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DeForrest Brown Jr., the writer and producer behind Speaker Music, describes Techxodus as "abstracting Blackness through information overload". On the album he explores the intersection of tech, Blackness and resistance via music taken from his archived live shows, which are then edited, ordered and reassembled in the studio. The main line of inquiry that feeds into Techxodus is Drexciya, whose myths have informed much recent afrofuturist creativity. DeForrest researches and reimagines the artifacts and stories of Drexciya with new maps, ideas and music, particularly reflecting on the 'Seven Storms', seven albums that came out in quick succession around the death of Drexciya member James Stinson, which seemed to herald Drexciyans in the attack mode. The artwork by Abu Qadim Haqq, who also created artwork for Drexciya, links the work too, with Deforrest re-orienting charts and timelines familiar from Drexciyan mythology, working up clues to all possible environments where Drexciyans could survive, from the depths of the Atlantic, to oceanic islands or even outer space. Like Sun-Ra, another touchstone of Afrofuturist music, it might be that the Drexciyans wanted to leave the planet they hated. With these elements, DeForrest creates a soundtrack for an alternate history, a sort of sci-fi sonic fiction which threads together the sonic warfare and mythos of the Drexciyan records with ideas and references to Ishmael Reed's 'Mumbo Jumbo', which tracks the story of 'Jes Grew', an audio virus, back to the coastal black cities of Alabama and the American South. Musically the album is as intense as its inspirations. DeForrest skilfully hand-plays rhythms which amalgamate trap and jazz drumming, but feel at times like orca-song as they pulse through the thick waves of digital sound. Equally the music evokes the ocean, with deep cold drones, or as if it's floating through time like in 'Holosonic Rebellion' which mixes in recordings of African Warriors. Sometimes there is an energetic turbulence as on 'Jes Grew', where punched-in passages of jazz brass bounce against DeForrest's drums to create a weird disassembled jazz. Towards the end the album begins to feel like a spaceship taking off, the rushes of ascending noise and distortion, distant Southern Gospel Vocals feel like music that's leaving earth. Listen to it without the references or feed your imagination; this is a powerful and immersive original work from one of electronic music's most unique creators.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

«Opening Soon» is a culinary buddy movie with a background of gourmet grooves where body tricks at the turntables have been replaced by acrobatic pizza tricks. This album from Jean Tonique and Mi Man is a real tomato concentrate and ingredients cleverly dosed which abound in suave and feel good tracks. 11 tracks that we can imagine as the perfect soundtrack to accompany the dolce vita 2.0 of this great musical duo (between Mario Bros and Cheech & Chong).

A tasty and pop cuisine that gives pride of place to a nostalgia that gathers behind the tiled counter («No One Really Knows», «Memories») or on the dancefloor («Running After Time», «The Music»). We let ourselves slide and be lulled by the smoothness of the arrangements as silky as an «Extra Virgin Olive Oil».

Do The Right Thing, as they say, and it seems like those two found a way to celebrate a lifestyle full of friendly looks.

Tonique, who had already accustomed us to the spiciness of his sharp guitars continues to demonstrate a knowledge all in funk and finesse. He is accompanied by Man, who brings his sweetness and harmony. They combine their strength on this project initiated with the title «Day & Night» and its languorous disco tinged with rhodes and percussions with Salsoul accents.

If the tablecloths are white and red, we don't doubt that the inside of the delivery van is lined with silk and velvet of the most beautiful effect to "cruise" the night as in Brooklyn and East Harlem to the rhythm of «Never Get Old». Lightness and nonchalance for a songwriting full of coolness and analogical charisma boosted by a Moog which invokes the best of the 70/80's.

Iconic and timeless, with or without a disco ball, wouldn't the key word be Pizza-Yolo?

The concept behind the debut album by Neapolitan producer Paolo Petrella, (also known for Fratelli Malibu, SuperMegaFuckinMachine, and Nu Genea's live band bass player) is both straightforward and unparalleled. It involves re-imagining Renato Carosone's iconic hits infused with the vibrant essence of Cumbia. An original and fresh perspective of the history of Napoli, re-thinking traditions while blending cultures, like an imaginary colony of South Americans living in Napoli’s fishermen neighborhood of Santa Lucia.

Cumbia Luciana sounds like the manifestation of a dream, as the poem on the liner notes recites:

“It's 3pm in the afternoon, the sea is calm and there are some clouds in the sky from time to time the sounds of mopeds can be heard in the street. A boy is in his bedroom and out of boredom keeps time by tapping his fingers on the bed frame.
He leaves the house for a walk keeping the sea on his side. Rumor has it that ten days ago immigrants arrived from Peru,
the boy walks and listens it's Sunday, day of celebration, it's 3.30pm the boy walks and listens he is interrupted by a whole new sound, never heard before from a window of a ground floor house men are playing, the boy stands under that window for a while”

My Light, My World is a gorgeously slammin’ four track release by Brooklyn-based Ryan Clover on Eris Drew’s Ecstatic Editions imprint. We fell in love with Ryan’s music as we wore out the grooves on his killer 12 inch for ARTS. The tracks featured on My Light, My World are a perfect fit for Ecstatic Editions because, much like Eris’s sets, the tracks are beautiful musically and genuinely emotional, but they also seriously slap and translate powerfully on large sound systems. It is hard to find Big Room records with so much heart, so the label jumped to sign the tracks and prepare the project for release.

Clover’s arrangements on the EP unfold in truly magical and unexpected ways with buildups giving way to gorgeous musical passages. “We Love (We Feel)” is a heartfelt instrumental which sets the tone for the record, while the title tune “My Light, My World” declares boldly “ITS ON!” before heeding to woozy chords and a sax riff that sounds amazing in the mix. Flip the record over for “Here We F***ing Go!” which is a total boast track for deck players but doesn’t lose its sweetness in the process, and the powerfully fun closer “Let Me Tell U Sumthin’” which reminds sweaty dancefloors that “Love Is Special.” Ecstatic Editions hopes you’ll put your needle in the groove and dance hard to one of the season’s sweetest bangers.

The EP features original art by Karina A. Linares and mastering by Trutone legend Carl Rowatti.

The elusive Hackney basement dweller Alpha Delta colloquially known as Alpha D drops his debutsingle “The Moat” as the very first 12” output on the mysterious new hybrid Berlin++Sydney based label Delphic Iris Records. The headline single inspired by a faithful rave session in Croatia whereAlpha D was simultaneously emotionally touched, scarred and sonically pummelled by kick drums ata wild and stormy Dimensions Festival.
This dark techno beast was the aggressive, distorted acid offspring of that faithful night ravingbetween the mud and tears of the crowd at the formidable Moat stage at Punta Christo. His OG Mixis classic 132bpm heavy pounding acid techno at its moodiest. In the Remix department we have support from the entire Delphic Iris Records crew on this one. Afitting introduction to the labels sound. Sydney based Drox of Analog Cabin fame has a low end electro bass bin rattler for us that delvesinto melancholic and psychedelic 303 territory, deep, minimal and functional a perfect mid setgroover in our opinion. Critical Automator takes us on a deep and elegant techno journey transcending both murky seasand lush hazy skies in his dub mix. Definitely dialled back from the OG mix but there is no shortage ofkick drum energy in this one. 16 Faces cooks up complex drum work and funk driven baselines in a hybrid 146 bpm number that’sa just a touch rave, grime and idm in his 5am mix. The off beat stabs and euphoric strings areplentiful, more than enough to get your through any wobbly kneed sunrise.

After a slightly extended break, CEP Records makes its return! This edition features a trance-inspired release by the hero Arman John, accompanied by two incredible remixes from Janis Zielinski and riko.

Kicking off this release is 'Pump That Soundsystem', a genuine trance driver infused with a hint of techno energy. The soulful pitched vocal and distinct chords add a remarkable touch, making this track poised to burn the dancefloor. Within riko's remix of 'Pump That Soundsystem,' he preserves the positive essence of the original track while infusing it with his personal signature. With rhythmic drums, an unceasing bassline, and an infectious melody, he introduces a touch of old-school sound that keeps the groove alive. For the second original piece, Arman John presents 'Like A Salt Shaker.' Powerful bassline rhythms, textured drums and a significant vocal hustle the track with intensity. The soulful synth, making a notable appearance midway, elegantly includes an unprecedented touch of elegance. Bringing the release to a close is Janis Zielinski's remix of 'Like A Salt Shaker'. A dynamic interplay of fresh chords and synths bringing the track into boundless realms. The transformed synth from the original version fosters familiarity and diversity, adding significant drive that impeccably concludes both the track and the entire release.

'Pump That Soundsystem' by Arman John drops via CEP Records on 20th September 2023.

Building on the success of their first releases featuring Cornel Campbell, the Swiss producer duo "The Circle of Confusion" is set to drop a new single on Rocafort Records, featuring none other than English old-school reggae singer Wayne Paul.

Active in the 90's and 2000's within the London label Big Dada, the artist of Jamaican origin sank into alcohol and drugs, before rising from his ashes fifteen years later. Now he's back with a powerful message of hope on this track called " Soul Of A Lion ". Wayne's soulful voice blends perfectly with the modern reggae feel created by The Circle Of Confusion.

An 80s roots-oriented sound mixed with a crusty digital edge backed with a dope dub track makes the perfect 45 for reggae heads.

As one half of Minutes Unlimited, a group formed with fellow electronic producer Michna (Ghostly International), Eliot Lipp displays a talent for creating precise, shiny techno/trap that showcases both artists’ synth and drum machine dexterity.

He also provides the prefix for the appropriately named Lipphead, a collaborative effort with underground hip-hop and downtempo producer Blockhead. Lipphead’s loose and experimental approach to dance music stands in stark contrast to the cold, methodical tone of Minutes Unlimited.

Somewhere in between and slightly off-center of these two sounds is 'Encounters,' Lipp’s forthcoming full length LP. From laid-back downtempo cuts 'Know By Now' and 'The Lowdown' to choppy upbeat hip-hop instrumentals like 'Guitar Maniacs' – Eliot condenses years of growth and influence into this expansive double LP. Comprised of 16 tracks, the sequencing of Encounters pulls from Lipp’s DJing experience, creating a seamless and cohesive listening experience from start to finish.

Balishark will be finally out on earth physically, on twelve with a pretty handprinted cover with love. This record is something very special for us, its a bunch of eternal "souvenirs" of smile, light, sun, fun.... with our friend, this beauty man on the back cover, sunbeams filled!! !! ! !

Five songs compose this album, the first one, balishark is a proper "pièce sonore", its a lot of Pierre Sharki's field recordings he did in the wonderland of Balì, they, with Guitos Samba, Jonas Taupe Gun and Grand Matthias fixed a composition from this atmos sound in La Cabane, studio in Lyon. "Jawabarat" is a pure interpretation of west java gamelan rhythm and logic. And the B face are jams only, excerpt from early mornings! A multi world sounds around our friend Guitos Samba :)

This album starts the journey of Unruly Records by featuring some of the early tracks and artists who helped shape the sound of "Club Music".

These songs were originally released between 1991 & 1995 and took dance-floors in Baltimore by storm. There is also a full color insert which paints a picture of that moment in time. In support of Baltimore City's Inaugural "Baltimore Club Music Day" on June 17th, we put together this anthology to kick off our "Anthology" collection/series which will initially start with 3 installments.

Be on the lookout for "Anthology 1996 double album next year!

Analogue Attic presents the second solo release from label co-founder and one half of Albrecht La'Brooy.

6 stunning compositions to soundtrack your half-time break, or to celebrate the big win, 'There's Always Next Year' is a tribute to the misguided hopes and dreams of a sports fan.

Field recordings and commentary from a range of codes weave between silky saxophone lines and piano chords in what is a textbook showcase of the classic Analogue Attic downtempo and early evening sound we've come to know.

Making their debut appearance on Steel City Dance Discs, Clouds, an irrefutable powerhouse of sound consisting of Liam Robertson and Calum Macleod, exercise their intensely unapologetic musical personality with their latest venture with Mass Hysteria, for SCDD040.

The Scottish duo have become recognised for their heavenly balance of euphoric soundscapes, ladened with break-neck percussion, ecstasy-induced melodies and rupturing drum patterns. All of these highly characteristic elements are found in Mass Hysteria; an EP that highlights the hard-edged nature of Clouds’ ever-evolving style.

Mass Hysteria is a five-piece project that is nothing short of atomic. Typically energy-fuelled, the duo coordinate a masterful blend of hard-hitting, four-to-the-floor basslines: a seemingly perfect marriage for an EP that sets the listener deep into a cosmic whirlwind of electronic emotions.

Join Ryudo and his team on their greatest adventure yet! We're delighted to be collaborating again with Game Arts on this new vinyl edition of the Grandia II soundtrack, composed and arranged by Noriyuki Iwadare and entirely remastered for the vinyl format!

A cult title for the Dreamcast released in Japan in 2000 and acclaimed in particular for its innovative combat system, the game recently benefited from a remastered version in 2019 on Nintendo Switch and PC.

The Grandia II Memorial Soundtrack Edition comes in the form of a luxurious vinyl box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It contains 3 yellow color discs inserted in individually illustrated sleeves and a newly designed 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (Scenario Writer), Atsuko Nishida (Designer), Noriyuki Iwadare (Composer) and vocal Kaori Kawasumi.

The Grandia II Original Soundtrack CD Edition comes in the form of a luxurious box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It includes 2 CDs and a 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (scriptwriter), Atsuko Nishida (designer), Noriyuki Iwadare (composer) and singer Kaori Kawasumi.

Legendary guitarist Steve Hackett presents his brand new live audio/visual extravaganza, with the release of ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’. Filmed & recorded live on his 2022 UK tour, in the coastal city of Brighton, this release documents Steve and his band celebrating the 50th anniversary of the much-loved Genesis album ‘Foxtrot’. Played in full, this album features fan favourites including ‘Watcher Of The Skies’ and ‘Supper’s Ready’. The show also features a set of Hackett solo material, including ‘The Devil’s Cathedral’ from his latest studio album ‘Surrender of Silence’, and the powerful ‘Ace of Wands’. Mixed by Chris Lord-Alge & mastered by Ten Jensen at Sterling Sound. Available on Ltd 2CD+Blu-ray & Ltd 2CD+2DVD, both including the full show (in 5.1 surround sound) as well as behind the scenes interviews. Also available as a Ltd 180g 4LP edition featuring individual printed disco-bags inside a slipcase.

Der legendäre Gitarrist Steve Hackett präsentiert sein brandneues audio-visuelles Live-Spektakel mit der Veröffentlichung von "Foxtrot at Fifty + Hackett Highlights: Live in Brighton". Gefilmt und live aufgenommen auf seiner 2022 UK-Tournee in der Küstenstadt Brighton, dokumentiert diese Veröffentlichung Steve und seine Band bei der Feier des 50-jährigen Jubiläums des beliebten Genesis-Albums "Foxtrot". Auf diesem Album sind Fan-Lieblinge wie "Watcher Of The Skies" und "Supper's Ready" zu hören. Die Show enthält auch ein Set mit Hackett-Solomaterial, darunter 'The Devil's Cathedral' von seinem letzten Studioalbum 'Surrender of Silence' und das kraftvolle 'Ace of Wands'. Gemischt von Chris Lord-Alge und gemastert von Ten Jensen bei Sterling Sound.Erhältlich auf Ltd 2CD+Blu-ray & Ltd 2CD+2DVD, beide mit der kompletten Show (in 5.1 Surround Sound) sowie Interviews hinter den Kulissen. Auch erhältlich als limitierte 180g 4LP Edition mit individuell bedruckten Disco-Bags im Schuber.

Legendary guitarist Steve Hackett presents his brand new live audio/visual extravaganza, with the release of ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’. Filmed & recorded live on his 2022 UK tour, in the coastal city of Brighton, this release documents Steve and his band celebrating the 50th anniversary of the much-loved Genesis album ‘Foxtrot’. Played in full, this album features fan favourites including ‘Watcher Of The Skies’ and ‘Supper’s Ready’. The show also features a set of Hackett solo material, including ‘The Devil’s Cathedral’ from his latest studio album ‘Surrender of Silence’, and the powerful ‘Ace of Wands’. Mixed by Chris Lord-Alge & mastered by Ten Jensen at Sterling Sound. Available on Ltd 2CD+Blu-ray & Ltd 2CD+2DVD, both including the full show (in 5.1 surround sound) as well as behind the scenes interviews. Also available as a Ltd 180g 4LP edition featuring individual printed disco-bags inside a slipcase.

Der legendäre Gitarrist Steve Hackett präsentiert sein brandneues audio-visuelles Live-Spektakel mit der Veröffentlichung von "Foxtrot at Fifty + Hackett Highlights: Live in Brighton". Gefilmt und live aufgenommen auf seiner 2022 UK-Tournee in der Küstenstadt Brighton, dokumentiert diese Veröffentlichung Steve und seine Band bei der Feier des 50-jährigen Jubiläums des beliebten Genesis-Albums "Foxtrot". Auf diesem Album sind Fan-Lieblinge wie "Watcher Of The Skies" und "Supper's Ready" zu hören. Die Show enthält auch ein Set mit Hackett-Solomaterial, darunter 'The Devil's Cathedral' von seinem letzten Studioalbum 'Surrender of Silence' und das kraftvolle 'Ace of Wands'. Gemischt von Chris Lord-Alge und gemastert von Ten Jensen bei Sterling Sound.Erhältlich auf Ltd 2CD+Blu-ray & Ltd 2CD+2DVD, beide mit der kompletten Show (in 5.1 Surround Sound) sowie Interviews hinter den Kulissen. Auch erhältlich als limitierte 180g 4LP Edition mit individuell bedruckten Disco-Bags im Schuber.

Trumpeter, bandleader and composer Matthew Halsall announces landmark new album An Ever Changing View, an expansive, immaculately conceived project which presents Halsall’s signature blend of jazz, electronica, global and spiritual jazz influences.

An Ever Changing View will be released on September 8th on Gondwana Records (the label Halsall founded 15 years ago) ahead of a landmark show at The Royal Albert Hall in London on September 21st and UK and EU tour dates.

Halsall who has been hailed as one of the leading figures of the UK jazz renaissance has never seen himself as part of any one sound or scene: he builds his own sonic universe instead. An Ever Changing View finds him at his most experimental yet, once again expanding his sound and production techniques to create his unique brand of deeply meditative music.

During the album's creation, he was staying in both a beautiful architect’s house with breath-taking sea views and a striking modernist house, where he composed what he saw “like a landscape painting”. In these new environments, Halsall wanted to capture “the feeling of openness and escapism” and to approach making music again from scratch. “I hit the reset button and wanted to have complete musical freedom,” he says. “It was a real exploration of sound.”

It was hearing jazz on the dancefloor as a teenager that first opened up new possibilities in Halsall’s mind and his music has long drawn on his love for the spiritual jazz of Alice Coltrane and Pharoah Sanders and contemporary electronica from the likes of Warp Records and Ninja Tune. An Ever Changing View melds those forms in a way that feels heady and, at times, even otherworldly. One of the album’s starting points was Halsall’s ever-expanding box of percussion, from congas and kalimba to various clusters of seeds, bells and chimes, which he sampled and looped to use as a foundation for the songs – a first for him and his band. Elevating, charming, totally modern jazz tracks jostle with deft warm magic realism; and laid back grooves with hand percussion, deep bass and the gorgeous glisten of the Fender Rhodes meet hip-hop beats. Halsall himself sparkles, illuminating his beautiful tapestries of sound with lithe, glistening elegiac trumpet.

Trumpeter, bandleader and composer Matthew Halsall announces landmark new album An Ever Changing View, an expansive, immaculately conceived project which presents Halsall’s signature blend of jazz, electronica, global and spiritual jazz influences.



An Ever Changing View will be released on September 8th on Gondwana Records (the label Halsall founded 15 years ago) ahead of a landmark show at The Royal Albert Hall in London on September 21st and UK and EU tour dates.



Halsall who has been hailed as one of the leading figures of the UK jazz renaissance has never seen himself as part of any one sound or scene: he builds his own sonic universe instead. An Ever Changing View finds him at his most experimental yet, once again expanding his sound and production techniques to create his unique brand of deeply meditative music.



During the album's creation, he was staying in both a beautiful architect’s house with breath-taking sea views and a striking modernist house, where he composed what he saw “like a landscape painting”. In these new environments, Halsall wanted to capture “the feeling of openness and escapism” and to approach making music again from scratch. “I hit the reset button and wanted to have complete musical freedom,” he says. “It was a real exploration of sound.”



It was hearing jazz on the dancefloor as a teenager that first opened up new possibilities in Halsall’s mind and his music has long drawn on his love for the spiritual jazz of Alice Coltrane and Pharoah Sanders and contemporary electronica from the likes of Warp Records and Ninja Tune. An Ever Changing View melds those forms in a way that feels heady and, at times, even otherworldly. One of the album’s starting points was Halsall’s ever-expanding box of percussion, from congas and kalimba to various clusters of seeds, bells and chimes, which he sampled and looped to use as a foundation for the songs – a first for him and his band. Elevating, charming, totally modern jazz tracks jostle with deft warm magic realism; and laid back grooves with hand percussion, deep bass and the gorgeous glisten of the Fender Rhodes meet hip-hop beats. Halsall himself sparkles, illuminating his beautiful tapestries of sound with lithe, glistening elegiac trumpet.

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

The album features 15 tracks, showcasing Bastien’s truly cinematic sound while exploring new sonic territories. The album touches on the melancholic funk drifting between voiceovers of longing and hurt, through surreal, hallucinogenic folk ballads. It’s the juxtaposition of these genres sewn together with ambient synth skits that really makes the album a musical journey. Playful and serious, as the album title suggests, Bastien manages to induce a rye smile with a tear in the eye.


In Seb’s words, “The album tells the story of a failed relationship, as the man narrators missing his other. Whilst he imagines her comforting him, before accepting the end of the relationship, and feeling that the love he feels, she never did.”

Sharing common ground with luminaries such as David Axlerod, Kate Bush, Roy Orbison, Madlib and The Delfonics; Keb plays guitar, trumpet, bass, drums, piano, flute and more Keb’s writing and recording approach is slightly unique. He explains a little about how his records sound the way they do...

“I have a lo-fi approach to recording, for me it’s about the moment, all my records are time capsules of a certain time in my life, so the sound of the recording is secondary. It’s all about heart, that’s all I’m interested in. If I get a melody I have to record it asap, if the mic isn’t plugged in I use the macbook mic, if I’m not by the computer I’ll record into my phone.

For me personally using/sampling other peoples music isn’t making your own music, using your own soul, showing your own heart, it's just my personal opinion. It’s not right for me. No slur on those that do. If there are any samples on my records, it’s me sampling me. For me, this means the music is mine. It’s ‘of me’. That’s really important for me, because I feel that’s where the honesty is. If my music sounds ‘dusty’, that’s why”.

This approach provides us with a wonderfully inclusive record. The album feels almost ‘performed’ to us, live, on each listen. Coupled with Bastien’s capacity to write music which is almost visual, the album is quite enveloping.

Bastien returns to Def Pressé with this new album after the brilliant, Holy Mountain. Released under the name Grandamme, with friend and collaborator Claudia Kane.

Dark Entries and Papi Juice Records team up for No Jack Swing, the solo electronic debut of multi-hype man Brontez Purnell. The Southern-raised, Oakland-based musician and writer has centered his queerness and Blackness in projects Gravy Train and Younger Lovers as well as in his award-winning books 100 Boyfriends and Since I Laid My Burden Down. On No Jack Swing, Purnell gives us a love letter to the most beloved (and secularized) of drum patterns - that is, the electronic 808 “Amen Break”. Beginning recording in 2020, Purnell conceived of No Jack Swing as an audio zine of found sound materials: chain letters of instrumentals recorded in bedrooms, poems from boys in France, found gospel tapes from his childhood family Baptist Choir, and the sound of records skipping on his bedroom turntable. No Jack Swing is as much a homage to No Wave and New Jack Swing as it is an answering to the gods of Indie, Electroclash, Disco, and Gospel. Amidst all this background noise, the unexpected occurs: all the niche pretensions collapse to a singularity - the sound of High Pop! No Jack Swing was produced by Nightfeelings. Each copy of includes a lyric sheet with a photo of Brontez.

A crime is committed on board the Orient-Express. During the journey, Hercule Poirot finds himself surrounded by a group of singular characters, all suspects, each with their own secrets and motivations, as he attempts to solve the murder that has just taken place. The soundtrack was composed by Jean-Luc Briançon (Abigoba, Kurtz Mindfields), assisted by Roman Perreton and featuring a host of guests from Nuage7 Studio. This soundtrack is coloured with mystery, suspense and cinematic atmospheres to take you irresistibly on board this Orient Express to the end of the journey ...

Weaponize your DJ record bag again with fresh ammo from the Greek studio machine, Aggelos Baltas does it again with another volume of remixes to the Sound Metaphors re-issue catalogues, an invigorating contemporary club touch to a wide range of dance floor material that was originally produced in the early 90s and late 80s. A new patina layer formed by the aging acid baths and chemical reactions of the experienced studio magician. Aggelos' signature atmospheric grandiosity and big room sound once again delivered with precision and high efficiency for the caring modern dancefloor. Can't go wrong.

The Faithful Brothers

Soul and R&B from Tel Aviv

"It's so difficult to produce the feel and the excitement of the classic northern sound, but The Faithful Brothers were born to do it and they do it so well." Craig Charles, The Craig Charles Funk & Soul Show, BBC Radio 6 Music.

Is there a Northern Soul scene in Tel Aviv? The surprising answer is – yes, there is. If you're a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv's own unique blend of classic Northern Soul 45s and early 1960s R&B sounds.

Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Sons of an Israeli diplomat, they travelled abroad extensively as children, in the 1960s and 1970s, discovering the wonderful world of rare soul music on the way. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul, that has recorded two albums for the London based label Acid Jazz Records, and toured Europe numerous times.

Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. There the biological Neeman/Faithful brothers would be joined by some of the members of MONC and a few more musical brothers from Tel Aviv to create new, original soul and R&B music. With a nod to the Northern Soul slogan "Keep The Faith", the name seemed too perfect to waste. The fact that the Neeman brothers were collectors, and not musicians, did not bother a man of vision like Yashiv. One day, he sent Johnnie some lyrics he wrote, asking him to compose music for it. Well, Johnnie called Bin, and they met in Johnnie's record room. With Johnnie playing some of the few chords he knew on his dusty old acoustic guitar, out came Teenage Frost, the first-ever musical composition of the Neeman brothers, recorded by MONC.

It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together. The Faithful Brothers – now an eight-piece band, complete with a mighty brass section – release their first album "The Faithful Brothers".

Guy Pedersen's magical Maxi Music, originally released on cult Parisian library label tele Music in 1972, is psyche-rock and jazz-funk gold. It's a vital Pederson outing, oscillating between the rough and the smooth, but always with those hypnotic grooves. It's a start-to-finish winner, yet the final 13-minute-long opus will blow minds. Trust!

Stirring opener, "Prétexte Pour Indicatifs" is so mighty, it was covered by Keith Mansfield on "Hot Property" from Big Business/Wind Of Change on KPM. It's a track in 4 deliberate parts, the first a rapid tour de force, the second and third presenting organ-and-wah-wah-drenched slo-mo funk workouts and the fourth a return to the frenetic energy of the opening bars. Phew, pretty sensational. "Purgatoire Mood (Interlude)" is a beautiful segue into the stunning horn-laced, swift-paced aggressive jazzy excellence of "Purgatoire Mood 1" and the more poetic "Purgatoire Mood 2". Fast-paced funk beats and dramatic interplay!

"Christophus Colombus" is another song with multiple sections; the intro a rapid wah-wah-enhanced psych-rock statement that truly thrills before settling into a more steady yet no-less unrelenting guitar-funk showcase with wordless vocals and, later, reflective guitar and piano in gorgeous harmony. Closing out this electrifying side, the elegant "Bass In Love" is a soft'n'sultry slo-mo funk instrumental, as rough cello, jazzy piano and salacious, breathy vocals combine to create the scent of lingering heat to pretty rousing effect.

Ushering in Side B, "Sing Song Bass" is a slow starter but, once the drums kick in brilliantly, we're treated to a deeply melodic, propulsive, organ-flute-piano-bass gem - it's truly memorable and absolutely fantastic. The wonky, delirious psych-pop of "Petit Moujik De Nuit" is a curiously compelling number but it serves, for us at least, only as the pre-curser to the phenomenal closing track. An absolute beast that totally slays all before it!

Yes, despite Maxi Music being that rarest of library records - a record that can stand up on its own from front to back - it really does contain that *one* absolute killer track. And Peterson saved the best until last. The real highlight - can you imagine there's better?! - is the blazing psych-rock funky burner that is the infamous 13 minute thriller "Kermesse Non Héroique". Containing a wicked flute solo it genuinely sounds like something off the first Dungen album. Yes, that good. What a way to go out!

The audio for Maxi Music has been 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 original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Something a little special for the landmark AE Productions catalogue number AE050. Recorded circa 2012 and intended for release on High Noon Music, Mr Fantastic and J. Todd’s follow up to their superb ‘All The Critics’ has sat in the vaults ever since. With AE’s 50th release coming up we arranged with the kind help of High Noon Music to release ‘Don’t Worry’ on AE as originally intended on 7” with the instrumental on the flip, albeit around 11 years later.
The beat starts with a nice slice of Funk guitar which leads into Mr Fantastic’s customary big crunchy drums and a booming 808 sub kick. The intro sample then doesn’t reappear as is but is chopped to pieces and replayed with all guitar and bass parts taking on an entirely new groove which sits on the drums perfectly and is augmented with additional sounds.
Milwaukee’s finest J. Todd graces the track with a nice aggressive pacey flow which works as a nice counter balance to the vocal on ‘All The Critics’ and giving the track a more hardcore underground feel. J. Todd’s freestyle and tongue in cheek braggadocios battle rhymes ride the beat with ease which provides an easy listen considering the tough feel of the track.
We dug out an image taken around the time of recording to keep it in keeping with the image that may have been selected at the time had it been released. The audio is the original master from 2012 so as to retain the original flavour of the track but was done by our mastering engineer of choice Rola @ Khameleon Sounds. We hope you agree that the wait was worthwhile.

European funk fusion of the highest order, Michel Gonet's Phasing News Volume 1 is the essential companion piece to the venerated Volume 2. It's truly a library treasure that every home must own. As Tele Music themselves said, it contains "tense and mysterious underscores in a range of styles"; whilst we don't disagree, we'd add swaggering, orchestral drama-funk-jazz-breaks. Vital.

Opener "Moon To Light (Number II) - A" is a total wonder. It's incredible, and what a way to begin a record. The percussion is electrifying, complimenting the dark, heavy piano, eerie organ work, electric guitar soling and rhythm section brilliance. Part B is virtually identical but without the electric guitar. The slow "Soul Cathedral (Number II) - A" is an ambient spacey synth gem which is both beatless and drenched in phased organ. Pretty captivating. Part B plays it rather straighter, a church organ continuing the same melody and tempo but with less of the swirling synthy effects.

"Light In The Rains (Number II) - A" sounds like something Diamond D would've sampled in the mid-to-late 90s, conjuring as it does that peculiar, creeping Axelrod-funk, all eerie electric guitar and organ, bass and spacey effects. Part B loses the electric guitar and adds brass.

The swirling, dramatic "Mondial Scoop (Number II)" has that urgent News At Ten feel with its prominent timpani drums whilst "Mecanic Bird Song" is a frenetic, abstract track with disorientating keyboard interplay.

*Total highlight* "Mephisto Jet (Number II) - A" rides a slick, proto-hip-hop beat with melodic, warm Rhodes yet, thrillingly, casually ups the drama with strings and timpanis. It then returns to its more mellow state. Ace. Part B adds acidy, phased percussion to create a more hypnotic, tripped out feel to proceedings. Part C is half as long but, pared back to just drums and Rhodes, it's arguably twice-as-nice.

To close, the shuffling, bell-laced urgent jazz of "Phasing News - A" is another highlight, riding a great bassline and augmented by ace drums, organ and electric guitar. Part B is also great, removing the guitar and doubling down on the head-nod funk.

The audio for Phasing News Volume 1 has been 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 original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

'The double Oscar-nominated and multi-award-winning Icelandic composer Jóhann Jóhannsson (1969-2018), known for his film scores for "Arrival", "Sicario", or "The Theory of Everything", was renowned for his innovative and unique blend of classical and electronic elements. With his original, profound, and moving works for film and stage, he achieved worldwide fame and is considered one of the most celebrated film composers of the last decade.“Jóhannsson’s music gives the impression of having arrived in a time capsule from a distant planet that is a mirror image of our own. His own absence now adds further mystery and magic to his music’s unique sound world.” - Gramophone.The monumental orchestral work "A Prayer to the Dynamo," reminiscent of a lost symphony, was inspired by Jóhannsson's great fascination with technology. In particular, he drew inspiration from recordings of electrical installations and generators that he had made at the Elliðaár Power Station in Iceland, which are deeply intertwined with the orchestral sound. Furthermore, he was also captivated by the works of Edison, Tesla, and especially a chapter in the memoirs of American historian Henry Adams (1838-1918). In that chapter, Adams described his impressions of the 1900 Paris World Exhibition and the hidden power of the enormous machines he had seen there. Deutsche Grammophon now releases the world premiere recording of this outstanding orchestral work performed by the Icelandic Symphony Orchestra, conducted by Daníel Bjarnason. The album also includes two suites from Jóhannsson's soundtracks for "The Theory of Everything" and "Sicario", both of which were nominated for Oscars and various other awards, with the former winning the Golden Globe for Best Original Score.

The Strangers brings together Hervé Salters AKA General Elektriks and two exceptional rappers: Frenchman Leeroy (ex-Saïan Supa Crew) and American Lateef The Truthspeaker (Blackalicious) in a new project. Evolving in the year 2222, "The Strangers" is a testament from the future in the form of hip hop with a strong funk undertone, a timeless and playful sound where the languages of Shakespeare and Molière combine and clash to describe a world of tomorrow in 2023 that no one has yet heard of: requiring the earthlings of the future to travel from an early age, society abolishes the fear of the unknown. Lateef, Leeroy and General Elektriks have therefore chosen to set their narrative in the future to better speak of today"s world. The environment, individual freedom, police violence and communitarianism are all subjects that permeate the record. But the 3 Strangers inject a healthy dose of humour and energy into their music. This album is a sonic road movie of anticipation, zig-zagging between athletic and poetic flows soulful choruses, and darker downtempos. The sound developed is fluorescent and infectious, speaking to the hips as much as the head.

ORKA is a duo comprising Francine Perry from London and Jens L. Thomsen from the Faroe Islands. They crossed paths in the vibrant club scene of London, an immersive world that had a profound impact on their creative journey. ORKA's music draws inspiration from the Hardcore Continuum and UK sound system culture, blending it with elements of minimal techno, progressive electro, and ambient music, resulting in a diverse range of stylistic influences. Now ORKA emerges with their long-awaited new album. Once again, they greet us with their distinct blend of earthy tones and a bold, adventurous spirit, taking us to a realm bursting with neon-lit hues, pulsating club beats, and an abundance of sensory stimulation. Aptly named "All At Once," the album title provides a clue to the auditory and sensory experience that awaits the listener in this immersive record. ORKA has continuously evolved as a project over many years and iterations, embracing fluidity and a relentless quest for fresh sonic amalgamations. Their journey has been marked by a gradual refinement, stripping away layers to reach the core essentials. This transformative process has unfolded over the years, reaching from their site-specific, cowshed sampling and band-based expedition in "Livandi oyða" (2007) to the bold, innovative exploration of minimalist techno in "Vað" (2016). However, their latest release, "All At Once," signifies yet another remarkable leap forward in their artistic evolution. The seeds of this artistic progression were already planted in previous releases like the <13 EP (2017) and the hard-hitting techno single "Juno" (2018). However, it is with the arrival of the album "All At Once" that ORKA's vision fully blossoms, unveiling a vivid and expansive sonic landscape. This latest offering presents a glorious and vibrant tapestry, showcasing a maximalist approach to techno that pulsates with energy coupled with their signature meticulous attention to sound design, reflecting a deep awareness and intentionality in their creative process. If this album was to be thought of as a place, it would be a shimmering, futuristic, buzzing kind of city with vibrating night-time drizzle from above and endless glowing lights in the distance. Several of the tracks are built around cut-up vocal samples that are divided from their semiotic meanings and reconfigured as loops, and thus mined for their timbral and percussive qualities. Recurring collaborators South London duo LV (Hyperdub, Keysound, Brownswood) are featured on a handful of these tracks, mixing in their complex cocktail of grime and bliss. The result is a sort of queer erotic dance-floor mysticism, and the closest to a full-blown dance record that ORKA have ever made. There must be a club in that shimmering futurist city of the night.. and it is a collective, inclusive and alluring place. There is no need to fear any dancefloor exhaustion by listening to this album though, as there are also moments of floating cyber beauty and pure enveloping warmth to be found among its tracks. As always, following the artistic journey of ORKA is a joyous experience, filled with unexpected twists and turns that keep us captivated.

Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, this deluxe version includes six unreleased tracks unearthed from the original ¼” tapes, and presented with an insert, including never-before-seen photos and the fascinating story behind the music.

Featuring artwork from Grateful Dead collaborator, David Lundquist, the album encapsulates a unique moment in time. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embark on a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippie San Francisco.

The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminate in an odyssey that seamlessly bridges the gap between the spaced-out creativity of the 70s and electronic music of today

Fake Yourself is an act of revolt as much as it is a celebration of life and an expression of human alienation. As usual in most of his work, soFa here reflects contrasts and contradictions as our existence so often does. It’s about sadness and joy, ups and downs and the fine line which connects them to tell a story. Fake Yourself comes as a spontaneous output of an artist escaping a scene of which the constant superficiality is unavoidable. Mistakes and wrong production with a strong DIY flavor are a conscious choice to not lose the spontaneous feeling which defines these recordings. A pure and direct self, exploring a realm of sound with sharp curiosity, emotion and humour. Where simplicity and complexity marry. This album is a good example on how some of the most authentic musical explorations are the most personal ones. soFa leaves all boundaries behind and let many of his influences confluence. Unconsciously or not, traces of IDM, Disco, New Beat, Dub and mostly Krautrock cross heavenly paths, followed by ironic and confronted vocals and his hypnotic signature basslines. Everything seems to make sense, to fill the chapters of an adventurous short novel. What makes Fake Yourself remarkable is not the deep blend of genres, but the definition of one man shaping and finding his authentic sound. Killing boundaries to create this journey in his very own "style-no-style". All tunes were improvised, recorded and arranged within 10 days in a wooden cabin, isolated in the middle of the nature in Alentejo/Portugal in 2022. This album was not meant to happen and one can strongly feel its spontaneous soul. No overdubs.

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output. Following our release of Courts Or Wars, combining their early material, we are proud to reissue their only full length album, World Of Rubber.

Fueled by experimentation in both song construction and recording techniques, the duo leave you enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Indeed, the goal had been to make each album a concept album, with this to be titled: Second Layer’s World Of Rubber. Alas, this was to be the first and last of those efforts. New detailed liner notes from Graham Bailey shed considerable light on the creation of this cold classic and its immediate aftermath.

Bailey’s inventive construction and deconstruction of various electronics, effects boxes and tape loops form the propulsive base for these songs. Borland’s guitar playing is jagged and unleashed. Above it all is an undeniable sense of melody and Adrian’s distinctive vocals. Soon, they would wonder where Second Layer ended and The Sound began, but World Of Rubber would stand as a document of this fertile period. It would also be a lasting testament to their desire to push the boundaries of their creativity. Dark and brooding the result is what Bandcamp described as “brutally bleak, blank-eyed post-punk that remains chillingly compelling.”

Memory is malleable. The day you met the person you love, what color shirt was she wearing? At precisely what angle did the sunlight strike his face? How exactly did they glow? These little details are precious, but the strange thing is, the more you cherish them, the more they change. Each recollection is another potential touch point where stories can shift—each replay degrades the truth. Reality's rough edges smooth, with time. Objectivity is a myth: cameras and recording devices all contort image and sound. There's no way to know exactly how things were. And yet we still tell the stories, to try to capture how things felt, even though the truth is always slipping through our fingers.

Lemon Quartet's second albumArts Festseems to unconsciously circle this thematic territory. Full of loose, yet lush repetition, it seems to function like memory—each dizzy melody recalling and rewriting what came before, subtly shaping each piece as time passes. Not that they seem especially concerned with the passage of time anyway. They space out, they work in the realm of feelings, scribbling melodious abstractions that feel familiar. Rich with compassion, harmony, and gestures toward ecstatic—if not objective—truth, it's full of the sort of pieces that demand you return to them, but sound a bit different each time, new details overtaking familiar comforts. Are you hearing them for the first time? Or just for the first time in a long time? Either way, drift away, and try to remember…

Its been five years since Belgium's WeMe Records lovingly selected the first ever collection of Heinrich Mueller's (Drexciya/Doppleffekt) best remixes/remodels for a new generation of listeners that won't have to pay collector prices to have them on vinyl. Volume 2 of False Vacuum is now with us and still has riches to choose from.

These 13 rare and hard to find tracks (3 of which make their vinyl debut) all deliver in different ways as he systematically reinvents each one.

Beginning with his raw and now classic remix of Ultradyne's 'Clones', the hard-edged dance-floor friendly 'Woman's Scent' by Cisco Ferreira (The Advent), the more laidback and futuristic sounding 'Bohrium 274' by Jauzas the Shining and Victoria Lukas, the slow and mysterious and first time on vinyl 'Somehow' by Rough Days For Diamond Trade, reinventing the darkest of dance-floors on 'Rytumtraks 0002' by Albert van Abbe, the moody masterpiece and first time on vinyl 'Now We Continue' by White Car, Duplex's 'Autoslug' sounding like its been rearranged inside a black-hole, a balancing act between the light and darkness on Fasenuova 'Cachito Turulo', an insistent rise and falling workout for As One's 'Where Did He Go and Why', a tightly wound and almost meditative 'The Truth' by The Exaltics, an angular stomping march of the robots 'Longwang' by 6D22, a jumpy fidgety groove for first time on vinyl 'Forty Eight Hours' by Yan Wagner and perhaps one of his most sublime pieces is kept for last with 'So Long For A Small Storm' by Dollska.

Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.

"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.

Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".

The audio for Contrebasses has been 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 original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.