Cerca:state of soul

2026 Repress

DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. As Quik explains, “the name Rhythm-Al-Ism alone tells you what I was doing. I was mixing up rhythms. I was meshing R&B with hip-hop and jazz. And a little bit of comedy”. It’s absolutely sensational and as with a lot of mid-90s albums those original vinyl copies are now rare so here’s the Be With re-issue.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. “You’z A Ganxta” and “Hand in Hand” made radio waves across the country and the less radio-friendly tracks like “Medley For A ‘V’” were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Music for gliding, for skating, for time with your people and your poison. Sunshine. No cares. BBQs. Heavy smoke in the air. Dripping with wit and good humour. A real swing to the vibe.

The album opens with Quik setting out his mission statement with “Rhythm-Al-Ism (Intro)”, telling us what this is all about before the self-explanatory “We Still Party” rocks the spot. It’s definitely all about the party here, complete with Quik’s signature head-nod/body-moving beat. Next up, the undeniable laidback funk and dripping swing of groove-laden “So Many Wayz”. This positively slaps.

Then we get to the three huge singles. The R&B-tinged radio-friendly minor-hit “Hand In Hand” closes the first side only for the flip to get straight into the rolling and scratching of bleepy computer-funk banger “Down, Down, Down” (featuring a particularly nice use of Howard Johnson’s epochal “So Fine”). The effortlessly smooth, flute and guitar-laced “You’z A Ganxta” completes the trio. Next up the fast-paced, vocoder-enhanced, woulda-beena-global-hit “I Useta Know Her”. This coulda (shoulda) been a single too. Head-nod funk workout “No Doubt”, with its ace sample of Prince's “Sexy Dancer”, closes out the second side.

“Speed” races out the gate on the second disc, sampling Edwin Birdsong’s “Rapper Dapper Snapper” in a harder, better, faster, stronger way than those daft Parisian punks. Amphetamine-swift raps over soaring, string-drenched b-boy beats. A total anthem. Up next, the staggering, near 8-minute laconic, lounge-y sax-rap of “Whateva U Do” cools things down and smooths things out with its flute wrapping around a sample of Smokey Robinson’s “So In Love” and some oh-so-classy lounge-piano tinkling. And speaking of smooth, things don’t get much smoother than the blissfully melodic glider-anthem “Thinkin’ ’Bout U” riding that ace flip of SWV’s “Use Your Heart”. Exceptional.

The exquisite funky-flute-slapper “Medley for a ‘V’ (The P***Y Medley)” opens the fourth and final side, with star turns from Snoop Dogg and a typically suave Nate Dogg. It’s followed by the supremely skanked-out “Bombudd II”, a beautifully sweet reggae-fuelled ode to the herb. “Get 2Getha Again” is slick funk. Stunning.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Rhythm-Al-Ism was originally pressed as a double and we’ve reproduced the original LA vibe picture sleeve and insert to match.

As that original front cover says, this is “over 70 minutes of commercial free music” and it’s absolutely perfect from start to finish. There are no stand-out tracks here. It’s all gold.
: Rhythm-al-ism (2LP)

Minority Records is releasing a unique boxset Politique du silence with three early albums from Sylvain Chauveau, French composer of minimalist neoclassical music.
“When I made my first albums as a composer, I was obsessed with minimalism, and this quote from the film director Robert Bresson summed up my state of mind. I set myself three principles: 1) Use silence as a starting point, 2) Only add sound when it's absolutely essential, 3) Don't imitate the Anglo-Saxon musicians I admired, but draw on the musical culture of my country, France which lead me to listen intensively to Satie, Debussy and Ravel.” Chauveau explains the background to his work.

The collection Politique du silence contains the recordings of Des plumes dans la tête (2004), Un autre Décembre (2003) and Nocturne impalpable (2001) on coloured 180 gram vinyls. The cover features artwork by French photographer Valéry Lorenzo.

“When I discovered the simple and powerful black and white pictures by Valéry Lorenzo, in the 90s, I immediately fell in love with them. We became good friends and since then I ask him to let me use one of his photos for most of my album covers, or to make my portrait for press shots. It has become a real collaboration, music and images, for more than 25 years. It was then logical to ask him again for the cover of this boxset, like a gentle reflection on my piano and strings era. It's a true honour for me to see my early music recollected, repackaged, remastered after all this time. Which gives me hope that this music, in which I've put all my soul and heart during the years 2001 to 2003, is maybe not forgotten yet.” Chauveau himself adds of his collaboration with Valéry Lorenzo.
Nocturne impalpable and Un autre Décembre were re-issued by Minority Records in 2014 and 2015 and both titles completely sold out. This year’s release also includes the album Des plumes dans la tête in its world premiere on vinyl.

Nocturne Impalpable is a world of minimalism, abstraction, and contemporary rendition of classical music with variations for the piano, clarinet, strings, and accordion which are often compared to the compositions of composers Harold Budd and Claude Debussy. Here, Chauveau partially reveals his versatility as a composer by connecting electronic elements, noises, and ambient planes with monumental strings and piano preludes. The
album of piano variations Un autre Décembre is interspersed with field recordings and electronic noises. The inspiration for the recording of the album and for its name was the song Jaurès by the Belgian singer and composer Jacques Brel. This song tells the story of the grandparents’ generation who toiled in the mines. “Comfort and health won’t protect our generation from sadness and discontent. We also live through winter times, even if these are slightly warmer due to the current climate.” An album of 20 short instrumental sketches with several delicate intermezzos for the piano, string quartet, and the clarinet, Des plumes dans la tête, was composed for the eponymous film by director Thomas de Thier.
Sylvain Chauveau was born in 1971 in the French town of Bayonne and currently lives in Barcelona. His extensive discography of mainly meditative neo-classical recordings for the music labels FatCat, Sub Rosa, Sonic Pieces, and Flau is enriched by several collaborations and his participation in the Ensemble 0, Arca, and On projects. Chauveau has also composed many film soundtracks as well as music for the theatre. He has presented his works in Prague several times, most recently in the spring of 2024 at the Spectaculare festival. His compositions get tens of millions of streams on streaming services, and he’s been called the French king of minimalism.

This one already has created a nice little stir with the soul crowd, and rightly so.

The A side "Is It Still Good For You" is a wonderful Modern soul chugger that oozes that late night club feel. Simple in its melody and production but bounces along so soulfully. Great vocals but the late Johnny Kemp with the group on some killer backing harmonies.

Kinky Foxx could be described as an ever changing funk machine with nuts and bolts that remained strong over time. This band planted its roots in the Bahamas where the name "Kinky" was given to Joseph Foxx and teaming up with his Brother Donny Foxx formed the musical group named, "DER KINKY FOXX"!!! The two Foxx Brothers added members Kevin Bassett-Guitar, Johnny Kemp-Vocals, and Burnis Stubbs-percussion performing clubs and concerts in the Bahamas. Moving to New York City Kinky Foxx changed members to compete with the major funk venue during the early 80s. Acquiring Dan Atherton Sr. AKA "The Slammin 'Drummer", Larry Robinson-Keyboardist, Timmy Allen-Bass, Kevin Robinson-Guitar these musicians combined forces with Johnny Kemp, Kevin Bassett, and Burnis Stubbs to form the New York City based "Original" Kinky Foxx from '79 to '81, burning up the famous Cellar Club in NYC, the mecca for Black Funk entertainment. With a front line of top musical talent some members moved on to follow solo recording and production careers and contracts. To fill lead gutiarist and Bass guitarist vacancies Jerry Powell was added on guitar,and Leslie Booker was added on bass. In 1982 Kinky Foxx added Vincent Lilly on lead vocals and Curtis Styles on Keyboards.The Foxx released the hit song "So Different" on Sound of New York records in '83 and embarked on a Canadian experiment leaving the US to play briefly in Montreal, Quebec at Club Checkers. The rest is history as the band became so popular in Quebec and Ontario they could have been called Canadian residents, usually working 6 nights a week and 11 months out of the year from '83-'91 . Dan Atherton moved on in '83 to pursue a career as The "Slammin Drummer" for hire, and was sought after by a barrage of major artists,touring with Bobby Brown,New Edition,Levert,Teddy Riley and Guy,Cameo,and Atlantic Starr. Tyrone Govan aka "King" moved in as the Foxx Drummer in '83 and remained with the group until the band went their separate ways in the mid 90's. The Foxx's last performance in the States was in North Carolina on tour and backing Prince's sister Tyka Nelson in the 90's. Currently the band has sparked interest once again writing and recording new material and is forming a reunion show which will eventually lead to additional performances with other recording acts and headline shows.

Originally dropped in 1980 as part of Taking Care of Business, The Ted Coleman Band's only album, this 7" captures that sweet spot where jazz-funk meets rare groove perfection. 'If We Took the Time' is pure sunshine - think Roy Ayers on a slow afternoon, Billy Wooten in full cosmic flow, with shimmering vibraphones, velvet basslines and vocals that radiate soul from the Garden State to the cosmos. On the flip is the liquid and lively smooth and sexy delight 'Can You Feel It ' with buttery vocals and more cosmic bliss. Two glorious sounds.

Tears Before Bedtime is the sparkling new album by the Would-be-goods, Jessica Griffin’s band of pop adventurers. Since The Camera Loves Me, their cult classic 1988 debut for the legendary él Records, they have blazed a musical trail through indie guitar pop, with a garage band edge and forays into other territories - glam rock, tango, French chanson… The result is unique and timeless.
The songs on Tears Before Bedtime balance delicacy and power. Perfect pop melodies are delivered in Jessica’s gorgeous and idiosyncratic voice. Her lyrics are intelligent and wry, wistful and witty. Every song tells a story, taking us on a journey through space and time, from belle époque Paris to a 1960s London biker café, from a riverbank in ancient Greece to a 1970s teenage bedroom.
Listening to a Would-be-goods album is like wandering through a gallery of portraits. Innocence gives way to experience. Danger lurks amid the lights of the funfair in the 1950s carousel whirl of The Gallopers. The sinister Dr Love promises heaven but sends you down to hell, to the sound of a last dance in a smoky soul basement. A nymph meets a god in disguise in a garage-band take on a Greek myth (Tears for Leda). The Rose Tattoo is the tale of a doomed love in a sultry Southern state. Don't Come Crying To Me flames an ex-lover to the sound of Bollywood horns and shivery guitar. In Madame X a portrait painter vents his fury on a spoilt socialite beauty. The album closes with a sweetly jazzy lullaby (The Moon Doesn't Mind).
The Would-be-goods began playing as a full band in the 2000s and have been previewing some of these songs at recent shows in England, Scotland, France, and Spain. The album was recorded in London with Jessica on guitar and vocals, Peter Momtchiloff (Heavenly, Talulah Gosh) on guitar, Debbie Greensmith (Thee Headcoatees and many others) on drums, and Andy Warren (The Monochrome Set, Adam and the Ants) on bass. Guest musicians have contributed organ, piano, vibraphone, cello, trumpet, and flute to make this the richest-sounding Would-be-goods record yet.

This debut 12" is a real statement of intent from The Aries Project, aka the ongoing creative collaboration of Collin Suttles and moe.BPM. The sound is rooted in house music's classical values of inviting groove, heartfelt warmth and a sense of patience, but all shot through with a modern and cosmically minded confidence. The Jules.NYC dub of 'You Need A Rock' is pure peak-time persuasion, all forward momentum and locked-in swing, while 'Someone Who Dances' keeps things closer to the body, riding a supple rhythm with soulful ease. Flip it over and 'Keep Me' (Lucky.Moe dub) strips the palette back to let deep chords and spacious keys stretch out hypnotically. 'When I See You' with Toni's Son closes on a celebratory note and Latin disco energy in a deep house framework.

Gegründet 1992 in London von Sänger und Songwriter David Christian, gehören Comet Gain seit über drei Jahrzehnten zu den prägenden Namen des internationalen Indie-Underground. Inspiriert von Creation Records, den Television Personalities und Mod-Ikonen wie Dexys, The Style Council und Vic Godard, zieht die Band ihre Linie von The Velvet Underground, The Byrds bis zu den 13th Floor Elevators. Acht Alben auf Labels wie Wiiija, Kill Rock Stars, What"s Your Rupture und Fortuna POP! dokumentieren ihren unverwechselbaren Stil: eine Mischung aus französischer Nouvelle Vague und englischem "Kitchen Sink"-Herz, Riot Grrrl und Acid Punk, C86, Post-Punk und Northern Soul. "City Fallen Leaves", ursprünglich 2005 erschienen, gilt als Schlüsselwerk der Band und wird nun weltweit von Tapete Records neu aufgelegt. Boy/Girl-Vocals, kratzige Gitarren, Lo-Fi-Charme, Garagebeat und bittersüße Melodien machen dieses Album zu einem zeitlosen Statement für Enthusiasmus und Schmerz, Liebe und Wut. Einfach auflegen, laut drehen und wieder lebendig fühlen.

Sour Soul is the collaborative album from Toronto jazz/hip-hop band BADBADNOTGOOD and Staten Island rap champ Ghostface Killah. Inspired by 1960s and 70s music - taking inspiration from the recording techniques and production of that era, and eschewing sampling in favour of live instrumentation, BBNG with producer Frank Dukes have created a dramatic, cinematic musical staging for Ghostface’s vivid storytelling. Sour Soul also features guest spots from MF DOOM, Elzhi (Slum Village / J Dilla), Danny Brown and prodigal new rapper Tree (Project Mayhem).

2026 Repress

Following our acclaimed Chez Damier release, Skylax proudly welcomes back the brilliant Byron The Aquarius. A true craftsman from Alabama, Byron blends the spirit of Detroit's deep house with live jazz energy, echoing legends like Theo Parrish and Moodymann. This new EP, Afrofuturism, is a statement of intent: four deeply musical tracks rooted in soulful rhythm and cosmic funk. From the spiritual groove of the title track to the introspective dub of Sunday’s Ain’t The Same, this is Byron in top form — keys blazing, grooves flowing. With past releases on Sound Signature, Axis, Eglo, Apron, and Shall Not Fade, Byron’s music continues to light up the underground from Detroit to Berlin. Artwork by H5 – the legendary studio behind visuals for Daft Punk, Air, and Vitalic. Whether you’re a house head or jazz lover, Afrofuturism is a timeless piece for real dancers and dreamers. Strictly for the heads. Vinyl only. No repress. Skylax Records.

"‘Hydra’ is the sixth studio album by Dutch symphonic metal band Within Temptation. It was originally released on January 31, 2014 in Europe and on February 4, 2014 in North America. The album contains guest appearances by singer Howard Jones (ex-Killswitch Engage), rapper Xzibit, metal vocalist Tarja Turunen (ex-Nightwish) and alternative rock singer Dave Pirner (Soul Asylum). It was the first album by Within Temptation to be recorded with three guitarists, with Stefan Helleblad making his Within Temptation studio debut on ‘Hydra’ since his addition to the band shortly after the release of ‘The Unforgiving’ in 2011. ‘Hydra’ is also the first Within Temptation album to feature Robert Westerholt's growling techniques since the band's debut album, ‘Enter’ in 1997. The band wanted it to be a real Within Temptation record, but heavier, more musically challenging, pushing borders and frontiers with new elements and influences, and at the same time bring back more from their early metal roots “... A bit like the past and future at the same time"" – as stated by the band.

The album title refers to the great variation in musical genres, the band improves on with each new release. Guitarist Robert Westerholt adds: ""Hydra is a perfect title for our new album, because like the monster itself, the record represents the many different sides of our music"". According to the ancient Greek mythology, the Hydra was a giant multi-headed serpent that, for each severed head, sprang forth two more in their place. This new Expanded Edition comes with 8 bonus tracks, never released on vinyl before.

It’s been over 20 years since Kenny Dixon Jr., better known as Moodymann, released Black Mahogani—an album rich in atmosphere and emotion, offering a quintessential journey through deep house, soul, and jazz. Timeless yet modern, it’s an immersive and emotionally resonant experience that reflects the singular character of Detroit’s deep musical heritage.

Originally released in 2004, Black Mahogani is arguably one of Moodymann’s most revered and sought-after works. It completes the puzzle laid out by his rare and elusive KDJ 12” releases from the mid to late '90s. With the help of Detroit legends like the late Amp Fiddler, Roberta Sweed, and Norma Jean Bell, Dixon infused his analog soundscapes and samples with a new organic warmth—expanding the deep house genre while simultaneously paying homage to 1970s soul and cinematic soundtracks.

Dixon’s masterful control of tension—knowing exactly when to hold back and when to let go—makes Black Mahogani an enduring masterpiece. It's not just a landmark in electronic music, but a definitive statement in 21st-century Black American music.

A great mixture of jazz, funk, afrobeat and house on new album by Italian outfit Asakaira for Quattro Bambole. "Asakaira is the name of a place that does not exist, an "invisible city" that is the backdrop to the meeting of four musicians. Michele Vassallo (sax and efx), Giuseppe Desiderio (bass), Francesco Fasanaro (percussion) and Giuseppe Limpido (drums) who together have already gone through various experiences to immerse themselves in an imaginary space, of the border! So, they exploit this nature to transcend the limit, throwing caution to the wind with carefree abandon, but not before carefully noting the history and legacy of jazz, hip-hop and afrobeat. Asakaira' s sound is psychedelic, fluid, constantly evolving: afrobeat & jazz punk alternate with funk, electronic music of Mediterranean culture. An absolutely "stateless" sound, while maintaining its own timbre and stylistic coherence to make it recognizable. The choice of not having a harmonic instrument present in the lineup gives ample space to electronic effects and the groove, creating a sort of modern ritual. The eponymous debut album, released by Quattro Bambole Records, consists of seven tracks, in which the ability to reinterpret their native sounds with polysemic rhythms emerges in a work where layered drums and percussions intertwine with effected saxophones and psychedelic bass lines. A path that moves between songs with a more "ethereal" ancestry, such as the opening track "Night Tales", an acoustic groove that rests on the use of the handpan, an idiophone instrument that gives the song a psychedelic vibration and like "Chatting With You" where a soft and extended overlapping of multiple musical meters emerges, between neo soul, jazz and hip-hop."

The second cover album, released in 2013, is now available on vinyl for the first time! It features songs from a variety of genres, both Japanese and Western,
arranged in Clammbon's signature style.



[c] a3. U & I (After School Tea Time [Yui Hirasawa, Mio Akiyama, Ritsu Tainaka, Tsumugi Kotobuki, Azusa Nakano])

Nastia's imprint launches a new compilation series curated by selected music connoisseurs and crate diggers, with ANNÉ as the debut curator.

Each compilation features handpicked unreleased pieces including an exclusive track by the curator. The release pairs a curated double vinyl with a CD featuring the curator's own mix of the compilation.

For this first edition, ANNÉ has put together a balanced journey that opens with Gaetano Parisio's dynamic old-school energy and closes with The Advent's raw classic techno. Between these two legends, the selection flows seamlessly across the first 12".

The second record takes a more soulful direction, starting with Newa and closing with ANNÉ's own track - a natural way to wrap up the journey she's curated, serving both as a closing piece and the final statement of the compilation.

NDATL Records continues with the return of Detroit legend Reggie Dokes with his new 12", The Alkebulan EP—a deep, spiritual, and sonically adventurous record that finds Dokes fully in his element while pushing into new emotional territory.

Side A opens with “Unknown Valley,” where shimmering chords and a haunting vocoded voice glide across a hypnotic groove, setting the tone for an EP rich in warmth and mystery. Dokes follows with “Still Exist,” an excursion into his darker instincts—moody, driving, and steeped in the grit that has defined his most revered work.

Flipping the record reveals Dokes in a more expansive, jazz-inflected mindset. “Soul Searchin” stretches into expressive harmonic territory, showcasing his ear for introspective, cinematic sonics. The journey culminates with title track “Alkebulan,” both featuring longtime collaborator Skip Pruitt, whose saxophone floats and weaves through Dokes’ musical landscapes, forming a Psychostasia blend of jazz, deep house, and spiritual energy the dancer simply cannot resist.

The Alkebulan EP is both a celebration of lineage and a forward-moving statement—classic NDATL quality with Reggie Dokes’ unmistakable fingerprint.

PRESTO (MUKATSUKU, GROOVIA, CONCRETE GROOVES, is back from the (beat) lab with this new 10 track instrumental album. This beat tape was mixed while living in NYC and is a tribute to 90s hip hop with a blend of jazz and soul. 2 tracks were previously released on a 7" from MUKATSUKU. For fans of “MUSHROOM JAZZ”-styled downtempo. These are some serious head nodders, ‘nuff said. Pressed on limited edition blue vinyl. Full pic sleeve.

The Sha La Das are Bill Schalda and his talented sons Paul, Will and Carmine, originating from Staten Island, NY.
Your Picture, the Sha La Das’ second album and the first release on producer Tom Brenneck's own label, Diamond West Records, is yet another singular testament to the stirring power of blood harmony and a celebration of the enduring love story between Bill and the family matriarch, Linda.
Traces of old memories flicker through Your Picture. Bill’s classic songwriting and lush vocal arrangements get whirled into new territory, updating doo-wop with the bottom-heavy groove and swirling pop of Brenneck’s lean, spacious production. “We brought in some psychedelic sounds and drew inspiration from deep soul records to the Beatles and Beach Boys alike,” Brenneck says.
Love radiates throughout Your Picture, flowing out from the shimmering melodies Bill and his sons produce. Bill Schalda and sons are living their musical dream—Your Picture is the proof.

In 2022, In the Red Records released The Great Confrontation, an album of instrumental electronic music by Chip Kinman. It was Chip’s first solo album; his previous recording, This American Blues, by his band Ford Madox Ford, was issued just prior to the 2018 death of his brother Tony. The Kinmans had been partnered musically since they were teens, in a variety of now-legendary projects: the OG California punk band the Dils, the pathfinding cowpunk unit Rank and File, the ear-shattering electro-rock duo Blackbird, and the Western music twosome Cowboy Nation.

In the wake of The Great Confrontation, Chip and In the Red plotted another record. The resultant collection, Chip Kinman, is reflective, soulful, and profoundly affecting, a statement of identity and a look back at life that avoids the pitfalls that could derail an autobiographical work.

"I had to figure out something to write about, and I thought, it’s time to make that record," Chip says. "A long time ago, Tony and I were talking about singer-songwriters, and he said, ‘If you’re going to sing about your life, you better have had a fucking interesting life.’ And I thought, I have. I’ve gotta deep-dive into that. I figured, if I was going to write about what it was like, how was I gonna approach that? How was I going to say that without being nostalgic or without being maudlin or without being over-celebratory? It it was, well, just say it like it was."

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Platinum-selling, Grammy-nominated album featuring the No. 1 smash title track! Tip-on old style gatefold double pocket jacket by Stoughton Printing Female R&B singers were expected to be forceful, big-voiced divas (like Aretha Franklin) or come-hither seductresses (like Diana Ross), but, as AllMusic says, Roberta Flack had her own unique approach. Flack's voice is vast, deep, and stately — where some singers confuse frenzy with passion, she is confident, majestic, and unhurried, intense in a profound yet reserved manner.

The title song of this 1973 masterful eight track album, "Killing Me Softly," was her second No. 1 hit, establishing her as a major modern R&B stylist. Killing Me Softly reached No. 3 on the Billboard Top LPs & Tape and No. 2 on the Soul LPs chart. The Recording Industry Association of America (RIAA) certified the album gold on August 27, 1973, and double platinum on January 30, 2006, denoting shipments of 2 million copies in the United States. It was nominated for a Grammy Award for Album of the Year, which it lost to Stevie Wonder's 1973 album Innervisions. The album's title track was released as a single and topped the Billboard Hot 100. The title track won the 1974 Grammy Award for Record of the Year. This deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of Killing Me Softly is a true audiophile gem and a worthy addition to your music collection.

“Stuck in My Head / Home is Behind” marks the most profound and personal release from Jamie Collomb, known to many as Oneduz - artist, father, husband, and co-founder of The Global DNB Collective. This vinyl project, created with unwavering passion and intention, was Jamie’s proudest work, a true reflection of his artistic soul.
Tragically, Jamie passed away unexpectedly just as the record entered production. Featuring original tracks by Eclipsed Shadows and Noisesmith, and powerful remixes by two of Jamie’s heroes: drum & bass legends Blame, and longtime friend and inspiration Danny Styles. This release stands as both a musical statement and a lasting tribute.
Following Jamie’s passing, his creative partner Andy (Syntax Era) and GDNBC designer Ryan Feyler (Drbblz) came together to carry his vision across the finish line. Every detail of this release honors Jamie’s legacy.
All profits from this album will go directly to support Jamie’s wife, Shanda, and their two young children, Porter and Hadley. This is more than a record, it’s a celebration of Jamie’s life, his music, and the community he helped build.