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This is Jah Wobble"s first post punk LP in recent years following travel and dub records. The brash guitar driven tracks reflect his continuing preoccupation with the declining state of the nation. Driven by his experience working each week at a music based community project in Merton, with Jon Klein, it is reminiscent of Mark Stewart. Angry in an empathetic, constructive way it resolved with the beautiful instrumental "Brockwell Lido". Like much of his work these days, much of the lyrical content comes while traversing London"s transport system. Jah Wobble, is an English bass guitarist and singer. He became known to a wider audience as the original bass player in Public Image Ltd (PiL) in the late 1970s and early 1980s; he left the band after two albums. Following his departure from PiL, he developed a solo career. In 2012, he reunited with fellow PiL guitarist Keith Levene for Metal Box in Dub and the album Yin & Yang. Since 2013, he has been one of the featured pundits on Sunday morning"s The Virtual Jukebox segment of BBC Radio 5 Live"s Up All Night with Dotun Adebayo. His autobiography, Memoirs of a Geezer, was published in 2009. Jon Klein Is an English guitarist and producer, best known for being a member of Siouxsie and the Banshees for seven years, from 1987 until 1994. He also founded Specimen and The Batcave nightclub. Klein has worked for other artists including Talvin Singh and Sinéad O"Connor. More recently he has worked as a co-producer and guitarist with Jah Wobble.

The analog LP reissue of the original soundtrack album from the anime Mr. Ajikko, which aired in 1987. The original LP catalog number is K28G-7379, and the original
CD catalog number is K32X-7125, released on June 21, 1988 (the tracklist differs from the CD released in 2004, which included eight newly added tracks).
The original manga, created by Daisuke Terasawa, was serialized in Weekly Shonen Magazine from autumn 1986 to the end of 1989, and was adapted into an anime
series that aired on TV Tokyo from October 1987 to September 1989.

This is the only soundtrack album for the anime series. It features the opening theme “Renaissance Jounetsu” and the ending theme “Kokoro no Photograph”, both
composed and sung by singer songwriter Wataru Kuniyasu, who is also known for composing Akina Nakamori’s “Gypsy Queen”. Lyrics were written by Ikki Matsumoto,
and arrangements were done by Tatsumi Yano.

The album includes image songs, eyecatch music, and preview tracks, with contributions from renowned comedy song artists Masayuki Yamamoto (Side A tracks 4 and 6)
and Tatsuo Kamon (Side B tracks 1 and 7). The album was structured, scripted, and directed by the anime’s director Yasuhiro Imagawa, making it a variety style album.
The main background music (BGM) was composed and arranged by Daito Fujita (Side A tracks 1, 3, 5, 7; Side B tracks 3, 5). The original manga author Daisuke
Terasawa also contributed lyrics for two songs (Side B tracks 3 and 5). Voice actor Tomohiro Nishimura participated both as a singer (Side A track 8; Side B track 7)
and as an arranger (Side B track 7).

Voice actors Minami Takayama, Yoko Kawanami, Miki Narahashi, Hirotaka Suzuoki, and Kenyu Horiuchi also participated in min dramas and chorus segments.
This album, which comically and dramatically portrays cooking battles, is a “Bravo!” anime soundtrack that closes out the Showa era in style. After 37 years, it is finally
being reissued as an analog LP a long-awaited release for anime connoisseurs!

Clear Vinyl in limitierter Auflage von 1500 Stück. Die renommierte US-niederländische Gospel-Soul-Künstlerin Michelle David & The True-tones läuten mit ihrem neuen Album ,Soul Woman", das am 27. Februar 2026 bei Record Kicks erscheint, ein neues Kapitel ein. Aufbauend auf dem von Kritikern gefeierten Album ,Brothers & Sisters" aus dem Jahr 2024, das die Komplexität der Welt widerspiegelte, wendet sich die neue LP ,Soul Woman" nach innen - eine zutiefst persönliche Auseinandersetzung mit Identität, Heilung und spiritueller Widerstandsfähigkeit. ,Wie kann ich andere bitten, sich Zeit zu nehmen, um über ihr Leben nachzudenken, wenn ich das selbst nicht tue?", fragt Michelle David. Dieser Geist der Selbstreflexion und Erneuerung steht im Mittelpunkt von ,Soul Woman" - einem Album, das Verletzlichkeit zulässt und gleichzeitig Stärke ausstrahlt. Musikalisch verfeinert ,Soul Woman" die charakteristische Mischung der Band aus Gospel, Soul und Vintage-Rhythm & Blues und schöpft dabei aus einer breiteren Palette von Einflüssen. Anklänge an Curtis Mayfield, Bobby Womack und The Four Seasons pulsieren durch die Grooves, während das Gospel-Feuer der Blind Boys of Alabama und die fröhliche Ausstrahlung von Diana Ross & The Supremes dem Album sowohl Schwere als auch Glanz verleihen. Im Mittelpunkt steht Michelle Davids unverwechselbare Stimme - rau, warm und voller Entschlossenheit -, umhüllt von reichhaltigen, analog geprägten Arrangements ihrer langjährigen Mitstreiter Paul Willemsen (Gitarre, Bassgitarre), Onno Smit (Gitarre, Bassgitarre) und Bas Bouma (Schlagzeug). Gemeinsam stehen Michelle David & The True-tones an der Spitze der Retro-Soul-Szene - sie verbinden zeitlose Grooves mit moderner Dringlichkeit, unerschütterlicher Authentizität und herzlicher Leidenschaft. Eine Stimme, geboren in der Kirche, geschliffen auf der Straße. Michelle David wurde in New York geboren und wuchs in der Kirche auf. Mit nur vier Jahren begann sie zu singen und trat mit fünf Jahren ihrer ersten Gruppe, The Mission of Love, bei. Ihre kraftvolle Stimme führte sie um die ganze Welt, wo sie in gefeierten Broadway-Produktionen wie Mama, The Sound of Motown, Glory of Gospel und Mahalia mitwirkte und mit Legenden wie Diana Ross und Michael Bolton Aufnahmen machte - alles bevor sie ihre gefeierte Reise mit The True-tones begann. Gemeinsam haben Michelle David & The True-tones sieben von der Kritik gefeierte Alben veröffentlicht und die Bühnen Europas erobert, von Pinkpop über North Sea Jazz bis hin zum London Jazz Festival. Die Band ist bekannt für ihre mitreißenden Live-Auftritte, hat von Spanien bis Skandinavien Standing Ovations erhalten, ist in großen Fernseh- und Radiosendungen aufgetreten und hat sogar bei den Olympischen Winterspielen 2022 gespielt. Ihre Aufnahmen wurden ebenso gelobt: The Gospel Sessions wurde für einen Edison Award (das niederländische Pendant zum Grammy) nominiert, während Truth & Soul aus dem Jahr 2020 von Craig Charles' BBC Radio 6 Music zum Album des Jahres und von FIP (Radio France) zum Album des Monats gekürt wurde. Ihr jüngstes Album, Brothers & Sisters (2024), markierte ihr Debüt bei Record Kicks und wurde zu einem Durchbruch - gefeiert von Rolling Stone France, KEXP, Jazzthing Magazine (Deutschland), De Volkskrant (Niederlande) und BBC 6 Music. Ein Zeugnis der zeitlosen Kraft des Soul: Mit ,Soul Woman" bieten Michelle David & The True-tones mehr als nur eine neue Platte - es ist ein musikalisches Zeugnis der Widerstandsfähigkeit, eine Feier des spirituellen Wachstums und eine Bekräftigung der Fähigkeit der Soulmusik, zu heilen, zu verbinden und zu inspirieren. Gleichzeitig in klassischen Traditionen verwurzelt und neue Wege beschreitend, ist dies zeitgenössischer Soul vom Feinsten. Für Fans von Durand Jones & The Indications, Thee Sacred Souls, Jalen Ngonda, Sharon Jones & The Dap-Kings, Lee Fields, Mavis Staples.

Auf ihrem achten Album "Nothing's About to Happen to Me" erzählt Mitski, musikalisch unterstützt von ihrer Band und einem Orchester, eine vielschichtige, verrätselte Geschichte, in deren Mittelpunkt eine Frau steht, die zurückgezogen in einem verwahrlosten Haus lebt. Außerhalb ihres Zuhauses ist sie eine Außenseiterin; innerhalb ihres Zuhauses ist sie frei. Mitski schrieb alle Stücke auf "Nothing's About to Happen to Me". Das Album, produziert und aufgenommen von Patrick Hyland und gemastert von Bob Weston, setzt die musikalische Linie von "The Land Is Inhospitable and So Are We" (2023) fort. Eingespielt wurde es live von Mitskis Tourband The Land. Die Orchesteraufnahmen, arrangiert von Drew Erickson fanden in den Sunset Sound und TTG Studios statt, die Tontechnik übernahm Michael Harris. Mitski ist "die faszinierendste und geheimnisvollste Musikerin des Indie-Rock" (Rolling Stone), die sich "immer wieder auf brillante und wunderbare Weise weiterentwickelt" (NPR Music). Im Laufe ihrer Karriere hat sie bislang sieben Alben veröffentlicht, vier davon erreichten Goldstatus. Ihr Stück "My Love Mine All Mine" ist ein Welthit und erreichte Vierfach-Platin. Zu Mitskis vielfältigen Kollaborationen mit anderen Künstler:innen zählen zwei Co-Writing-Beiträge für das aktuelle Florence and the Machine-Album "Everybody Scream", sowie eine Zusammenarbeit mit David Byrne und Son Lux für den Oscar-nominierten Film "This Is A Life". Derzeit schreibt sie Musik und Texte für die Musical-Adaption von "Das Damengambit". Ihre Konzerte, die Variety als "faszinierende Bewegungsstudie" bezeichnet hat, wurden auch als "hochstilisiert, brillant umgesetzt, supercool" (Philadelphia Inquirer) und "ungewöhnlich, rätselhaft und absolut fesselnd" (The Guardian) beschrieben. Ihr erster Konzertfilm "Mitski: The Land" lief im Oktober 2025 in über 600 Kinos weltweit und festigte ihren Ruf als "eine der wenigen Indie-Stars, die sich den großen Durchbruch verdient haben" (Uproxx). Er erschien zeitgleich mit dem Live-Album "The Land".

Auf ihrem achten Album "Nothing's About to Happen to Me" erzählt Mitski, musikalisch unterstützt von ihrer Band und einem Orchester, eine vielschichtige, verrätselte Geschichte, in deren Mittelpunkt eine Frau steht, die zurückgezogen in einem verwahrlosten Haus lebt. Außerhalb ihres Zuhauses ist sie eine Außenseiterin; innerhalb ihres Zuhauses ist sie frei. Mitski schrieb alle Stücke auf "Nothing's About to Happen to Me". Das Album, produziert und aufgenommen von Patrick Hyland und gemastert von Bob Weston, setzt die musikalische Linie von "The Land Is Inhospitable and So Are We" (2023) fort. Eingespielt wurde es live von Mitskis Tourband The Land. Die Orchesteraufnahmen, arrangiert von Drew Erickson fanden in den Sunset Sound und TTG Studios statt, die Tontechnik übernahm Michael Harris. Mitski ist "die faszinierendste und geheimnisvollste Musikerin des Indie-Rock" (Rolling Stone), die sich "immer wieder auf brillante und wunderbare Weise weiterentwickelt" (NPR Music). Im Laufe ihrer Karriere hat sie bislang sieben Alben veröffentlicht, vier davon erreichten Goldstatus. Ihr Stück "My Love Mine All Mine" ist ein Welthit und erreichte Vierfach-Platin. Zu Mitskis vielfältigen Kollaborationen mit anderen Künstler:innen zählen zwei Co-Writing-Beiträge für das aktuelle Florence and the Machine-Album "Everybody Scream", sowie eine Zusammenarbeit mit David Byrne und Son Lux für den Oscar-nominierten Film "This Is A Life". Derzeit schreibt sie Musik und Texte für die Musical-Adaption von "Das Damengambit". Ihre Konzerte, die Variety als "faszinierende Bewegungsstudie" bezeichnet hat, wurden auch als "hochstilisiert, brillant umgesetzt, supercool" (Philadelphia Inquirer) und "ungewöhnlich, rätselhaft und absolut fesselnd" (The Guardian) beschrieben. Ihr erster Konzertfilm "Mitski: The Land" lief im Oktober 2025 in über 600 Kinos weltweit und festigte ihren Ruf als "eine der wenigen Indie-Stars, die sich den großen Durchbruch verdient haben" (Uproxx). Er erschien zeitgleich mit dem Live-Album "The Land".

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.

Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines.

As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music". If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore - her depth, richness, sophistication and warmth - will see you just right.

The gigantic title track, "Bright And Shining", gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Worth the price of admission alone. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals (aside from the refrain of the title) alongside breezy alto sax and electric guitar. Pastoral and perfect. The slow'n'sultry "Affluence" presents a moody elegance, a classical "downlifting" gem. Another crucial highlight is the breezy "Going On Holiday". It's happy. It's sunny. It's lively. It's cool and happy. Did we say happy? A mid-tempo, romantic sax workout, "Alto Sex"presents smooth jazzy funk before the first side closes out with the soaring, jazzy "Stay With Me". Seriously uplifting.

Side B opens with "Feel Fine", an excellent uptempo and bright jazz groove. Up next, "Canon" is wracked with refinement, a peaceful, smooth vocal harmony over repeating bass making for an elegant, late-night classic. It's followed by the laconic "Smooth And Soft", a laidback, casual sophisticated soul and easy-feeling jazz gem. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support! To close, the carefree "Feeling Free" is a pleasant, light and breezy mid-tempo groove.

The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. We'll grant the final word to MillionDollars. on discogs from about 10 years ago: "If you listen to the record on a sunny day you feel like going out surfing in a white linen suit with a blunt on your lips, catching a cool breeze."

MariMari’s debut album “Mimitomesoshiteecho”, originally released in 1997, is finally getting its long awaited analog reissue.

Known for being fully backed by members of Fishmans, this work centers on MariMari’s vocals, which combine transparency and fragility, layered with
the floating, organic ensemble reminiscent of the Fishmans sound a truly unique album that deserves recognition across generations.
For this reissue, UK cutting engineer Dave Turner, who also handled the latest Fishmans reissues, took charge of the cutting process.
The original master’s charm has been maximized while optimizing the sound for today’s listening environments, bringing the album back to life with a
fresh sonic image.

Bill Pritchard präsentiert mit Haunted sein poporientiertestes Album seit den 1990er-Jahren. Veröffentlicht auf Tapete Records, vereint das Werk melodische Raffinesse mit lyrischem Tiefgang. Die Songs kreisen um Erinnerungen - Menschen, Orte und Emotionen, die bleiben, ob real oder imaginär. Aufgenommen zwischen Hamburg und Newcastle-under-Lyme, spiegelt Haunted den internationalen Charakter von Pritchards Musik wider. Vintage-Elemente wie Drumcomputer und Bläserarrangements treffen auf moderne Produktion, ergänzt durch Gitarren, Orgel und subtile psychedelische Akzente. Das Ergebnis ist ein organisches, europäisches Popalbum voller Wärme und Vielschichtigkeit. Thematisch erforscht Pritchard die Spuren der Vergangenheit: von Alltagsbeobachtungen bis zu semi-fiktiven Liebesgeschichten. Die Songs wechseln zwischen luftigen, optimistischen Momenten und introspektiven Passagen - stets mit feinem Gespür für Melodie und Atmosphäre.

Repress. "Across its rather considerable span, II demonstrates there's still room for growth in the realm of post-Colour Haze heavy psych, and more than the debut, Weedpecker leave an individual impression here in songs like "Reality Fades" and the peaceful, patient closer, "Already Gone," tapping into Elder-style riffing on "Flowering Dimensions" as they did the first time out, but elsewhere taking on a similar low-key mindset that drove Sungrazer's second LP toward such expansive jamming. They can be quite heavy at times!" - JJ Koczan

Repress. Highlighter yellow vinyl, limited to 300 copies. "Across its rather considerable span, II demonstrates there's still room for growth in the realm of post-Colour Haze heavy psych, and more than the debut, Weedpecker leave an individual impression here in songs like "Reality Fades" and the peaceful, patient closer, "Already Gone," tapping into Elder-style riffing on "Flowering Dimensions" as they did the first time out, but elsewhere taking on a similar low-key mindset that drove Sungrazer's second LP toward such expansive jamming. They can be quite heavy at times!" - JJ Koczan

Horse Jumper of Love ist eine amerikanische Rockband aus Boston, Massachusetts. Horse Jumper of Love hat 2016 ihr erstes selbstbetiteltes Studioalbum rausgebracht.

Grace Inspace Garner hat schon immer ein nomadisches Leben geführt. Geboren in LA und aufgewachsen in London, wuchs sie mit ihren umherziehenden Künstlereltern an verschiedenen Orten auf. Getreu ihrem Wanderlust-Geist entsteht ein Großteil ihrer Texte in einem Airstream-Wohnwagen am Ufer des Jedediah Smith Redwoods in Nordkalifornien, wo sie einst Jahre unter Marihuana-Bauern, Förstern und Schwarzbären verbrachte. Der Titelsong von Graces letzter EP „Sunshine Kid” wurde in einer weltweiten Kampagne von Celine verwendet, und ihre Musik wurde von führenden Medien wie Clash, The Fader und Coup De Main vorgestellt.


Ihre neue EP „Heavy Hair“ ist ihr bisher persönlichstes Werk. Der Titel stammt von einem Selbstporträt aus ihrer Kindheit, auf dem sie ein Mädchen zeichnete, das unter dem Gewicht ihrer eigenen Haare zusammengebrochen war. „Ich sagte meiner Mutter, ich hätte es gezeichnet, weil sich meine Haare mit all meinen Gedanken und Gefühlen zu schwer anfühlten“, erinnert sich Grace. Jeder Song auf dem Album deckt eine Seite von ihr auf, die vergraben oder vergessen war, und bildet eine introspektive Reise, die sowohl von Schmerz als auch von Freude geprägt ist. Jeder Song auf dem Album bringt eine Seite von ihr zum Vorschein, die vergraben oder vergessen war, und bildet eine introspektive Reise, die sowohl von Schmerz als auch von Freude geprägt ist.

Blisterhead ist eine der verstecktesten Perlen der europäischen Punkrock-Szene. Die Band wurde 1999 in den kleinen Städten Falköping und Skövde in Schweden gegründet. Im Laufe der Jahre hat sich die Band einen Ruf für Beständigkeit und Leidenschaft aufgebaut und fünf Alben sowie drei EPs über renommierte Indie-Labels wie Kob Records, Mad Butcher Records, Laketown Records und Alleycat Records veröffentlicht. Mit Tourneen durch mehr als 15 Länder in ganz Europa hat Blisterhead die Bühne mit legendären Acts wie Millencolin, Toy Dolls, Mad Sin, GBH und Bombshell Rocks geteilt. Bekannt für ihre energiegeladenen und messerscharfen Live-Auftritte, gelten sie oft als eine der zuverlässigsten und fesselndsten Live-Bands der europäischen Punkszene. Musikalisch liefert Blisterhead eine einzigartige Mischung aus Punkrock und rohem Rock'n'Roll, angetrieben von unglaublich starken Refrains und mitreißenden Melodien, die dem Zuhörer noch lange nach dem Ende der Songs im Gedächtnis bleiben. Blisterhead kehren nun mit ihrem sechsten Album "Where We Belong" auf Sunny Bastards Records zurück und destillieren alles, was die Band ausmacht: große, hymnische Refrains, einen wilden Cocktail aus Punkrock und Rock'n'Roll und eine live aufgenommene Energie, die Ehrlichkeit, Schweiß und Adrenalin direkt aus den Lautsprechern strömen lässt. Mit jedem Hören entfalten sich neue Hooks und Melodien, die zeigen, wie viel Tiefe unter der rohen Kraft steckt. Dieses Mal ließ sich die Band stark von Legenden wie US Bombs, The Humpers und Rancid inspirieren und verband den rohen amerikanischen Punk-Angriff mit der Härte und Melodie des klassischen englischen Punks der 80er Jahre. Das Ergebnis ist ein Sound, der sowohl zeitlos als auch eindringlich wirkt, den Wurzeln des Punk treu bleibt und gleichzeitig mit voller Geschwindigkeit vorwärtsprescht

Steeped in nocturnal, death rock adventurism, riven with a post-punk anxiety that feels increasingly like the twitching heart of our modern age, and driven by hardcore punk intensity, the second studio album from Boston’s FINAL GASP, titled New Day Symptoms, does what all great rock records do - not only does it place itself within a lineage, summoning up and amplifying a spectrum of powers from Rock n' Roll lore, it makes them resonate in the here and now. It gives voice to those fears and frustrations lurking just under the surface of waking consciousness and turns them into a rallying cry. Throughout New Day Symptoms, FINAL GASP create a potent reaction from the furious and the forlorn, frontman Jake Murphy’s vocalizes both a supercharged howl into the void and a remorseful echo back. But where the band’s 2023 debut, Mourning Moon, was a concentrated shot of acrid, underground death rock, its propulsion tanks largely filled with references to Samhain and Killing Joke, New Day Symptoms keeps all the core urgent energy while vastly broadening its scope. Through the anthemic, acid-corroded vistas of "Look Away" and gothic tub-thumping beat of "Gifted Shame" to "No Hand To Lead" channelling "Don’t Fear The Reaper" and its loping groove, New Day Symptoms takes the familiar into uncharted territory and makes the unfamiliar instantly, internally recognisable. With new space to explore, this is an album that feels a mapping of personal trials and dark recesses. Short: Boston's FINAL GASP return with New Day Symptoms - the new album steeped in nocturnal, death rock adventurism, riven with a post-punk anxiety that feels increasingly like the twitching heart of our modern age, and driven by hardcore punk intensity! FFO: Danzig, Killing Joke, TSOL, Lathe of Heaven, Poison Ruin, Gouge Away, Tribulation

Bettye Swann possessed one of the most emotive voices in soul music’s cannon but her recording career was that of a shooting-star; it blazed at the start, then illumined brightly before abruptly dissipating, all in just eleven years. In 1975 she ceased recording, moved to Las Vegas and retired her Bettye Swann persona.
The Louisianan Betty Jean Champion had relocated to Los Angeles as a young woman where in around 1964 she was introduced to Al Scott, owner of Money Records. It was her fourth Money 45 “Make Me Yours” that propelled Swann into the stratosphere. One of the defining songs of the era, it was her pathway to Capitol Records with whom she signed in 1968.
By 1972 Bettye was at Atlantic Records. The initial Atlantic 45 “Victim Of A Foolish Heart” b/w “Cold Day In Hell” recorded at Fame with Mickey Buckins and Rick Hall, made for a promising debut reaching #16 on the Billboard chart. It was followed by Bettye’s version of Merle Haggard’s “Today I Started Loving You Again” and “Til I Get It Right”, a gentle country-soul labour. “I’m Not That Easy To Lose” also dates from those sessions.
In an attempt to broaden her appeal Atlantic sent Swann to Sigma Sound in Philadelphia where she cut Phil Hurtt’s’ and Tony Bell’s “Kiss My Love Goodbye”, “Time To Say Goodbye” and “When The Game is Played On You”. Her fortunes continued to wane so Swann was next placed with Nashville producer Brad Shapiro. The results were artistically stellar and included three unissued gemstones in The Isley’s “This Old Heart of Mine”, a definitive version of Maxine Weldon’s “I Want Sunday Back Again”, and “Either You Love Me Or Leave Me”.

Don’t believe your ears - Pepper’s Ghost is the latest offering from NYC project Nuke Watch.

Whatever you think it is - it is not. By the same token it really can be whatever you want - electronica, jazz, improv, noise, new age, ambient - it’s none and all of these. Like the primitive visual illusion it’s named for - Pepper’s Ghost is a projection of a thing, it’s not the thing.

The Nuke Watch method - like that of Aaron Anderson and Chris Hontos’ other primary project Beat Detectives - leans almost entirely on live improvisation, with some advanced studio alchemy in post. Where the Beat Detectives palette draws from club music tropes, Nuke Watch blends recognizable tones (hand drums, woodwinds, keys, fretless bass) with sounds of providence unknown, the line between organic and synthesized instrumentation unintelligibly smudged. What is real and what is projection? It’s hard to say. What do our ears tell us? This is where we arrive at Pepper’s Ghost.

Warped as the sounds may be, the playing belies a crew of deeply expressive, learned improvisers who have their craft honed. Their friendship and psychic connection enhances the ritualistic rhythms, mutant modular synthesis, nimble keyboard runs, absurdist sampling and unidentified skronk. They’re wonderfully complemented across several tracks on this set by Cole Pulice’s levitational, sublime saxophone.

As unhinged as this might all appear, once the mind and music meet on the same wavelength this is profoundly moving, energizing and uplifting Alive Music that recalibrates the sense of what music can be.

Nuke Watch is Aaron Anderson and Chris Hontos, with an array of friendly guests. They’ve released records as Nuke Watch on The Trilogy Tapes, Commend and Moon Glyph. As Beat Detectives they’ve released records on Not Not Fun, 100% Silk and their own studio imprint NYPD Records.

Pepper's Ghost was written and produced by Aaron Anderson and Chris Hontos. Additional instrumentation on these recordings by Cole Police, Leonard King, Eric Timothy Carlson, Chris Farstad and William Statler. It was mixed by Chris Hontos and mastered by Jack Callahan. Painting on the cover is “The Unity Of Being” (2020), by Ry Fyan. Design and layout by Aaron Anderson.

RIYL - Musical illusions, puzzles and magic tricks, downtempo, music of the spheres, good journey, Eddie Harris, Ketron, "world building", orange sunshine, suspension of disbelief.

French artist Trypheme debuts on Impatience with “Odd Balade”, a darkly-hued collection of songs drawn from human delicacy and dreamworld mythology.

“Odd Balade” is Trypheme’s most ambitious and boldest record to date - both lyrically and musically. The album’s thirteen tracks resist rigid genre boundaries and flutter from medieval folk realms, sprawling synths, gothic 80s wave, leftfield pop, haunted vocals, mutant electronica to reverbed guitars - all reflected through her own shadowy prism. Especially album closer “A Walk In The Vercors” evokes a soothing serenity that echoes the sonic balm of Julee Cruise.

Trypheme’s musical repertoire trends heavily electronic and somewhat abstracted, but on “Odd Balade”, the artist slips into the role of the modern troubadour with a shift to a more poetically and personal songwriting that is infused with symbolism and dreamlike fantasies. The connective tissue of the album is the audacity to love and the vulnerability that ensues. As intimate and introspective as the lyrics are, the themes remain universal and human to the core: the fear of losing a loved one, the melancholia of leaving places and t“the fear of losing a loved one, the melancholia of leaving places and the cycles of life. The record was largely composed in Chars, stirred by the French village’s eerie atmosphere and frequent trips to the seaside in Brittany, where Trypheme resides. Drawing inspiration from the rugged terrain of the seaside landscapes, the writings of Allen Ginsberg and Mark Fisher and the hyperrealist art of Scott Prior, Trypheme uses her songs to depict life with broad strokes of rhythm.

On “Odd Balade” Trypheme consolidates herself as a gifted, nimble songwriter, masterly producer and subtly powerful vocalist. The record combines her skill for crafting lush, alien sound worlds and efficient, alluring arrangements with stealthily devastating songs. Belin’s voice becomes a key ingredient, appearing on eleven of Odd Balade’s thirteen tracks, by turns heavily manipulated, sampled and replayed as a form of percussion, or basically bare.

“Odd Balade” is the manifestation of Trypheme’s roving artistic practice, a ceremonial-grade sacrament cast in a rich nocturnal glow. Pairing the mundane with the mythic, the album stays true to its core: odd and strangely familiar.

RIYL - Riding off into the sunset to an unknown destination, hauntology, present, tales told by the fireside, hot summer rain, adventures, to feel a warm presence when you are walking in the forest or in the mountain, coastal landscapes, sailor’s stories, slow motion, vitesse, heavy blossoms, colors, the warmth of the sun, the tenderness of the moon, getting lost in unfamiliar streets, city’s lights, motorway rest area by night, magic numbers, rendez-vous, picnic, serendipity, poetry, the smell of old records and old books.

Tiphaine Belin has been releasing music as Trypheme since 2016. Odd Balade was written and produced by Belin, and mixed by Belin and Abel Roux. It was mastered by Amir Shoat. Cover art photography is by Ariane Kiks, with art direction by Ariane Kiks in collaboration with Mathilde Chaize.

x 500 only very limited ONE OFF PRESSING

Two gems from the vaults of the Semper camp. Taken from the mega rare Themes for television, sport and Aerobics' released on the Pixie Records. Dynamite Cuts is releasing these two as a limited edition.
DYNAM7010
Track A - Pretty Lady' wonderful synth vibe with a whole lot of soul, no drums or heavy grooves, just a rare touch of smooth sunshine on a 45.
Track B - Universe (Exterritorial Search Contact Tones)' Its all about this beauty, a magic moment in time. So much soul in such a short track. Has Hudson and Duke vibe, never before on 45 vinyl must have vinyl both taken from Master tapes

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.

Alongside with the release of the new album “Tote Winkel”, Sankt Otten will be delighting us with another limited vinyl bonus release. “Hymnen und Helden” (hymns and heroes) is a collection of cover versions created over the last few years. As the album title suggests, it pays homage to self-proclaimed musical hymns and heroes from the seventies and eighties.

HYMNEN UND HELDEN – track by track: A well-known Moog sequence leads us on the way into the cover album. Giorgio Moroders 1977 disco classic “I feel love” has been tackled here. Sankt Ottens instrumental interpretation starts out familiar, but ends in a slightly disturbing disharmony of mellotron and ebow guitar.

The instrumental version of the melancholy Wipers anthem from 1983 starts with a rather unusually fast 808 beat for Sankt Otten. The 80s electronic echoes suit the punk rock earworm “Doom Towen” surprisingly well.

Without Deutsch Amerikanische Freundschaft, more unusual electronic music would hardly have been conceivable in Germany in the early 1980s. “Alles ist gut” tribute to this band and singer Gabi Delgado-Lopez, who passed away in 2020 and with whom they shared the festival stage in 2015. Gabi‘s lyrics are rendered by text- to-speech software with the voice of an unknown Claudia.

“Wishing (If I had a photograph of you)” was made famous in 1982 by A Flock of Seagulls. This record was regularly played on Stephan Ottens turntable back then. Reason enough to remember this with “Sehnen (Hät- te Ich von dir eine Fotografie)”. The recordings for this album were made in 2007 and have been updated and completed in the last year. Carsten Sandkämper, who was also featured on Sankt Ottens debut album “Eine kleine Traurigkeit”, contributed the vocals and lyrics.

The Swiss band Grauzone became famous with the NDW hit “Eisbär”. Instead of this title, they took on the B-side of this single with “Ich liebe sie”. A synthpop love song full of innocence, stylishly sung by Carsten San- kämper and refined with Kraftwerk-like choral sounds and an herbaceous motorik beat.

The band has enjoyed a personal friendship with Harald Grosskopf since their collaboration in 2013 on the album “Messias Maschine”. With “So weit, so gut”, they take on his little hit from the album “Synthesist”, which is one of the gems of the synthesizer albums of the eighties.

“Kriegsmaschinen, fahrt zur Hölle” is an anti-war song from 1974 by Günter Schickert, the Berlin master of the echo guitar. Unfortunately, the lyrics are still relevant. Oliver Klemm contributes the delay guitars and Stephan Otten puts the lyrics through a vocoder. Sankt Otten compress the 17-minute original to just under 5 minutes and move it musically from the 70s to the 80s.

Sankt Otten’s adaptation of David Bowies “Heroes” is equipped with warm Juno 106 sounds, ebow guitar and synthesizer pads. The German “Helden” version, known from the movie Christiane F. – Wir Kinder vom Bahnhof Zoo, is sung in a touching way by Carsten Sandkämper.

New York-based Rafael Anton Irisarri was responsible for mastering the record. As part of the series with graphic covers, this die-cut artwork was also created by Mexican designer Daniel Castrejon. The one time only vinyl pressing, limited to 350 copies, comes in a beautifully designed die-cut cover and colored vinyl. The Osnabrück duo Sankt Otten, founded in 1999, have been releasing on Denovali since 2009. The band has dedicated itself to the holy trinity of Krautrock, Ambient and contemporary Electronics.






d Sehnen [Haette ich von Dir eine Fotografie]

West Mineral returns with lushly amorphous actions by Shiner, Pontiac Streator & Ben Bondy aka Shinetiac; together fused for an immersive flux of vapoured dub, chopped and droned Billie Eilish, and fidgety algorithmic jams.

There's not a single, specific sound you can peg to the West Mineral axis at this stage in the label’s evolution - it's rather a set of shared aesthetics that freely bend into various interconnected shapes. Shinetiac's contemptuous, critic-baiting gear is the ideal example; on their last album, 2023's 'Not All Who Wander Are Lost', skittery, ketamized IDM sparkled over Spice Girls samples and the Foo Fighters' 'Everlong' was transmuted into Sneaker Pimps-style trip-hop. 'Infiltrating Roku City' might be a little less blatant with its out-and-out poptimism, but it takes a similarly dim view of conservative "big ambient" snobbishness. Just a few minutes of 'Bluemosa' should be enough to let you know what's up; the overall character of the sound is hazed, with frozen pads and garbled, dubbed-out voices smudged into a mess of effects and samples. But it sups up different nuances as it wriggles, absorbing scampering breaks, dizzy acoustic guitar strums and half-heard wordless vocals, flipping in the third act to emerge from its shell as minimalist balearic folk-pop - something like Bon Iver doing 'Electric Counterpoint'.

Brooklyn's Shiner, Philly's Pontiac Streator and Berlin-based Ben Bondy navigate the labyrinthine streaming landscape, guided by their own private experiences of mindless doom-scrolling and cruising the darkest corners of YouTube. They formulated 'Infiltrating Roku City' while they were rehearsing last year and spent the winter stitching together various recordings and jams into a layered, dry-witted commentary on our algorithmic reality. Laden with inside jokes and refried memes, it's surprisingly elegant gear; handling the most unseemly elements like sonic recyclers, earnestly repurposing pop and nostalgia to create an atmospheric echo of contemporary reality.

Screwing Chief Keef's enduring 'Citgo', 'Clublyfe (hulu)' emphasises the original's AFX-pilled euphoria with Robert Miles-style piano hits, replacing Young Ravisu's brittle 128kbps trap rhythm with a glitchy rattle that picks up dembow spikes as it rolls. 'I Hate Being Sober' vaporises the Chicago drill pioneer's 'Hate Bein' Sober', blocking out his voice with glitchy, downsampled interference and elasticated Rhodes. The trio team up with Orange Milk's goo age on the sublime 'Crisis Angel', catching a ray of Malibu's sunshine in the process, and reduce Billie Eilish's voice to a Romance-does-Celine cinder on 'Billie', stretching it to fit next to gassed Future ad-libs and swooping 808 Mafia sub womps. And although the album takes a murky diversion on 'Roku Axes Ultra’, and a cloud-stepping centrepiece ‘Purelink’ in homage to the eponymous dubbed ambient dynamos, it's back on course with 'Jiafei (NETFLIX)', taking aim at TikTok bot videos and welding screams from Florida metal band Underoath to AI-strength vocal curlicues.

Carlo Troja, aka Don Carlos, from the Italian province of Varese, has been active as a DJ since the late 1970s. He
debuted as a producer in the late 1980s with the single "Alone" on Calypso Records (IRMA), which immediately became a cult hit on the global Deep House scene. His productions have always fused house rhythms with the sounds of
African-American jazz, sometimes bordering on disco, progressive, and electronic soul.
In 1992, his first album, "Mediterraneo," was released in the United States on IRMA USA, followed in 1993 by his
second, "Aqua," and several hit singles with the Montego Bay project with Stefano Tirone (Stone Inc.), all on IRMA
Records.
He reached the UK charts with Byron Stingley's production of the hit "You Make Me Feel," a remake of the classic
Sylvester song. He has performed in various European and American countries, as well as at the Ministry of Sound
and Turnmills in London.
In 2001, he released his third album, "Music in My Mind," featuring Kim Mazelle, Michelle Weeks, Taka Boom, and
Kevin Bryant.
A new album of re-edits of '90s-style songs, titled Livin' a Dream, was released in 2020, along with two compilation
volumes of Paradise House, both on IRMA Records.
With this new single, he continues to showcase his distinctive Soulful Paradise House sound, rooted in the
Mediterranean sound, as specified in the title.

End of Us, ist das 13 Tracks umfassende Debütalbum von TX2, mit Features von DeathbyRomy, Ekoh, Magnolia Park, Ice Nine Kills und Black Veil Brides. Die Wahrheit ist simpel: TX2 polarisiert. Es gibt Kräfte in dieser Welt, die versuchen, das zu zerstören, wofür gekämpft und was hart erkämpft wurde, und zu einer Zeit zurückzukehren, in der die Menschen ihr wahres Ich versteckten. Es gibt Künstler wie TX2 - den Anti-Ronald Radke -, die dir zeigen wollen, dass du in diesem Kampf gegen den Hass nicht allein bist. TX2 hat Politiker namentlich genannt, schwenkt auf der Bühne eine Trans-Flagge, thematisiert in seinen Songs Waffengewalt, Essstörungen, Trauer und Depressionen und verspottet die Gatekeeper, die offensichtlich noch nie einen Punk-Song gehört haben. Der Sänger ist bereit, mit seiner Musik ein wenig Chaos zu verursachen, wenn es nötig ist, um die Aufmerksamkeit auf wichtige gesellschaftliche Themen zu lenken. So hat TX2 unter seinen Fans eine Bewegung ins Leben gerufen, die als ,X Movement" bekannt ist und deren Ziel es ist, das Bewusstsein für psychische Gesundheit zu schärfen und einen sicheren Raum für diejenigen zu schaffen, die jemanden zum Reden brauchen. In den letzten 24 Monaten tourte TX2 um die Welt, trat mit Ice Nine Kills, Hail the Sun, Dark Divine, tiLLie, In This Moment, Magnolia Park, Warped Tour & Summer of Loud Tour auf, wurde auf SiriusXM Octane gespielt, erreichte über 1 Million monatliche Hörer, gab über 50.000 Autogramme und erhielt 42 Millionen Likes auf Tik Tok. End of US ist ein lauter, unverblümter Aufruf zum Handeln. Beherzigen Sie den Aufruf oder treten Sie beiseite.

Red Vinyl. Soul of Anubis is a power duo formed in 2010 from the North of Portugal. Their music is a blast on stage with a ferocity of sound that goes from thrash to sludge, capturing doom and post-metal at same time, performing energetic and contagious live acts. "Ritual" represents the passage from life to death and rebirth into a new cycle. During these last years, we have lost beloved ones, we have lost the freedom to breathe, we have lost some companionship and we had to fight to lift our souls back on trial. In Egyptian mythology, Ra, God of the Sun, goes down to the underworld every night to help the dead cross to the other world and ensure that a new dawn would happen. So, "Ritual" is a memorial to our beloved ones who passed away, speaks for the mental struggle that everyone has to face to overcome their demons and glorifies the victory of rebirth. As we have our demons, this is our ritual to cross our pathway.n. So, "Ritual" is a memorial to our beloved ones who passed away, speaks for the mental struggle that everyone has to face to overcome their demons and glorifies the victory of rebirth. As we have our demons, this is our ritual to cross our pathway.

Soul of Anubis is a power duo formed in 2010 from the North of Portugal. Their music is a blast on stage with a ferocity of sound that goes from thrash to sludge, capturing doom and post-metal at same time, performing energetic and contagious live acts. "Ritual" represents the passage from life to death and rebirth into a new cycle. During these last years, we have lost beloved ones, we have lost the freedom to breathe, we have lost some companionship and we had to fight to lift our souls back on trial. In Egyptian mythology, Ra, God of the Sun, goes down to the underworld every night to help the dead cross to the other world and ensure that a new dawn would happen. So, "Ritual" is a memorial to our beloved ones who passed away, speaks for the mental struggle that everyone has to face to overcome their demons and glorifies the victory of rebirth. As we have our demons, this is our ritual to cross our pathway.

Volcanic Sun Vinyl, limited to 500 copies. The Berlin-based power trio once more is driving their musical WEDGE in between many different genres: Garage rock turns progressive while psychedelic guitar lines are tripping over hard rocking riffs. Does this work together? Hell yes! For fans of Deep Purple, MC5, Led Zeppelin or Humble Pie this album is a sure shot. You like fuzz guitars? Hammond organ and vocals trough a swirling Leslie cabinet? More cowbell? You got it. But unlike our beloved rock records from around 1971, which we've heard a hundred times before "Like No Tomorrow" has one huge advantage: It's brand new and the 8 tracks, ranging from 3:00 to 9:00 minutes, deliver a fresh, unspent and unmistakably unique taste to the rock'n'roll menu. In the tradition of bands like The Raconteurs, The Hellacopters, Graveyard or Wolfmother, WEDGE are building on that vintage vibe we all know and love but evolve their very own thing and are able to connect it directly to here and now.

Leigh-Anne Pinnock is ready to reintroduce herself. After conquering the pop world with one of the biggest groups on the planet and stepping out as a solo artist, she has reached a new clarity: no more compromises, no more limits.

With the introduction of her debut album ‘My Ego Told Me To’, Leigh-Anne isn’t reinventing herself, she’s restoring the woman she always was. Bold, unapologetic and free, this album is the purest expression of her artistry to date and musically reflects every facet of Leigh-Anne Pinnock - unfiltered, independent and finally on her own terms. “Everything that has been in my heart, everything I’ve wanted to do, I’m doing now. It feels like freedom. It feels right.”

Leigh-Anne Pinnock is ready to reintroduce herself. After conquering the pop world with one of the biggest groups on the planet and stepping out as a solo artist, she has reached a new clarity: no more compromises, no more limits.

With the introduction of her debut album ‘My Ego Told Me To’, Leigh-Anne isn’t reinventing herself, she’s restoring the woman she always was. Bold, unapologetic and free, this album is the purest expression of her artistry to date and musically reflects every facet of Leigh-Anne Pinnock - unfiltered, independent and finally on her own terms. “Everything that has been in my heart, everything I’ve wanted to do, I’m doing now. It feels like freedom. It feels right.”

The Gun were a late 1960s British rock guitar trio who had a single British Top Ten hit, “Race with the Devil”. Brothers Adrian (guitar) and Paul (bass) Gurvitz teamed up with drummer Louis Farrell to create some energetic music. They founded a crossroads between blues rock, progressive and metal. The power trio created one of the best kept secrets from the sixties.

While it remains a remarkable achievement, Mavi’s breakthrough debut album Let The Sun Talk was the work of an artist still coming into his own, recorded when the gifted emcee was a teenager attending Howard University. After touring with Jack Harlow and working with artists like Earl Sweatshirt and Pink Siifu, the Charlotte, North Carolina wordsmith returned three years later with the acclaimed follow-up Laughing So Hard, It Hurts, an emotional meditation on life’s complex duality. Embedding his dense flows within lush instrumentation and stuttering percussion, Mavi unearthed new lyrical depth on the album, navigating through joy and sorrow, grief and hope, pain and healing. While many artists have struggled to match the heights of a beloved debut, Laughing So Hard, It Hurts proved that Mavi would only continue to elevate his virtuosic self expression with each new release. Eloquently cascading rhymes reveal an artist searching for truth through a vast scope of thought, floating atop serene production from Monte Booker, Dlyvinci, Ovrkast, and more. After very limited initial pressings, this classic 2022 collection is now receiving its most extensive vinyl release to date.

[a] A1 Cabin Talk Feat. Giancarlo Esposito [album Intro]










[l] A12 Believe (In Him) [feat. Lady Stout And K. Butler & The Collective]


[o] A15 Just How It Is (Sometimes) [feat. Jay Pharoah & Gareth Donkin]



[s] A19 Day In The Sun (Gettin' Wit U) [feat. Q-Tip & Yummy Bingham]

Zürich-based musician Angelo Repetto returns with his new album Between Worlds: Interference, released on Subject to Restrictions Discs. The record is the result of a unique collaboration with Argentinian visual artist Clara Grabowiecki, extending their immersive live project Between Worlds into a sonic and tangible form.

«This album is a continuation of the deep conversations Clara and I had about concepts of perception that led us to question silence, time, transcendence, and the future», says Repetto. «It’s not about finding answers, but about opening spaces where sound, image, and emotion can flow freely.»

Between Worlds: Interference oscillates between hypnotic rhythms, kraut-inspired synth layers, and psychedelic atmospheres – hallmarks of Repetto’s style that listeners may recognize from earlier releases such as Sundown Explosion and Kamiokande. At its core it is an invitation into an open dimension where disciplines, experiences, and realities dissolve into one another. It is both a deeply personal statement and a collective journey into new perceptual spaces.

As the world sinks deeper into screens and algorithms blur the line between creation and imitation, Nubiyan Twist return with Chasing Shadows, a record that reclaims the pulse, warmth and spontaneity of human connection.
The band’s fifth studio album is a rich and restless blend of jazz, afrobeat, hip hop and electronic textures, exploring the space between the organic and the digital. It’s music that moves, sweats, and breathes, made by real people in real rooms with heavyweight features bringing together varied voices from the music community which they inhabit.
Bandleader and producer Tom Excel explains: “We wanted to make something that felt joyous and defiantly human — something that couldn’t exist without that connection between people. You can get an AI to write a fugue in seconds, but it can’t capture the chemistry and chaos that happens when musicians lock in together. Chasing Shadows is our way of holding onto that.”
Folowing 2024’s acclaimed Find Your Flame, praised by Roling Stone, Jazzwise, NPR and more, Chasing Shadows pushes the band’s sound further into new soulful territory under Exce l’s expert guidance, featuring bright new vocalist Eniola and a glowing cast of icons and innovators. Malian star Fatoumata Diawara lights up the title track on a powerful slice of Afrobeat, Joe Armon Jones leads the dub workout ‘Rhythm Of You’ and the band take it back to their hip hop roots on great colabs with The Pharcyde’s Booty Brown, Ghanaian MC M.anifest and London dancehal favourite, Mr Wi liamz.
On Chasing Shadows, Nubiyan Twist continue to look outwards with their music but keep the focus firmly on humanity and positivity. It is an album which crosses continents and which shamelessly celebrates our co lective strength.
Fifth album from UK-based co lective Nubiyan Twist led by bandleader & producer Tom Excel (Africa Express, Onipa)
Featuring Booty Brown, Fatoumata Diawara, M.Anifest, Mr Wi liamz and Joe Armon Jones.
Pressed on Yelow Vinyl LP, or Green & Yelow splatter Vinyl LP (exclusively for UK indies).

Donovan Philips Leitch is a Scottish singer-songwriter and guitarist who in the 1960s developed an eclectic and distinctive style that blended folk, jazz, pop, psychedelia, and world music. He emerged from the British folk scene and reached fame in the UK in early 1965 before replicating this in the US the following year, baring the fruits of the blossoming, successful, and eventually long collaboration with record producer Mickie Most.

Fast forward to 2018 and we're very pleased to say we're re-issuing these wonderful albums on our own state51 Conspiracy label - these are the first two of five, with another special release to follow in 2019. All five were cut at Abbey Road, pressed on 180g audiophile vinyl and lovingly re-created to replicate the original releases. They are all strictly limited to just 300 copies for the world too.

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)

Mrs. GREEN APPLE's fifth original album, "ANTENNA," will be released on vinyl on July 5, 2023! The band is celebrating its 10th anniversary.
This fifth original full-length album includes the theme songs "Soranji" for the film "From the Gulf with Love," "Que Sera Sera" for the drama "Sunday Nights...,"
and a self-cover of "I Am the Strongest," a song written for the film "ONE PIECE FILM RED."