harmonies. Do not sleep on this one.

Das vierte Album der Clark Sisters für Westbound-Sublabel Sound Of Gospel ist jenes, das sie fest in den Crossover-Markt gedrängt hat. Während es in Tracks wie 'My Cup Runneth Over' traditionelle Soul-basierte Gospel-Kost gibt, zogen einen die Disco-beeinflussten Juwelen 'My Life Is Complete With Jesus' oder 'Everything Is Gonna Be Alright' auf die Tanzfläche. Die Clark Sisters waren eine der großen Gospelgruppen und auch Teil einer großen Gospel-Dynastie um Mattie Moss Clark und Bill Moss. Geschrieben, produziert und arrangiert von Kernmitglied Elbernita 'Twinkie' Clark, enthält das Album instrumentale Beiträge von Detroiter Soul-Songschreibern wie Melvin Davis und Leroy Emmanuel von den Counts. Obwohl die Clark Sisters eine der meistverkauften Gospelgruppen aller Zeiten sind, ist dies die erste LP-Neuauflage von 'He Gave Me Nothing To Lose' seit seiner Erstveröffentlichung im Jahr 1979.

In the digital age, words are no longer just symbols of communication, but a powerful tool that gives rise to meaningful interconnections between different universes.

Words have the power to transcend time and space, connecting two souls destined to meet.

Il Significato delle Parole (the meaning of words) is Adiel's new effort on her DanzaTribale, a crossover of two minds, generated together with musician Flavio Accorinti: techno sounds like the restless soul that pervades our days, deconstructed atmospheres like shattered generational dreams. The fusion of two cosmic currents, two ways of thinking and creating, characterized by an immanent power, pushing us to imagine new urban primitivism. Two creative processes, transcending individual boundaries to connect into a single overarching vision, to explore new forms of art and storytelling.

The EP, mixed by Donato Dozzy and mastered at Rome's Enisslab Studio by Giuseppe Tillieci, starts with Nulla Resta, a defragmented, dreamlike, ascending climax markedly cyberpunk: dense with references to 90s Progressive Dream, Nulla Resta, with its dulcet melodies, transports us to an artificial reality, a spiritual reality albeit dominated by technology. A reality suspended between fantasy and materialism.
Suspended, like the second track (Sospesa): dark trip-hop's echoes adorned by the voice of Jordie Devlin Mcmorrow. "Shadows on the walls orchestrate our downfall." Dystopian futures intertwine with mysteriously dreamy pasts in a fatal spiral of redemption.
But words remain the catalysing element of this EP.
Parole(words) represents a communicative rare faction that embraces tribes near and far. Black drums echo in the distance in an intimate ballad, in an epic ride, in an ethereal metaphysical journey to the dissolution of the boundary between time and space, between memory and perception.
Notturna, on the other hand, is the epilogue we all deserve; a solemn twilight, a lysergic, dragging escape from the objectivity of the real world.

The images of life do not simply exist in a vacuum. They are defined by the energy that surrounds them, and it is the explanation behind each of these words that we must find if weare to truly understand them. Thanks to the meaning of words, sooner or later, we will be all united again.

Repress! Essential garage Zamrock/soul/funk: the first official reissue of the celebrated band’s one and only album.

The musical style that became known as Zamrock came to embody the economic despair that
followed the 1973-1974 oil crisis, which flung Zambia into recession and exacerbated a wide
range of social tensions. Much of Zamrock also captured the controversy of wider politics in
Africa and the world. Perhaps the finest example of this is Black Power by The Peace.

The Boyfriends, from Kitwe’s Chamboli Mine Township, supplied the founding members for Zamrock’s most
famous band, WITCH, and kick started one of Zamrock’s best bands, Peace. Their sole Zamrock entry, Black
Power, recorded at Malachite Film Studio circa 1973/4 and issued circa 1975, sounds like nothing else in the
Zamrock canon: a lost message drifiting from the flower power era, imbued with a fiery Zambian voice.

(Emotional) Especial and Giraffi Dog join forces once more to offer up the second installment of their concept EP series. It is focussed on live and studio collaborations and this one comes in two halves: the first half kicks off with '6th Chakra' (feat DJ Deflektorschild) - a fully live deep house and hi-tek soul exploration with mind-expanding synths and Detroit drum sounds. 'King OTN' is a jack dup acid cut ripped with cosmic synth details and 'DX Metero' has sheet metal synths lashing about next to ethereal synths and busted drum breaks. 'Starfather' is a star-facing closer with elegant piano notes dancing over serene grooves. A vital showcase of this essential live artist.

What would have happened if Michael Dudikoff had gone missing in action, say – in Poland in 1987 – during the harshest freezing spell of the century? Would he have coped under these conditions like John Rambo has in the town of Hope? We shall never find out, but the soundtrack is already there. Latarnik and Cancer G (members of EABS and Błoto) would call this film Zima Stulecia: Minus 30°C.

When Twin Peaks debuted on Polish National Television with its oneiric music by Angelo Badalamenti, Poland could feel as eerie as the series. Seemingly nothing quite matched, but on the other hand, no one was surprised. Growing up in the 1990s inevitably brings back memories of stalls selling a variety of products. You could buy there cleaning products from Germany, some underwear, Haribo jellies and Jacobs coffee, and have access to the "latest" cultural releases, which would be arriving late in Poland. This is where one could obtain pirated copies of cassette tapes and VHS, the labels of which had typewritten film titles that transported kids' fantasies to another world. With such content distribution, many of these kids got their first glimpse of Predator, Terminator, Robocop, as well as Van Damme's stunts in Bloodsport and a plethora of other B action movies, which to this day - like American Ninja - are rerun on TV over and over again. The afterimages of these soundtracks nestled in the heads of Marcin Rak and Marek Pędziwiatr for years and found expression on their debut album.

The music of Zima Stulecia is difficult to label in terms of genre. It oscillates towards melancholic electronic music. For some it will be techno, others will hear elements of house, all accompanied by improvised synth and percussion music.

Zima Stulecia is a duo that was not supposed to have any chance of success. Many years ago, back in 2006, when they were still budding musicians they met for the first time at a jazz workshop. When they found out where they both came from and that they were separated by almost 800 kilometers, despite having great chemistry in playing, they
jokingly said goodbye with the sentence: "it was fun playing together!". They figured they would never meet again. At the time, none of them imagined that in a few years' time in Wrocław they will form one of the most interesting contemporary jazz bands in Poland: EABS and Błoto. On top of that, they were both born in January 1987. The last of the historic "winters of the century" (eng. for "zima stulecia") occurred at that time in Poland, which ultimately determined their name as a band. Minus 30°C album is a recording of the non-verbal workings of these soulmates, and a fruit of a musical collaboration that has lasted for 16 years.

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band in a dusty wooden studio, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

‘Dybbuk Tse!’ album will be released by Astigmatic Records on LP in regular and limited (B1 poster included) editions, as well as on all streaming platforms.