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This is the second release of the popular album “Brass Fantasia I”.
Includes memorable songs directed by Hayao Miyazaki and composed by Joe Hisaishi with brass.

One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bah Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom immediately said "YES!". They moved in and divided the space in half. On Tom's half he made drawings, paintings, performances, video, sculptures, installations, and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name The Two Who Do Duets. Soon the late-night jam sessions that took place in the back of Poo-Bah moved over to the fourth floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artist's studio to look. They could make all the noise they wanted. No one else was on their floor. The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the Los Angeles Free Music Society (LAFMS) groups Le Forte Four, Doo-Doettes, and Ace & Duce. That concert took place in late January 1976. The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder, and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce. 35 S. Raymond eventually became a sort of LAFMS headquarters, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S. Raymond allowed for free expression and explorations of all sorts. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music. Ace found the tapes for side one ("Tom's Studio") in his archive and Ju Suk Reet Meate found the tapes for side two ("50 Of Every American Are Machines") and edited them both for this release. No overdubs or remixing was emplo

KITCHEN. LABEL is proud to present AGATE, the latest album by Japanese artist MEITEI, marking a deepening of the world he first shaped through his Kofū trilogy released between 2020 - 2023.

Named after the mineral agate, a stone formed through slow accumulation, pressure, and time, the album reflects MEITEI’s patient approach to sound. AGATE brings together extended and newly rearranged works from across the Kofū cycle alongside new compositions and passages, refining material developed through years of performance and sustained practice.

The album presents seven tracks:

HAŌ (Previously unreleased track)
SHIN-OIRAN (Remodeled from Oiran I, Kofū 2020)
SHIN-SADAYAKKO (Remodeled from Sadayakko, Kofū 2020)
SHIN-WAROSOKU (Remodeled from Wa-rōsoku, Kofū III 2023)
KYŪGEKI (Remodeled from Shinobi and Akira Kurosawa, Kofū II 2021)
SHIN-OIRAN II (Remodeled from Oiran II, Kofū 2020)
SHIN-EDOGAWARANPO (Remodeled from Edogawa Ranpo, Kofū III 2023)
Across these works, MEITEI expands the musical vocabulary first introduced in Kofū, a sound he once described as “lost Japanese mood.” While Kofū drew from fragments of folklore, theatre, ghost stories, and forgotten urban memory, it was never an act of historical reconstruction. Rather, it reflected a sensibility of the past observed from the present. With AGATE, this worldview is clarified as Shinpu, a process of discovery in which historical awareness becomes a foundation for contemporary creation rather than a constraint.

During five years of Kofū tours across Japan, Europe, and Asia, MEITEI performed this material in a wide range of spaces, from underground live houses and listening rooms to culturally significant sites. These environments influenced pacing, dynamics, and structure, shaping how the material evolved over time. AGATE is therefore not only a studio album, but the result of material refined through repeated performance.

If the Kofū albums were windows into forgotten eras, AGATE explores what lies beneath, sediment and strata formed through time and pressure. MEITEI’s approach to sound mirrors the nature of agate itself. Grains become texture. Texture becomes narrative. Voices drift through decaying layers of sound, while ancient instruments are used in non-traditional ways, forming distinctive percussive rhythms and melodies that appear and vanish without fixed resolution.

The album’s visual materials were developed under MEITEI’s direction through physical art-making processes. The cover artwork originates from a letterpress print created by Kamisoe, a Karakami atelier in Nishijin, Kyoto, using Kyo-karakami paper. The original artwork, produced through traditional woodblock techniques on handmade washi, was subsequently reproduced on print for the album edition. Kamisoe continues to reinterpret this historical Kyoto craft with a contemporary sensibility.

The title calligraphy was created by Bio Xie, whom MEITEI personally invited to participate in the project. During his performances abroad, MEITEI encountered in Taiwan a lingering atmosphere reminiscent of “Shitsunihon” — a sense of old Japanese memory that quietly endures beyond time. He was deeply drawn to Bio Xie’s distinctive use of Chinese characters, which resonated with this experience, and asked him to contribute to the visual expression of AGATE.

In parallel, MEITEI continues to reinterpret Japanese sensibility through his concept of “Shitsunihon,” presenting it as a contemporary musical language. The refined Kyoto motifs envisioned by Kamisoe and the distinctive calligraphic expression by Bio Xie intersect with MEITEI’s singular artistic direction, weaving together a newly articulated worldview.

The accompanying visual imagery, including the liner photographs, was created by photographer Hiroshi Okamoto, who was also responsible for the visual direction of MEITEI’s previous work, “Sen'nyū.” It draws from MEITEI’s lived experiences of winter seas, solitary cliffs, and breaking waves. These scenes symbolize the inner conflicts of the ten years he spent living in Hiroshima, and his confrontation with solitude and the sounds he creates.

AGATE will be released on 17 April 2025 via KITCHEN. LABEL on 180g vinyl, CD, and digital formats. The album is mastered by Kelly Hibbert, known for his work with Flying Lotus, Madlib, and J Dilla.

With AGATE, MEITEI returns to the material of Kofū with greater focus and discipline, continuing an ongoing process of working forward with inherited material.

“III” is an intimate, cinematic and dream-like body of work — written, produced and mixed by Morita Vargas, and recorded in Buenos Aires between 2014 and 2025. The album was mastered by Rafael Anton Irisarri at Black Knoll Studio (NY), adding depth and clarity to its carefully built sonic landscape.

The visual world of the record is an essential part of the release. The cover artwork was crafted by Juliana Guglielmi, Ariadna Aylen Barrios, and Noelia Garreffa, whose combined vision creates a unified visual narrative that reflects the album’s emotional depth and atmospheric essence. The LP layout and full manufacturing realization were carefully executed by Ilja Tulit, translating the complex design ideas into their final tangible form of a vinyl release.

“III” marks a special release for Hidden Harmony Recordings. Morita Vargas was among the first artists released when the label began in 2020–2021, and her work played an important role in shaping the spirit and direction of Hidden Harmony.

“II” is the second album by Californian post-punk heroes Alone in My Room. Continuing their exploration of isolation and urban tension, the band sharpens their stark, stripped-down sound, blending cold-wave severity with lo-fi intimacy. Pulsed basslines, detached vocals, and raw, close-mic’d production create an atmosphere that feels oppressive yet deeply personal. Following their 2020 debut Alone in My Room—a claustrophobic, late-night statement—the band pushes further into darker, more confrontational territory, solidifying their place in modern underground post-punk. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

In 2021 September Jazzbois has released their second full length album "Jazzbois Goes Blunt II" - the album became the most listened album of the trio to this date

Jazzbois is a jazz-hiphop fusion trio from Budapest, Hungary. Their studio albums and live shows are all equally heavily rooted in improvisation and momentary self expression, each performance is absolutely unique and daring.
In the past 3 years Jazzbois has played SOLD OUT headline shows in: Melkweg Amsterdam NL, Jazz Café London UK, Village Underground London UK, Duc des Lombards Paris FR, La Hasard Ludique Paris FR, Gretchen Berlin DE, Knust Hamburg DE, Ekko Utrecht NL, Simplon Groningen NL x 2, Jassmine Warsaw PL x 2, AKvarium Budapest x 3
Played on festivals like: Montreal Jazz Festival CAN, Montreux Jazz Festival CH, SZIGET HU, X the Tracks London UK, Brick Lane Jazz festival UK, Jazz á Vienne FR, Istanbul Jazz Festival TR, Jazz Open Stuttgart DE, Blue Summer Festival PL, Jazz Around PL, Jazz in the Park RO, JAZZx RO…

Hiroshi Sato’s landmark solo debut album, recorded at Electra Studios in California with the support of local musicians including Amos Garrett and Joe Carrello.
The album features a self-cover of “Rainbow Sealine”, originally written for Minako Yoshida, as well as “F.W.Y.”, later covered by Chu Kosaka.
Original Release: LQ-7008 (May 25, 1976)

Another Taste is back with their follow up album: Another Taste II delivers eight new cuts of boogie, funk, and obscure disco influenced productions, recorded live to tape. Comes with Download code.

After lighting up renowned clubs like KOKO London, Jazz Café London,Tresor Berlin, New Morning Paris, and festivals like Love Supreme (UK), Lost Village (UK), Nuits Sonores (FR), Hamburg Jazz (DE), Lowlands (NL), ADE Amsterdam - the band has surfaced from the studio anew, mixing myth with music.

If their debut record in 2024 was an introduction to their musical range, Another Taste II is the full immersion. The two-sided album plays like a neon-lit cab ride where the radio is set to groove. Expanding their palette with sharper songwriting, denser arrangements, and a fictional universe.

The album showcases Another Taste’s collective at full strength: Barend Lippens, Bobby van Putten, Bob Roche, Teun van Zoggel, Sarina Voorn, Diogo Carvalho, and Florian Verhagen. Together they summon a sound that is electrifying, communal, and unmistakably theirs, joined on “Peace Call” by Arp Frique and the Perpetual Singers, and bolstered throughout by a dedicated brass section.

Another Taste II is engineered and mixed by Bobby van Putten, mastered at The Carvery by Frank Merritt, with artwork and design by Timo ter Braak, Walt van der Veen and Robert Reinartz.

The new album presents a collaborative creation that’s both timeless and unpredictable, pulling listeners deeper into the band’s universe with every spin.

Album #1 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Luc Ferraris Presque Rien Nr. 1 und Société II zählen zu den radikalsten Werken der Avantgarde des
20. Jahrhunderts. Mit Presque Rien Nr. 1 leistete Ferrari Pionierarbeit bei der Verwendung von Umgebungsaufnahmen als vollständiges musikalisches Material – er nahm die Geräusche eines kroatischen Fischerdorfes im Morgengrauen auf. Ohne Manipulation markierte dies einen entscheidenden Wandel hin zum
klanglichen Minimalismus und beeinflusste Generationen von experimentellen Künstlern.
Im Gegensatz dazu verkörpert Société II, komponiert für Klavier, Schlagzeug und Ensemble, Ferraris politisch aufgeladene, theatralische Seite. Entstanden inmitten der sozialen Umwälzungen der späten 1960er
Jahre, inszeniert es eine feministische Allegorie, in der die Interpreten um die Vorherrschaft wetteifern und
dabei Struktur, Improvisation und Satire miteinander verbinden.
Gemastert und geschnitten von den originalen analogen ¼-Zoll-2-Spur-Masterbändern von Rainer Maillard und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einem neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl.

2026 Repress

Anenon's tenor saxophone breathes an emotive contemplation on loss, meshed with sustained piano and field recordings. 'Moons Melt Milk Light' is a hyper-personal statement contained in a visceral beauty.

LA native Anenon returns with a highly anticipated new album 'Moons Melt Milk Light' on Tonal Union, bearing his most personal, expressive, and arresting works to date. Anenon is the ongoing solo studio and live project of Brian Allen Simon, whom since 2010 has released multiple albums and EPs to critical acclaim, including the highly revered 'Tongue' (2018) and 'Petrol' (2016).

'Moons Melt Milk Light' is direct, efficient, and unwavering in its immediacy. Anenon departs from the electronics of previous works, and embarks on a reductive, almost entirely acoustic approach consisting of piano, tenor saxophone, bass clarinet, and field recordings. All of the music was improvised with everything recorded as either a first or second take with no edits. Any layering happened fast and in the moment, and yet the sonic architecture of the whole feels both planned and refined.

"I feel a kinetic and messy honesty that doesn't exist in any of the other music I've ever made. There is also a sense of being settled, of calm. There is no faking it here."

Modern Obscure Music presents The Bubble of Love, a new collaborative album by Pedro Vian together with Ustad Nawab Khan and Naved Nawab Khan - the 9th and 10th generation of a distinguished santoor lineage from Rajasthan, India. Recorded during an intense week of sessions at Pedro Vian's studio in Barcelona, the album captures a rare and concentrated encounter between traditions, generations, and sonic languages.

No-one could have predicted the success of The 88, the first album from Minuit
(minwee), or how warmly it would be received. Equally no-one could have predicted that the band would return to the live arena a decade after their final fling or consider pressing their debut on vinyl for the first time.

Formed in Nelson, NZ in 1997, the trio cut their teeth playing regularly around the South Island’s underground club and festival scene. After a hiatus overseas, they began recording The 88 in 2002 in Ryan’s home studio. The lyrics were influenced by their travels around Europe and Ruth's time working for the UN in Kosovo and East Timor; the beats by The Prodigy, Portishead and the UK’s trip-hop and breakbeat scenes.

Signed to indie label Tardus, their tunes were eagerly picked up by the bNet student radio network, which then ballooned into high rotates on TV station C4, helped along by Alyx Duncan’s stunning video for Except You. A busy summer playing live every weekend for three months and seemingly universal praise from the music press led to them swiftly gaining gold sales.

Now 22 years later, with live shows looming, the trio have decided to revisit their debut, completing two previously unfinished tracks from the period to add a bonus to this inaugural vinyl release.

With Black Koyo, Mattias De Craene enters a sound world at once intimate and vast. Born from journeys in Morocco and Brussels, the project traces the rhythms, chants, and spirits of the Gnawa tradition, revealing a quiet resonance that echoes De Craene's own search for depth and presence. Guibri, qraqueb, call-and-response chants, saxophone, loops, and electronics come together in a trance-induced dialogue - ritualistic, elemental, and dreamlike - creating a space where listening becomes immersion, tradition meets imagination, and music unfolds as a shared act of reflection and wonder.

About Mattias De Craene
Mattias De Craene's artistic path is marked by rare coherence. As a central voice in Nordmann and MDC III, he developed a physical, rock-inflected jazz language driven by propulsion, volume, and trance-like collective energy. Over time, a period of personal rupture - burnout, tinnitus, depression - shifted his focus inward. The saxophone became a breathing, textural presence, and in his solo work, he weaves saxophone, electronics, loops, and minimal forms into a cinematic, hushed world where repetition, resonance, and silence slow perception. Rooted in ambient and introspection, his music prizes attention over impact, precision over excess - a quiet intensity recognized with a nomination as Musician for the Music Industry Awards (MIA's).

About Black Koyo
Black Koyo is a Brussels-based ensemble and one of the most compelling voices of the Gnawa tradition outside Morocco. Led by maalem Hicham Bilali, the group brings guibri, qrraqueb, and call-and-response chants to life with trance-like intensity and ritual precision. Their music is both rooted and contemporary, weaving earthbound rhythms and vocal invocations into ecstatic, immersive soundscapes, creating a space where ancestral resonance meets present-day imagination.

About Jan Bang
Jan Bang is a pioneering Norwegian producer and musician, celebrated for his mastery of live sampling and his ability to merge electronics with improvisation, rhythm, and texture in real time. He mixed the album and occasionally joins live performances, bringing his signature approach to sound as co-founder of the influential Punkt Festivaland collaborator with artists such as Jon Hassell, David Sylvian, Arve Henriksen, and ECM Records' roster. As a performer and sound architect, Bang creates immersive, trance-like sonic textures where silence and sound carry equal weight. Within Mattias De Craene ftBlack Koyo, his live sampling becomes an organic instrument, weaving saxophone, electronics, and Gnawa rhythms into hypnotic, physically charged soundscapes.

Line-up & credits
Mattias De Craene - sax, electronics | Hicham Bilali - guibri, vocals, qraqueb |Ismael Akhraz - vocals, qraqueb | Marwan Abantor - vocals, qraqueb
All tracks are original gnawa traditionals played by Black Koyo and arranged by Mattias De Craene.
Album produced & recorded by Mattias De Craene in Essaouira, Morocco and hometown Ghent, Belgium 2025.
Text by Hicham Bilali.
Mixed by Jan Bang at Punkt Studio
Mastered by Lieven Van Pee
Artwork by Marina Sviridova
Design by Benoit Van Geel
Manufactured and distributed by N.E.W.S.
Executive production by W.E.R.F. records
Supported by Flemish Government, Jazzlab, nona, HA Concerts, Aubergine artist Management,
KAAP, La Bestia (Wout Van Putten) & mdcmu.sic vzw.
2026 (c) W.E.R.F. records

BAR Musica is happy to come back with its BAR Musica Re-Present catalogue and is even happier to welcome back the Italian legend Ricky Montanari - to confirm the respect and friendship with us.

Ricky Montanari has always been a forward thinking in both his production and sets. The tracks in this H.O.M. Vol II are some unreleased gems produced together with his studio partners Davide Ruberto and Edo Lo Zio in the early 2000 that never got released.

This release is dedicated to all the respect and the gratitude to Ricky, for always be a friend!”

Die brandneue Kollaboration zwischen Freddie Gibbs und The Alchemist, „Alfredo 2”, ist der offizielle Nachfolger der gefeierten „Alfredo”-Veröffentlichung des Duos aus dem Jahr 2020.



Der Rapper Freddie Gibbs wird für sein technisches Können und seine provokanten Texte gelobt und hat sowohl Fans des Gangsta-Rap als auch des Underground-Hip-Hop für sich gewonnen. Er reimt sowohl auf dröhnende Breakbeats als auch auf Trap-Beats und hat mit zahlreichen Rappern und Produzenten zusammengearbeitet, darunter Young Thug, Jeezy, DJ Drama und Statik Selektah. In den 2000er- und frühen 2010er-Jahren machte er sich mit einer Reihe von selbst veröffentlichten Mixtapes einen Namen. Nach seiner ersten offiziell veröffentlichten EP Str8 Killa (2010) begann er, richtige Studioalben zu veröffentlichen, darunter die gut angenommenen Kollaborationen mit Madlib Piñata (2014) und Shadow of a Doubt (2015) sowie You Only Live 2wice (2017). Nach dem kommerziellen Mixtape Freddie (2018) tat er sich für Bandana (2019) wieder mit Madlib zusammen und produzierte mit The Alchemist das Album Alfredo (2020). Letzteres wurde seine erste LP, die die Top 20 der Billboard 200 erreichte und anschließend für einen Grammy Award nominiert wurde.

Elations Recordings presents "Terra Ignota", the long-awaited new full length album from elusive Melbourne-based fusion ensemble Krakatau. "Terra Ignota" marks a return and an epochal shift for the group, a deep exploration of possible sonic spaces and a portent of things to come.

In the years since 2016's cosmic jazz funk-prog-spiritual 12" "Tharsis Montes/Apogean Tide" Krakatau have worked on refining their craft as instrumentalists and writers, expanding further into the world of jazz and fusing influences from world folk musics, contemporary jazz and the European post-minimalist music of the 1980s and early 90s. "Terra Ignota", literally translated as "Unknown Land", takes its name from the cartographer's notation for uncharted territory, the blank spaces on maps where knowledge gives way to imagination and speculation, gesturing towards the group's studio explorations and search for new sonic worlds in the years spent developing the record.

The results are a diverse yet unified combination of sounds and influences across five tracks that see Krakatau drawing closer to the independent underground "world" jazz scene of the 1980s than anything contemporary. The album opens with the digi-minimalism and fourth world atmospherics of title track "Terra ignota", a percussion heavy latin fusion sound in "Birds of Passage", and melancholic ambient saxophone and synthesiser duo "In Memory". Three-part epic "Cosmetic Surgery" journeys through a long, complex post-minimalist arrangement into latin fusion and contemporary jazz, followed by the contemplative ECM-styled acoustic quartet closer "Trial in Absentia".

The album features significant contributions from saxophonist Rob Vincs, former Victorian College of the Arts head of Jazz and Improvisation and a collaborator with Australian musician Brian Brown; layered percussion and wordless vocals from Brazilian percussionist and esteemed songwriter Alcides Neto; and a guest performance from trumpet player Reuben Lewis on the title track.

Dreamweavers II sees Mark de Clive-Lowe reunited with Italian rhythm masters Andrea Lombardini and Tommaso Cappellato for the next chapter in their electro-acoustic trio journey.
Recorded at Sotto il Mare Recording Studios in Verona, Italy in summer 2024, the album builds on the cosmic, hypnotic language established on Dreamweavers (2020) while pushing deeper into groove-driven terrain, dancefloor jazz and textural improvisation. Across eight tracks, the trio explore the elastic space between jazz tradition, beat culture, and club-influenced momentum – without samples or looping – relying purely on live interaction, feel and shared intuition.Opening with the Azymuth-inspired “Terra de Luz,” the album immediately signals its global outlook. “Kaze no Michi” follows with late-night Tokyo energy – dancefloor jazz that feels equally at home in jazz clubs or after-hours rooms. Two intentional reinterpretations bridge jazz and beat culture: J Dilla’s “Raise It Up” (from Slum Village – Fantastic Vol. 2) is reimagined with its original groove and bass line as the launch pad, while “The Bass That Don’t Stop” becomes a lush house-jazz tribute to the late Phil Asher, originally co-created by Asher and de Clive-Lowe in 2002 under the moniker musiclovelife.Bassist Andrea Lombardini’s “Pam” brings the album inward – introspective, spacious, and deeply melodic; while “Lucid Dreams” draws on the trio’s shared love of jungle, drum’n’bass and the exploratory spirit of greats like Chick Corea, amplifying the journey with forward motion and harmonic curiosity.Dreamweavers II is a concisely intentional sound narrative: a trio record rooted in jazz lineage, shaped by beat culture and guided by a collective curiosity for texture, rhythm, and movement.

King Street Sounds Sampler Vol. 6 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Dennis Ferrer, Mood II Swing, Studio Apartment and Blaze & Palmer Brown, the release highlights the soulful, vocal-led house sound that has defined King Street across decades of dancefloor culture.

Including standout King Street favourites such as Dennis Ferrer’s Touched The Sky and Mood II Swing’s Closer, the sampler brings together several proven catalogue moments in one DJ-friendly vinyl package.

With warm grooves, powerful vocals and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the sixth edition in the King Street sampler series, this release presents a selection of essential catalogue moments on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

Christopher Tignors ,Bleeding Past the Edges" ist ein bewusster Kontrapunkt zur heutigen, von KI geprägten Musiklandschaft und stellt die menschliche Hand fest in den Mittelpunkt des Schaffensprozesses. In einem kleinen Studio voller Geigen, Stimmgabeln, Pedalen und maßgeschneiderter Software hat Tignor ein Performance-System entwickelt, das sich weniger wie eine Maschine, sondern eher wie ein lebendiges Instrument verhält. Anstatt sich auf Loops oder Backing-Tracks zu verlassen, generiert er jedes Stück in Echtzeit und fängt Klänge ein und formt sie um, während er spielt. Geigenstreichmelodien erweitern sich zu vielschichtigen Mustern, perkussive Schläge lösen sich entwickelnde Strukturen aus, und selbst eine einzelne Stimmgabel kann sich zu einem ganzen harmonischen Feld entfalten. Das Ergebnis ist ein immersiver, orchestraler Klang, der live von einem einzigen Interpreten erzeugt wird, der sich durch ein eng verwobenes System aus Gestik, Timing und Code bewegt. Jedes Element beginnt als physische Handlung und bleibt damit verbunden, was der Musik ein Gefühl von Unmittelbarkeit, Risiko und Präsenz verleiht, das sich durch das gesamte Album zieht. Auf dem Album bewegt sich Tignor fließend zwischen rhythmisch geprägten Kompositionen, die das Instrument als perkussiven Motor behandeln, und melodischeren Werken, die im expressiven Kern der Violine verwurzelt sind. Die Lead-Single ,Weight of Words" unterstreicht diese Balance und entfaltet sich mit einer narrativen Klarheit, die Tignors Kompositionsansatz widerspiegelt. Er beschreibt diese Stücke oft als ,Kurzgeschichten", in denen Melodien als roter Faden dienen und jedes Werk durch wechselnde Strukturen und emotionale Bögen führen. Der Titel ,Bleeding Past the Edges" verweist auf Momente, in denen die Musik über ihr ursprüngliches Konzept hinausgeht, in denen sich die Struktur lockert und der Klang nach außen fließt. Tignor vergleicht den Prozess mit ,einem Seiltänzer", bei dem sorgfältige Vorbereitung auf die Möglichkeit einer Transformation in Echtzeit trifft. Obwohl die Systeme streng ausgearbeitet sind, behält jede Aufführung ein Element der Unvorhersehbarkeit, wodurch sich die Musik ständig weiterentwickeln kann. Im Laufe von zehn LPs, die über Western Vinyl und New Albion erschienen sind, hat sich Tignor in klassischen und experimentellen Kreisen breite Anerkennung erworben. The Guardian bezeichnete ihn als ,absurd talentiert", während Bandcamp seine ,schiere technische Meisterschaft" hervorhob und The New York Times seine seltene Fähigkeit lobte, Computer bei Live-Auftritten nahtlos mit akustischen Instrumenten zu verbinden. The Wire lobte seine Kompositionen zudem für ihre fließenden, sich entwickelnden Strukturen. Über seine Soloarbeit hinaus hat Tignor mit Künstlern wie Rachel Grimes, Helios, Jefre Cantu-Ledesma, John Congleton und This Will Destroy You zusammengearbeitet. Sein Hintergrund verbindet verschiedene Disziplinen: Er hat einen Doktortitel in Komposition von der Princeton University, einen Master in Informatik vom NYU Courant Institute und einen Bachelor vom Bard College, wo er bei dem Dichter John Ashbery studierte. Mit ,Bleeding Past the Edges" führt Tignor diese Stränge zu einem Werk zusammen, das sich sowohl streng konstruiert als auch lebendig anfühlt - ein Album, das Performance, Körperlichkeit und die anhaltende Ausdruckskraft menschengemachter Klänge in den Vordergrund stellt.

With over 20 years of intense production work and prestigious collaborations, Irie Ites Records has established itself as one of the most respected reggae labels on the international scene. In 2025, the label continues it's strong momentum with a brand-new volume of it's flagship series: Cream of the Crop 2025. Following the success of the previous editions (2022, 2023, and 2024), which each reached several million streams and gained strong visibility in reggae media and playlists worldwide, this new release stands as a must-have for all roots & culture reggae lovers. True to it's reputation for excellence, Irie Ites Records has once again teamed up with some of the finest musicians and producers in reggae: Mafia & Fluxy, Bongo Herman, Earl "Chinna" Smith, Lone Ark, Naram, The Ligerians, King Jammy, Willy William, among others. All tracks were mixed at the Irie Ites Studio (France), ensuring a warm, powerful, and authentic sound. To conclude the album, four exclusive dub versions add the final touch to this outstanding compilation.

From 1971 to 1977, Peter Baumann was a member of the legendary Berlin band TANGERINE DREAM. The group were pioneers of the so called Berliner Schule (Berlin School) which had such a profound impact on electronic music. He produced a number of momentous albums at his Paragon Studio (by the likes of Conrad Schnitzler, Cluster, Hans-Joachim Roedelius) and also enjoyed success as a solo artist. The influence of Tangerine Dream can clearly be heard on "Romance 76", although the arrangements are comparatively minimalist-a state of affairs for which David Bowie can be held partially responsible.

Repress !

Way back in 1981, two musicians got together to make a record. Mike Collins played guitar and had just bought a Roland CR78 - the first programmable drum machine. Keith O'Connell played Fender Rhodes piano and Prophet 5 synthesizer. Excited about the quirky and unusual instrumental track they'd composed, when the duo entered London's Utopia Studios to finish off their creation, neither could have predicted what was to follow... Now viewed by many as one of the most influential early electronic dance records, 'Rude Movements' was swiftly picked up on by David Mancuso, who used it to devastating effect at his infamous 'Loft Parties', in turn introducing it to Larry Levan, Frankie Knuckles, David Morales and Kenny Dope, a group of young DJs who would go on to write the blueprint for dance music as we know it.

In the more than 35 years since its release, 'Rude Movements' has continued to inspire and excite, sampled by The Bucketheads' classic House track 'Whew!' (featured on recent BBE compilation '20 years of Henry Street Records') and listed by a veritable 'who's who' of dance music's elite as an all-time favourite. Rare and much sought-after on vinyl, BBE are happy to announce the release of a fully remastered version of 'Rude Movements' presented alongside the original demo version 'Raw Movements', plus three other versions of the iconic track. Also included on the vinyl package are the Afrika Bambaata inspired 'Street Beat' and 808/MiniMoog workout 'Palace Strut', as well as three other 80s SunPalace compositions. CD and digital versions expand the catalogue still further, with more experimental SunPalace magic. Timeless original, quirky and unique, these recordings are set to inspire yet another generation of DJs,
producers and music fans.

BICEP – das nordirische Duo Andy Ferguson und Matt McBriar – kündigt „CHROMA 000“ an, eine limitierte Sammler-Vinyl-Edition mit einer Sonderverpackung, die Tracks ihres Labels CHROMA zum Abschluss der Serie zusammenfasst und zwei neue Bonusversionen enthält. Sie umfasst zwei Schwarze Schallplatten (140g) mit maßgeschneiderten „Terrain6“-6-Wege-Hyperfarbdruck-Außenhüllen. Jede Einheit enthält außerdem eine 12-Zoll-Neon-Acrylplatte mit Lasergravur (eine von vier einzigartigen Versionen, die zufällig mit jedem Produkt geliefert werden), die alle in einer durchsichtigen braunen Mylar-Hülle mit Pantone-Siebdruck untergebracht sind. Wie bei allen visuellen Produkten von CHROMA basiert das Design des Boxsets auf der einzigartigen und unverwechselbaren visuellen Identität von CHROMA, die in Zusammenarbeit mit David Rudnick und seinem Terrain Studio entstanden ist. Diese basiert auf einem maßgeschneiderten visuellen System und einer Typografie, die sich durch alle Aspekte des CHROMA-Projekts ziehen, vom Artwork über die Pressefotos bis hin zu den visuellen Elementen, die von Zak Norman, dem visuellen Partner von BICEP LIVE, entwickelt wurden und die er in die unglaubliche CHROMA AV-, Licht- und Lasershow integriert hat. Die Veröffentlichung von „CHROMA 000“ bildet nur einen Teil des ehrgeizigen, weitreichenden CHROMA-Projekts von BICEP, das sich über fast zwei Jahre hinweg über ihr eigenes CHROMA-Plattenlabel, eine Reihe kuratierter Veranstaltungen und eine sich ständig weiterentwickelnde hybride DJ/ Live-CHROMA-AV-Show entwickelt hat, die rund um den Globus getourt ist und über 70 Shows vor mehr als 500.000 Menschen gespielt hat, darunter Prime-Slots bei legendären Festivals wie Glastonbury, Parklife und Coachella sowie zwei ausverkaufte Takeovers im Londoner Finsbury Park, Brighton Beach und aufeinanderfolgende jährliche Takeovers im Londoner Drumsheds mit einer Kapazität von 15.000 Besuchern.

,Pneuma" ist ein Zyklus von acht Kompositionen des Kontrabassisten und Komponisten Henry Fraser, erschienen bei Kou Records, der sich mit Atem, Resonanz und der sich wandelnden Beziehung zwischen Form und Improvisation auseinandersetzt. Fraser betrachtet seine Solopraktik als eine Zusammenarbeit mit dem Instrument selbst und arbeitet direkt mit der Materialität und den akustischen Eigenschaften des Kontrabasses, sodass Klang, Raum und Struktur durch tiefes Zuhören gemeinsam entstehen können. Aufgenommen, abgemischt und koproduziert von Randall Dunn (Sunn O))), Thurston Moore) und Ben Greenberg (Uniform, Marc Ribot), erweitert das Album Frasers bisherige Solosprache durch ein erweitertes melodisches Register, vielschichtige Texturen und sorgfältig gestaltete Studioeingriffe. Ausgehend von sowohl vorgefertigten Motiven als auch neu improvisiertem Material entfaltet sich ,Pneuma" in einer Reihe prägnanter Sätze, von denen jeder einer eigenständigen rhythmischen oder harmonischen Idee Gestalt verleiht und gleichzeitig zu einer größeren, zusammenhängenden Form beiträgt. Die Aufnahme, bei der der Schwerpunkt auf natürlicher Dynamik und räumlichen Details liegt, bewahrt die volle physische Präsenz des Instruments und rückt die Resonanz, die Obertöne und die leisen Mikrogesten des Basses in den Vordergrund. Bestimmte Stücke bestehen aus mehreren übereinandergelegten Darbietungen, was den Umfang und den Ausdrucksbereich der Musik dramatisch erweitert. Das Ergebnis ist ein intimes und zugleich immersives Hörerlebnis - akustische Musik, die sich gleichzeitig greifbar und weitreichend anfühlt. ,Pneuma" dokumentiert Fraser in einem Moment künstlerischer Klarheit und bekräftigt sein Bekenntnis zu prozessorientierter Komposition und aufmerksamer Klangpraxis.

Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.

In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.

Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."

Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions. Label credits: Epicentre featuring Bernadette Bascom. Recorded at Kaye-Smith Studios, Seattle, Washington, August 1978"When You Were in Love With Me" and "Magic Carpet" written by Bernadette Bascom. Produced for Epicentre by Don McKinney

“I II III” is pure voltage. An EBM synth-punk blasting assault forged in the concrete heart of Kyiv. These tracks don’t just move: they hit, with brutalist force, fury, and cold rage. Each beat stomps forward like a clenched fist, a sound for strobe-lit riots and blacked-out warehouses. Body music as survival instinct and harsh rhythm as revolt. Raw. Unrelenting. Necessary Presented in ONE- OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid RED vinyl, All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

EdB keeps pushing deeper into sonic chaos with “La Anarquía Sónica” — a raw, proto, and visceral journey built on hand-crafted beats, deliciously unhinged basslines and immersive field recordings. Music for the restless. For those obsessed with sound. For anyone tired of hearing the same thing over and over again. Dystopian music for a universal shift. This time, EdB joins forces with Belgian synth guru Peter Bonne / Chayell Zenn (Linear Movement, Twilight Ritual) to rework “The Enochian Keepers of Time” — also included in its original version on the EP — into an emo- electro industrial aberration titled “Guardianes del Tiempo.” Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes printed innersleeve. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

VIER - IIII, a project by: Machinedrum x Thys x Holly x Salvador Breed.

Across its eleven tracks, 'IIII' dissolves borders between breakbeat, trap-meets-gabber, skippy UK shuffle, halftime, jungle and cinematic electronica, music that shifts from serious voltage to full-colour euphoria. What ties it together is philosophy, not genre.

The group's working method began playfully in the studio with a ten-minute egg timer: each member would sketch for ten minutes, then pass it on. That rule became a ritual, a way to keep things human, spontaneous and shared. In VIER, every track passes through four sets of hands; every decision is a test of trust. What could have been chaos instead became a flow state, a cycle of surrender and discovery thatdefines their sound.

Following singles such as Frankfurt, Control, Where Were You, Solitu and Vai Pulando, 'IIII' stands as VIER's first full statement, a body of work that feels both playful and deeply considered. Moments of quiet bloom into distorted joy; melody drifts through broken percussion; endings turn into new beginnings.

Die Welt wird immer verrückter. Gut, dass es Musik gibt, die uns in eine positive, optimistische Welt gleiten lässt. SCHILLER präsentiert mit dem neuen Studioalbum "Euphoria" ein kraftvolles musikalisches Gegengewicht zur Unberechenbarkeit unserer Zeit: voller Energie, positiver Schwingungen und cineastischer Klangwelten. Musik zum Abschalten, Auftanken - und zum Eintauchen in eine hypnotische Atmosphäre.
Die limitierte Color Vinyl im Gatefold beinhaltet das "Euphoria"-Album auf 2 audiophilen 180g Vinyls in den Farben Neonpink und Carouso - jeweils in einer gepolsterten Innentasche verpackt
"Euphoria" ist ein mitreißendes Klangabenteuer - episch, bildgewaltig und berührend.

About SCHILLER
Hinter SCHILLER steht der deutsche Elektronik-Künstler Christopher von Deylen, der seit über zwei Jahrzehnten internationale Maßstäbe in der elektronischen Musik setzt. Seine Werke verbinden elektronische Sounds mit orchestralen Elementen, packenden Rhythmen und atmosphärischer Tiefe. SCHILLER ist weltweit bekannt für ausverkaufte Live-Tourneen, hohe Chartplatzierungen und musikalische Kooperationen mit internationalen Top-Künstlern.
Mit zahlreichen Gold- und Platinauszeichnungen sowie unzähligen Nummer-1-Erfolgen gilt SCHILLER als einer der erfolgreichsten deutschen Elektronik-Acts - und als musikalischer Grenzgänger zwischen Pop, Ambient, Klassik und Klangkunst.

Continuing his refraction of the rave continuum into pointedly dislocated, delicately bruising sound system meditations, Low End Activist returns to Peak Oil with a second instalment in his Airdrop series. This time around, he channels the ghosts of foundational tech-step and the quantum leaps of late-90s D&B to provide the inspirational fuel for his skeletal, astral constructions. A strong stylistic thread continues to weave through the LEA output from his earlier self-released EPs and Sneaker Social Club albums, where haunted atmospherics, blown out subs and snatches of breaks dart around each other in empty dancehalls, but the finer point of the sound design and synthesis makes very specific references to landmark moments in hardcore's evolution.

By weaving his own autobiography into the music, the Activist maintains a fundamental theme of his work to date. 'Colin's Golf', 'Smithy's Porsche,' 'Merv's Lazy Eye' and 'Brillo's Teeth' are all personal codes harking back to the formative Oxford rave scene. With the framework in place, he uses textures, timbres and studio tricks from scene-leading pioneers and local heroes of the era as ingredients in thoroughly modernist concoctions. None of the reference points are deployed as literal callbacks — they're waymarkers for the creative process and faint triggers bedded deep into Airdrop II's strange formations. Fleeting sonics might trigger latent memories for those who were there. For everyone else, Airdrop II is another step further along rave's eternally unspooling odyssey, guided by decades of precedents on a path into the future.

It's time for the next instalment from our gracious Spiritual Vibes label to bring some joyous musical upliftment and what better way than to introduce an inspirational piece we entitled 'Hands of Moses'; a revamp from the vaults of Bushman's works from the 80s and known to many as a one-away dubplate called 'Moses' in which we have now brought up to speed inna 2025 style with some exceptional musicianship involvement from the Spiritual Players of Instruments bringing emphasis to the majestic soundscapes on this project! ????

As it's the 2nd edition on Spiritual Vibes and to keep the theme of the release - we have decided have the main run in a special luminous red colour disc pressing and if that wasn't enough we are also giving away an EXTRA DUB CUT as a digital download to the first 100 copies sold via Bandcamp as a token of appreciation for all the support for both Ashanti Selah & Bushman's works over the years!

This vinyl comes complete with 4 stomping cuts mixed down in the Selah Dub studio with precision and quality ensuring to bring the right energy to the sessions through the sound-system style selection!

Originally Written by S. Richardson (Bushman) & Re-worked by both Bushman and Ashanti Selah for Spiritual Vibes recordings!

Pilot Talk II is the fourth studio album by New Orleans rapper Curren$y, and follow up to his widely celebrated release, Pilot Talk. Originally released in November 2010, and initially only available on CD & digitally, Pilot Talk II was first pressed on vinyl and exclusively available in the Jet Life: Pilot Talk Collection Vinyl Box Set. For the very first time ever and after much anticipation from fans, Pilot Talk II will be released as a standalone vinyl product, exclusively available for Record Store Day Black Friday 2025 to celebrate the album's 15 year anniversary. Pilot Talk II includes standout tracks such as "Michael Knight," "Famous," "Hold On (feat. Trademark Da Skydiver & Young Roddy," & perhaps one of Curren$y's biggest solo songs, "Airborne Aquarium." Pressed on stunning Purple, Black & White 3 Color A Side B Side Vinyl and limited to 3000 copies worldwide, Pilot Talk II is a must have for any Curren$y or blog-era rap aficionado.

A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It’s one of Be With's favourite ever LPs and it's a complete honour to be giving it our reissue treatment.

Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favourite "Step Into My Dream."

Are they Strangers to us? Well, no, they shouldn't be. The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train.

Now I KNOW you're gonna dig this!

We kick off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax (!) and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire.

Side B is perfection. It kicks off with the NTS favourite "Love Rescue", a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP.

Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic.

A legend of the Chicago house scene, befriending Ron Hardy and Frankie Knuckles in his teens before forming influential house trio Risque III, and still prolific today via releases on Marcel Dettman’s ‘Bad Manners’ imprint, K'Alexi Shelby partners with Tony Loveless for their Planet E debut, ‘Ancestral Rhythm’.

Across a rolling nine-minute odyssey of old-school but future-facing jack, ‘Ancestral Rhythm’ finds the pair tapping into their most uncompromising rhythmic instincts, melding the tough machines of their studio with organic percussion and oscillating plunges into raw, escalating electronics.

In complimentary fashion, Carl Craig expands on the existing material for a subtle, tight C2 edit of the pair’s original material. Roadtested over the summer season in Ibiza and beyond, Craig masterfully sharpens the original’s frenetic edges, while adding another chorus of chants to Shelby and Loveless’s psychedelic soup.

Stiletti City Tape Archives is the fourth Stiletti-Ana album, showing off the Finnish mastermind’s talent for making electronic music that’s immediately inviting while generously rewarding the focused listener.
Following on stand-out work for labels like Public Posession and Höga Nord – not to mention all sorts of odd jobs within the Sex Tags multiverse – Stiletti-Ana presents his latest offering: eight irresistible jams cooked up in the hallowed halls of Helsinki’s Haista II studio.
Here, vintage and modern synths joined forces with live drums and the occasional robot-voiced interjection, resulting in a body of work that’s dazzlingly off-kilter, rich in detail and instantly addictive. The artist himself states: “I think the music has a sense of urgency which relates to city life. Still,
Stiletti City is a small and cozy place, a bit freaky and not gentrified.” Stockholm label Studio Barnhus is delighted to invite fellow travellers into this secret town – welcoming and full of surprises.

On a "Balearic-Jazz trip", the phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. In the acclaim garnered by III of Pentacles, there were many whispers of “Balearic” from those in the know. As soon as you drop the needle on XI you will be basking in turbo Balearica.

Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time – a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you’ll have some idea of how XI opens this future classic LP.

The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC – but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords.

XVI and XVII are the biggest indicators to Thought Leaderships’ new found love of The Real Book and their grasp of jazz chords. The former sounds like if Mike Hedges had produced on a heavily sedated ECM date in the early 80s, whilst the latter is Bright Size Life condensed into a most post-punk shard of Strat conversation. The syrupy Phase 90 on the lead parts lends much weight to the guitar melodies, a beautiful tonal counterpoint to the Vox-ish chimes of the plangent chords we’ve all come to love.

The flip again treats us to three extended, improvised jams. XVIII owes as much to Canterbury as it does to Krautrock, another modal voyage through the stars. Light the incense and drift away, guided by delayed cymbals and weaving ribbons of guitar. XIX has almost a New-Wave/Sophisti-Pop energy to it in tone, if not in structure and execution. Something almost Tears for Fears-esque in the chiming chorus guitars. An interesting outlier that has already received a lot of love from those that have heard it. XX is the starkest idea, and the only piece this time with no drums. What we do get, however, is a free exploration over a two chord-vamp. It’s Harvest Time meets Planet Caravan and a fitting end to this Balearic jazz trip.

Be With is honoured to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last one flew. You have been warned.

Elations Recordings presents "Depois do Silêncio", an intimate, forward-looking acoustic bass, digital keyboard and synthesiser recording by Brazilian avant-garde jazz luminaries Zeca Assumpção and Lelo Nazario. This release celebrates almost fifty years of the duo's friendship and musical affinity, continuing a musical dialogue between long-time collaborators. The duo began working together with Hermeto Pascoal's "Grupo Vice Versa" in the mid 1970s before forging one of Brazil's most adventurous experimental jazz groups "Grupo Um" in 1976; releasing three albums with a shared avant-garde and lateral, exploratory approach to sound fusing jazz and contemporary synthesis with expanded and prepared acoustic playing.

"Depois do Silêncio" reflects the duo's long development of a shared conception of music, resulting in a work that is both timeless and modern. The music on the album was primarily recorded in Nazario's UTOPIA Studio, São Paulo, in 1994, featuring Assumpção on acoustic bass and Nazario on his newly acquired Ensoniq TS-12; these recordings were supplemented with acoustic bass for "Quintal da Memória" in 2018 and completed with an additional layer of rich, complex analog and virtual synthesis following their rediscovery of the material in 2022.

Assumpção's deeply expressive acoustic bass playing forms the backbone of these compositions, augmented by Nazario's expansive and exploratory approach to synthesis, its constantly shifting timbres "making music a living organism, which adapts to situations as they appear." Nazario explains that "although the themes are written, much of the music is improvised based on an organic development of ideas, all intertwined and interrelated exactly as happens in a living organism".

The album title "Depois do Silêncio" (After Silence) references a phrase by the writer Aldous Huxley; "after silence, that which comes nearest to expressing the inexpressible is music". Assumpção and Nazario continue a search for new forms of musical expression, and here they succeed in creating music that "expands the sound of musical instruments, so opening new horizons in the minds of listeners".

"Waxwork Records is proud to announce the next entry into their collection of FRIDAY THE 13th soundtrack releases on vinyl, FRIDAY THE 13th PART 3. Waxwork and composer Harry Manfredini re-visited the original analog tapes in an effort to faithfully master the complete soundtrack for vinyl. FRIDAY THE 13TH PART 3 includes every musical cue featured in the film and encompasses two 180 gram LP's clocking in at nearly one hour of chilling audio which serve as a dark musical backdrop to one of the most beloved franchises for horror fans. Originally released in 1982 and in 3-D, FRIDAY THE 13TH PART 3 is the first film to feature the legendary slasher, Jason Voorhees, wearing his signature hockey mask. This image of a machete wielding, hockey masked killer became the trademark for the franchise, as well as an iconic image in American cinema and horror films in general. To keep in tune with the original 3-D theatrical release of the film, Waxwork created a deluxe quality 3-D lenticular mounted album cover for the heavyweight old-style tip-on gatefold jacket which houses two LP's featuring the complete score.

Waxwork Records incorporated the lost, deleted final scene of the film into the inner gatefold illustration. This deleted scene from the film depicted an unmasked Jason Voorhees violently beheading the “final girl"". Deemed too graphic by the film studio, the scene was cut from the movie altogether. Here's your chance to see it up close and personal through the artistic vision of Gary Pullin.

And yes, this soundtrack release includes the now famous “Disco Theme"" from FRIDAY THE 13TH PART 3's opening credits!