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Minor Science—aka UK-born, Berlin-based musician Angus Finlayson—makes his Balmat debut with Absent Friends Vol. III, the third installment in a shape-shifting series across a variety of formats and platforms. And with it, he pushes forward his vision of ambient music as neither static vista or merely mood-setting atmosphere, but rather a dynamic matrix of textures, sensations, and even rhythms.

The first two Absent Friends—a 2014 set for Blowing Up the Workshop, and a 2017 cassette and web player for Whities (now AD93)—were hybrid affairs, part DJ mix and part collage, mostly featuring music made by other people. Then, in 2020-21, Finlayson developed the project into a live show of his own material. Armed with hundreds of bespoke stems created in his studio—idiosyncratic FX chains, feedback loops through cheap rack gear, heavily post-processed field recordings, found voices, etc.—he would improvise on four CDJs, mixer, FX, and live synths, extending techniques he learned as a club DJ into a live context, accompanied by visuals by Stockholm-based artist Paul Witherden.

Absent Friends Vol. III is an album of studio versions of the music developed for the live show. But in Minor Science’s world, even a category as simple as “studio versions” is slightly opaque. “Most of these tracks weren’t ‘composed’ in the studio,” Finlayson explains: “The sounds started out as stems and source material for the live show, and might not have been intended to go together—but then through performance, they settled into shapes that worked. I then recreated those performances in the studio.” That organic process of ideation and realization might help explain the unusual coherence of the album, in which sounds and textures flow seamlessly from one to the next, sometimes seeming to stand still, and sometimes looping back. There are virtually no melodies, few recognizable motifs or riffs, yet the eight-track album nevertheless moves with a distinctive logic and a determined sense of purpose, from the frozen-in-time shimmer of the opening “Introduction” through the early cuts’ studies of space and light; from the seemingly autobiographical “Summer Diary” through the rushing trance (yes, trance) arpeggios of “Contingency” and on to the dulcet denouement of the closing “Gather Your Party (Dispersed Mix).”

On this album, his third work published on Umor Rex, the french producer Alexandre Bazin takes what he started in Four Steps (Umor Rex 2022) to the maximum point. However, on Innervision, there is no longer that discreet flirtation towards the dance floor. Instead, the ten cuts that make up the album are influenced by musical research and the UK and Berlin electronic scene. Bazin's new proposal revolves around sound textures, saturations, feedback, autosampling, and cut and tuned sounds, allowing new melodic elements to emerge in the process, akin to a live act. While maintaining his minimalist exploration and obsession with melody and structure, Innervision undoubtedly marks a turning point in Bazin's discography. It is epic, compelling, euphoric, utterly enjoyable, and at times violently beautiful.

The album was composed and mixed by Alexandre Bazin at Château Rouge, Paris, and mastered by Rafael Anton Irisarri at Black Knoll, New York. François Desmoulins played the acoustic drums on Four Steps (Remix). The artwork for the album was created by Daniel Castrejón in Mexico City.

On his third album Comité Hypnotisé let you belly flop into his eleven chambers of the Danza Del Piri-Piri: expanding the feral and contagious universe he started to build a lifetime ago. Levitating and shimmering a glistering way through deep old skool 70's sitar vibes and jitterbug grooves. This boogieman aka the Millionaire-mind and part of the Evil Superstars has carved some hot smoked out bass and organ flared cuts on wax, ready to never leave you again. Whether it is with woodchopped kazou sounds stretching into hazy sunshine desire or dazzling basslines blending with interstellar and stuttering kick drums: the Danza Del Piri-Piri flip-flops and slams into a wiggly relentless sonic future.

FFO Sven Wunder, Ennio Morricone, Khruangbin, Flying Lotus, The Meters, Parliament, Edan, The Gaslamp Killer.

Comité Hypnotisé is the brainchild of Tim Vanhamel, frontman of Millionaire and Evil Superstars, two of Belgium's most famous alternative rock bands. In 2013 Tim started creating solo music that only got released in 2021 on his first solo album through the Belgian eclectic Cortizona label

Nous'klaer Audio presents Martinou - Chiral, the follow full-length up to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. ''Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) '' Text by Gregory Markus

Love Love Records are honoured to present two interstellar remixes from the recent album from HENGE, ‘ExoKosm’ which was self-released last year by the band during the pandemic. Acid pioneers and Madchester legends 808 State rework the track ‘Exo’ in their signature ‘acid-house meets rave-hardcore’ big band sound that fits seamlessly amongst their own back catalogue. The second is a heavily clubbed up twist of ‘Goldilocks’ from Brain Rays & Quiet, a spacey slab of sub-slung broken power-house with a sleazy groove like an alien abduction straight to the engine room of the UFO.

‘Dubism’ is the name of a new Pressure Sounds in house studio project. The first single, entitled ‘Moves’ features flutes by Diggory Kenrick and mixing and bass by Paolo Baldini, with added input from Pete Holdsworth at Pressure Sounds. Instrumentals feature mixes and guest players from the extended Pressure Sounds family.
The Jamaican influence is strong. The bass is deep. ‘Moves’ comes with a version on the flipside.

Mysterious Dutch outfit Doxa Sinistra have been operating on the fringes of the industrial-experimental and sound collage tape scenes since the very early 1980s. Their output has long been coveted by fans of DIY and left-field music since their earliest transmissions, and this featured 1983 recording 'The Other Stranger' might well be one of their most known. A truly strange offering, the track is a cascading acidic and minimal stripped piece, bathed in disparate resonant sample sources that could possibly have been recorded straight from the TV set. Nobody really knows what it all means, but it doesn't matter as the end result is an engaging mesmerising hypnagogic masterpiece of sampling and rhythmic free sound. A true classic from the outer reaches of electronic music.

Midnight Drive label owner Brian Not Brian featured 'The Other Stranger' on his now infamous 'Holywell Session' cassette tape for the sadly missed Blackest Ever Black ever label in 2014, and the track was also a highlight of Boards Of Canada's cult 'Societas X Tape' for NTS in 2019. This special 7" vinyl only edition also features the more stripped back rhythm track version entitled 'Strange' on the b-side that is a slightly longer mix with a different arrangement and no samples, letting the minimalist acid and drum machine workout unfurl at its own steady woozy pace. This is the first time both versions have been remastered and have appeared together as a single and it is presented here with the blessing and involvement of Doxa Sinistra.

Constant Sound is one of the many labels Burnski aka Instinct is heading up right now and they are all as good as each other. This one focuses on house and tech sounds and welcomes Adam Pitts to the fam with three standouts. 'Gadget Crew' opens up and has a big, high-energy groove with plenty of oversized drum sounds and a retro melody paired with an intriguing soulful vocal. It has a dark garage tinge and is perfect for late-night action. 'Just This Once' is tough and physical, with warped and naughty bass and thwacking great hits irresistible to all. Last all comes a Skins Junglist Crew remix which is exactly that - a fine one for the jungle heads.

Setting out to create a future Balearic anthem while doffing a cap to street soul and synth-heavy Italo-disco B-sides of the early 1980s, Orbs of Light’s debut single, ‘Billion Days’ lands on Leng after a tip-off from Mind Fair duo Dean Meredith and Ben Shenton, who booked the duo to play live at their Rotation festival last summer.

Orbs of Light’s Baz Bradley and A Girl Called Kate have been friends for decades and have collaborated musically in the past, though it was only a couple of years ago that they dreamed up this project. It was first trialled via a 2021 remix for Andres y Xavi on Hollis Recordings (‘Perfect Timing’) on which Kate added new vocals to Bradley’s interpretation of the track. Since then, regular recording sessions have taken place, with the duo first crafting tight instrumental tracks before – in Bradley’s words – “dream up the best songs we can” with “melodies that will hopefully stay in your head all day”.

It would be fair to say that they’ve achieved that goal on ‘Billion Days’, a hooky and addictive affair whose vocal hooks and strong chorus could well inspire Balearic sing-alongs in the months ahead. Their original mix (B1 on the vinyl version of the EP, track 2 on the digital EP) is joyous, cheery and kaleidoscopic, with steel pan style melodies, bouncy synth stabs, jaunty lead lines and Kate’s wonderful lead vocal riding a shuffling, post street soul beat and a bubbly bassline.

The accompanying remix package is naturally very strong too. San Francisco crew 40 Thieves, fresh from dropping a killer single of their own on Leng (‘The Gift’, with disco legends Gary Davis and Cinnamon Jones), step up first with a take that stretches out and builds on Orbs of Light’s original mix – think wobbly nu-disco synth bass, fresh flute sounds, dubbed-out vocal snippets and a locked-in groove that’s just perfect for sun-soaked alfresco dancing.

Fittingly, the second and final revision comes from Mind Fair, whose email to Leng HQ about Orbs of Light got the ball rolling. Opting for a rubbery, body-popping beat inspired by vintage electro, they deliver a joyful, effects-laden Balearic dancefloor ‘Dub Mix’ that somehow makes a genuinely life-affirming record even more loved-up and saucer-eyed – despite the presence of only a fraction of Kate’s addictive lead vocal.

Boss Priester makes his LOCUS debut with his bustling four-track ‘Hotel Dijon’ EP.

Working hard in the studio to develop his own take on minimal-leaning house and techno, The Hague-based DJ/ producer Boss Priester is starting to reap the rewards and emerge as another hotshot from the country’s hotbed of electronic talent. Racking up support from the likes of Dungeon Meat, East End Dubs, Michel de Hey, Dr. Banana and Alec Falconer, his releases on What NxT and Dark Side Of The Sun have accompanied appearances at the likes of Thuishaven, Colorado Charlie and Lovelee. Another fan of the young Dutchman is FUSE and LOCUS boss Enzo Siragusa, and late September brings a first appearance on the latter imprint as he makes his label debut with his four-track ‘Hotel Dijon’ EP.

Title track ‘Hotel Dijon’ comes loaded with raw drum licks, cosmic synths and menacing, swirling low-ends for a heavy-hitting opener set to cause serious dance floor damage, while the slinking ‘ROF66’ mixes eerie stabs with shuffling drums and bouncy baselines for another heavyweight anthem. Next, ‘SUP01’ keeps things ticking nicely on a similar tip with yet more punchy percussion arrangements linking with playful sound design peppered with zippy FX, before closing the show with the hopped-up, bass-driven sonics of final effort ‘Wek’.

Boss Priester ‘Hotel Dijon’ EP drops via LOCUS on 22nd September 2023.

Germany's DJ bwin returns to First Second Label with a sub heavy offering of experimentational dubstep, bass, techno and trap for the dark smoke filled room in your brain. Moritz Paul aka Leibniz and Alex Hoppe aka CIO known for their label Hundert (alongside Felix Paul) has seen them pushing the boundaries of these sounds and Cell Phone pushes their sound even further with 3 tracks that would give any system a heavy workout.

Accompanied by a blissed out vibration filled remix from Berlin residing Cork born power house ELLLL this puts the icing on the cake for this already wobble heavy 12". The artwork, a combination of photography, paint and textiles is an extract from a cloth print by Irish artist and designer Shauna McGowan.

FUSE head honcho Enzo Siragusa drops his first EP of 2023 with the long-awaited release of ‘Laughing Tones’, backed by a remix from Subsequent boss Voigtmann.

It’s safe to say that every time FUSE founder Enzo Siragusa steps out on his home label with fresh music, it’s an event that carries a lot of attention and for a good reason. His last EP on the label ‘Dreamscape’ celebrated the imprint’s 50th EP release, while stand-out releases and records dating back to his very first on the imprint back in 2011 have continued to shape and evolve the label’s core identity, pushing the sound forwards while still bringing that trademark ‘FUSE aesthetic’. Returning to the label for his first release of the year, mid-July sees the renowned selector and producer unveil his latest EP ‘Laughing Tones’ as he uncovers a pair of heavily-requested productions that showcase his diverse production range backed by a driving remix from Voigtmann.

“While many people know about the influences I draw from jungle and hardcore, my sound has always been routed within house music. The inspiration behind ‘Laughing Tones’ comes from the house music from the late 90s; Mood II Swing, Inland Knights, the dubs and those deeper b-sides.. this record is a bit of a modern twist on that influential sound” - Enzo Siragusa.

A production drenched in rich melodies, title cut ‘Laughing Tones’ is a bright and lively production as the vibrant, sweeping leads and delicate chords meet a zigzagging, engrossing bassline and skippy percussion arrangements for a deep and bubbly trip through all hours of the night. Next, ‘Blossom’ enters the fray built around killer breaks and subtle low-end evolutions, all accented by jazzy tones and hazy textures, before Voigtmann’s vinyl-only remix of the title cut takes things into more off-kilter territories as eerie interludes, sharp hats, and cosmic tones take hold of things and dive deep into the early hours.

Last year Low End Activist mapped out the depth and breadth of his sound with the Hostile Utopia album on Sneaker Social Club and now he returns with a fresh payload of future shock-outs from the grimy depths of his sound well. Recent times have seen LEA releases tipping towards MC guest spots but on this EP he’s turning inward with three varied, mutant workouts for soundsystem immersion.

‘Sent West’ makes no bones about its inspiration from the tough, boxy end of early dubstep, but as ever the kink in the Activist’s sound comes from the detail around the rhythm and his embrace of off-centre textures. ‘Neurosis’ plumbs even further down in its dogged pursuit of infinite subs and dystopian atmospherics, offering the kind of subliminal, wayward stepper to tweak nervous minds to distraction. ‘Dry Chat, Wet Rag’ stretches out on the B side with a phantom dub pulled from rad-blasted wastelands, caked in slime and tough enough to withstand any fallout.

Calling to mind the introspective, evocative work on the likes of Engineers Origins EP, this is LEA using the hardcore continuum to tell his most murked-out tales.

Baguette Magique returns with four original tracks produced by Madrid’s own Babu, who shares with us a beautiful and timeless piece of work.
The Ep starts off with “The Chamber”, a perfect intro to the electric energy of the record with a mischievous bass line, laser sounds and trippy chopped-off vocals from video game Halo that welcomes you literally into’s Babu’s universe.
Then comes “Play My Game” which shares the same name of the EP as we consider it to be the center piece of the record. A timeless electro gem, cut for the club and for the after hours.
The beautiful deep bass, malicious synths and ominous robotic voices are genuine and powerful. The Madrid based producer keeps on giving bangers for the club on the flip side with “Radio Transmission”.
The electricity is tangible in this hybrid track between Minimal, Techno and Electro topped off with glitchy fx and looped vocals. We conclude the ride with the lovely retro house track “Alpedrete House”. The deeper and groovier sounds make it the romantic cut from the record to dance and maybe fall in love on the dance floor.

GIL’s second release provides moments of lightness and euphoria,
offering a glimpse of the transcendental experiences that can be found in nature. Anam Cara, which means “soul friend” in Gaelic, sets the tone for the journey that listeners are about to embark on. Each track is a sonic tribute to the power and beauty of friendship, evoking the many moods and emotions that are part of this intricate relationship. The modular sounds add a sense of intricacy and complexity to the record, while the metallic textures add a raw and industrial edge that complements the softer, fluid movements of the aquatic elements. The blend of downtempo and deep techno creates a sonic landscape that is both contemplative and hypnotic, inviting listeners to reflect on the many nuances of friendship. From the ethereal modular sounds of “Henko (Ethereal Reshape)” to the shimmering metallic textures of “Henko (Tapasya Mix)” each track is a unique sonic journey that captures the essence of this powerful relationship. Written, produced and engineered by Gilmer Galibard Vinyl Mastered by Anne Taegert at D&M Artwork by Gilmer Galibard

Clearlight returns, two years on from his DNO debut alongside regular collaborator Owl, with five otherworldly solo excursions.

What’s most striking about the Belgian’s work is the way he brings digital textures to life. Like an alien biosphere that doesn't abide by our own natural laws, his soundscapes are irregular and uncanny, but in a way that makes them feel all the more real.

Tracks like ‘Super Strong’ and ‘Heavy Feet’ sway and wobble to cumbersome beats, lumbering through swamps of croaking, chirping, fizzing things. The former eventually collapses into total abstraction, while the latter endures blasts of technoid bass, like the retrorockets of some hulking spacecraft coming in to land.

‘Spinning Head’ is powered by a buzzing oscillator that rolls back and forth across the stereo field. Paired with assorted clattering, clanking percussive debris, it’s an unnerving yet oddly pleasant experience, as if someone were rummaging around between your ears to help find a part that’s come loose.

Lead track ‘Water Willy’ is stranger still. Shifting from something akin to an exotica record played at the wrong speed to a melancholy whalesong lullaby, its twangs, chimes and plodding bass pulse create an eerie but beautiful ambience reminiscent of the deep ocean.

Only bonus track ‘Salt Cube’ is willing to break the spell, upping the pace to deliver the EP’s most traditionally dancefloor-friendly cut in the form of glitchy minimal d&b, with a heavyweight halftime switch post-breakdown.

Taking sounds from the club, but clearly not feeling forced to cater for it, Clearlight grows alternate realities that feel familiar, but offer wondrous, illuminating new experiences. Step inside and join him.

Rhythms of postmodern realism at the very bottom of the DNO.

Banshee is the new record label from internationally renowned DJ/producer Brianna Price (B.Traits/Baby T). Drawing “esoteric aggressive feminine energy” from the folkloric figure that gives Banshee its name, the imprint will focus on the output of Price’s Baby T alias.

Brianna knows her way around a dance. Years spent producing, DJing, and touring under the B.Traits alias have given Price a vast knowledge of rave culture. Now, all of that experience has been put to good use as part of Baby T’s “hardcore junglist shit only” approach. Anyone who has encountered a Baby T tune in a dark basement over the years should know that there will be no messing around with Banshee’s output. Baby T specialises in hardcore rave tackle schooled by junglism, electro and darkside techno, the project’s sound was honed via releases on labels like Samurai Music and Central Processing Unit. It’s a style at once wild yet focused, untamed yet laser-precise - This is music that will make the hairs on the back of your neck stand up – not unlike a banshee’s shriek, in fact…

The first Banshee release is not a collection for the faint of heart. Each of these four cuts is primed for deployment at the point of the party when things really kick into overdrive. Fiercely danceable, and unapologetically abrasive, Baby T’s productions here can school any challenger in the electro, techno, and jungle fields yet also carry themselves with a punkish spirit that sets them apart from the pack.

Vinyl includes lyric booklet with hand-written lyrics and exclusive photos and download card. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris, the Brooklyn-based Artist is back with her fifth LP, entitled I Am What I’m Waiting For, on Colemine/Karma Chief Records. Co-Written and Produced by Torbitt Schwartz (Run The Jewels, Killer Mike, Rubble Kings, Chin Chin), this collection is Kendra’s most personal album to date. It was spring of 2022 and Kendra had just released Nine Lives, her first new album in almost a decade and her first release on Colemine Records. She felt an urgency to get back into the studio, but something felt different this time. Returning to her usual ways, places, and people that she had been creating with felt like dragging herself back to a familiar and comfortable place - but that wasn’t what she was looking for. “I had to step into a new, unknown process because I knew it was the only way that I’d continue to grow,” she explained. She took a small batch of songs to Torbitt’s studio and the two began to write. “He challenged me to find the best version of every lyric,” she shared. “When I listen back, I’m so proud of the time we spent, because every single line is deliberate. I challenged myself to write just to write. No love songs this time around. Torbitt and I wanted to create a record that felt like you cracked open the ooze in my head. There are a lot of layers to me but I only recently through age and experience have fully accepted the weird little nuances that I’m made of. I’m a messy introvert that pretends to be an extrovert so I can feel like I fit in.” From top to bottom, I Am What I’m Waiting For is sincere. It’s a fresh take on a timeless sound, and Kendra exudes power. “My heart has always been in soul music,” she shared. “On this record, you’ll hear my influences and then some. You’ll hear all the bits of me….the vulnerable bits, the silly bits, all of it.This record is my melting pot.” Whether you’re a longtime listener or just now beginning to explore the whimsical world of Kendra Morris, the relatable lyrics and modern soul sounds on I Am What I’m Waiting For are sure to turn you into a fan

New Zealand disco-boogie outfit Flamingo Pier plant some Brooklyn roots with their fresh new ‘Beneath the Neon EP’ on Razor-N-Tape. Known for parties in East London and their massive hometown festival, as well as previous releases on Soundway, the Kiwi collective deliver a trio of new songs that solidify and expand their signature danceable blue-eyed indie-soul sound.

Lead off single 'How 2 Feel' shows a clubbier side of the band, with a pulsating house rhythm track and layers of angular synth stabs, vibey horn lines, and vocal chants. 'Beneath the Neon' and 'Remedy' are more familiar Flamingo Pier territory, upbeat indie disco anthems that boast incendiary vocal hooks, funky guitar work, and crisp production by Luke Walker.

Rounding out the EP are remixes by Chicago house legend Glenn Underground, and RNT co-head JKriv, whose mix features a guest appearance by Afro-boogie royalty Steve Monite.

Oozing with hazy sun, Beneath the Neon is the perfect soundtrack to soak up the dog days of summer.

After the success of ITTY01, Comb is back with two more sides of love – a pair of fine-tuned edits on Norwich based label I Travel to You.

'I Know You Feel' It is a tropical-tinted soul hit with a powerful female vocal and killer funk bassline. The steaming vocals take you back to those intimate moments when you realise the love is real.

Take a trip East on the B side with 'What a Night', a dubbed-out version of a Japanese production, the lyrics recall yearning for a lover and the sound of an unanswered phone call. Smooth keys, soaring strings, and a glistening solo.

Rotterdam rising star Danou P steps up to Jamie 3:26’s label with a three-track EP of emotive deep house.

The title track ‘Allez Hoop’ is deep, moody and somewhat reminiscent of an electronic ‘Riders On The Storm’. Lush strings, analogue leads, classic Rhodes and a barely containable synth sequence stacked on top of a driving groove.

‘Jazz Dummy’ sees Danou P collaborate with fellow Rotterdam based artist Kems Kriol. It’s a classic sounding track drenched in live percussion and that good old M1 saxophone.

Closing out the EP ‘So Fruit’ is an homage and inside joke gone wrong in a good way. Funky electric piano stabs and rhythmic synths in a sandwich of punchy drums and thick bass. It pays tribute to an absolute classic track and features an epic flute solo by Moises Toscano Fuentes.

repress !

From LUXXURY’s infamous edit series, these long sought after tracks are finally getting a proper release in this new limited series. 'Never Gonna Dance Again?' is a hopeful look to a post pandemic world, blending a well known blue eyed soul vocal with a bassline straight from Paradise. 'Black Curtains' is a deep cut cover of an AOR classic, while 'Black Magic Reaper' is a gloriously slow, psych disco haze. 'We’re All Gonna...' loops a sleazy French jazz disco B side with a vocal sample from a Purple guest.

The invasion from outer space continues! Timothy J. Fairplay plays regular live shows at festivals like Digital Tsunami’s Camp DT or the Intergalactic FM Festival in The Hague. His new EP Why Are They Here? is the follow-up to Chariots In The Sky on Archaic Future Sounds that was supported by Lauer, Jennifer Cardini and Curses! Cosmic and cinematic Acid House produced only with synthesizers and drum machines. Analog mastering by Grey People.

2023 Repress

Roberta is back and taking no one's mess delivering two more deep cuts showcasing her far-ranging jazz, funk & soul influences. Side A's 'Don't Bother Knockin' is running right out of the gate with its brazen yet playful energy. B Side's Be My Man softens things a bit by adding the required feminine touches: once again delivering an EP with her signature sound replete with her penchant for groovy basslines. A much welcomed follow-up release to her successful debut on James Duncan's Brooklyn based Innermoods label.

- Releases on Innermoods, Sound Kemystry, Boutade Musique, A Friend In Need

This release heralds the launch of a new 7” series from Mr Bongo. In partnership with London-based DJ and digger, Miche, the series will feature his latest discoveries, as well as choice cuts, taken from his 'With Love' compilations. For the inaugural offering, we take a trip to hazy San Francisco, California, in 1977. Smoke, Inc. were an emerging band in the Greater San Francisco Bay area and a regular fixture in the buzzing live music scene. They had a strong following and were in rotation in most of the Bay area clubs, as well as opening for numerous prestigious acts such as Sly & The Family Stone, Taj Mahal, The Pointer Sisters and Toots and The Maytals. Members of the group worked with Jimi Hendrix, Stevie Wonder, Frank Zappa, Martha Reeves & The Vandellas, and many others considered the cream of the crop of the music world.

Smoke, Inc. featured Roy Schmall on keyboards and vocals, Stan Terry on lead vocals and harmonica, Michael 'Ollie' Schotka, on bass and vocals, Keith Stafford on drums and vocals, and Archie Williams Jr on guitar. They went on to release one 12" EP and two 7" singles. One of those 7’s included 'Waitin' For Love’. It was first released in 1977 and came out on the band's own self-titled imprint. It has gone on to become their rarest and most sought-after recording, now fetching up to an astonishing £2,500 on Discogs. It is a breezy, feel-good, modern/crossover soul beauty, with an infectious sing-along chorus, floaty flute solo, and packed with pure, uplifting dancefloor energy. The B-side features a cover version of the Holland Dozier & Holland-penned classic 'It's the Same Old Song’, made famous by the Four Tops.

Miche enthuses, “I included this gem on my first ‘With Love’ compilation and knew that it deserved its own dedicated reissue complete with original artwork. I’m delighted to get the chance to make that happen for this incredible, soulful AOR glide from a band that is well due another round of appreciation. It’s very rare, and consequently very expensive, so here it is for you all to spin and add to your record collections.”

46 years since its original release, it is our privilege to help Roy and the gang’s light shine once again and let a whole new audience relish the beautiful sounds of 'Waitin' For Love'.

Super proud to introduce this special 12" by UK Liquid Funk pioneer HIDDEN AGENDA. I first heard their music on Fabio's February (1995) KissFM show, taping from Leighton Buzzard on my parents JVC tuner. I had it playing as my sound track non-stop on my Walkman for months - deep minimal Jungle had arrived! It was the legendary 'The Flute Tune'. I soon purchased a copy on the mighty METAL HEADZ that year with my giro cheque in Coventry from Bang-in Tunes. 'Get Carter' was my next purchase, it was however, 'The Sun' on Fabio's Creative Source (1996) that set me off like a roman candle (and still does to this date) - I consider this the first Liquid Funk track.

HIDDEN AGENDA next hit us super hard by surprise in the winter of 2003. I was DJing late night at a squat in East Finchley on London's Rude FM 88.2 back-to-back. DJ Haze played this 12" that sent me totally hyper and turned out to be Jason's 'Groove Me' on Eastside Recordings. So hyped was I, that DJ Haze gave me that very copy on the spot!

I went onto paint a huge epic 200x200cm oil / acrylic painting to be photographed for the HORRIFIC13 cover. Set in the South Bronx 1978 (which is the title of the Side AA.) - a train Rolls over RAE ST with a semi-wild style piece which reads HIDDEN AGENDA - GOLDEN SKY with a mini 1978 piece also sprayed on the bridge.

The fourth EP from HOMO-CENTRIC Records presents GIDEÖN's broad musical vision, with tracks that span genres such as house and techno, as well as other influences, and includes his latest offering, “A Road Called Destiny”, his headiest offering yet and hot on the heels of previous anthem “Brighter Day”. This latest gospel belter has been tearing up dancefloors all summer and the track reaches euphoric heights comparable with the Baptist sermons featured in the house classics from the likes of Kerry Chandler and Robert Hood. "Hector’s Revenge" is a dark sleazy queer techno anthem already slaying Berghain’s main floor, "Vasquez Goes East" is a "raw basement cut that tips its hat to Junior Vasquez’s Sound Factory classic "Get Your Hands Off My Man” whilst “Fridays” serves up classic Swing 52 style chopped-up vocal cuts straight from vintage 90s NYC. Scope, range and diversity, but all quintessentially GIDEÖN

After his woozy dark disco EP debut on NEIN records, Clouzer returns with LMNTL, a fine collection boasting 4 massive tracks tailored for the “big room” stage. Listening to Clouzer’s cosmic textures, layered abstractions and futuristic soundscapes on LMNTL feels like connecting to an extraterrestrial world.

The Berlin-based musician blends electro, broken beats and dirty bass lines, creating immersive and hypnotic environments for people to dwell in. The EP also features a beautiful remix by Sestrica, one of the most vibrant and unique female live acts on the Breakbeat scene.

Following up his recent record on NAFF, Cousin returns to the Moonshoe home front for his latest offering. Introspective and unbound sounds etched into the latest mini disc - delicately staunch cuts that may both pluck at your heart strings and rattle your bones. Recommended connection to the call as it phones home.

- Panda Bear, Voice of the Seven Woods, Mammane Sanni Abdoulaye. File under: Jazz / Electronic. Titi Bakorta almost didn't make it. Born in and raised in Kinshasa, the Congolese multi-instrumentalist was on his way to Uganda when he fell off the boat as it traversed the mighty Congo River. Unable to swim, Bakorta was saved by a friend who dragged him to the closest city Kisangani, where he was unexpectedly acquainted with local singer Dancer Papalas. Soon they were performing in bands together, traveling across the continents and settling in Tanzania, South Sudan and Dubai - they even appeared in front of General Defao, the beloved Congolese vocalist who fronted legendary soukous bands Grand Zaiko Wawa, Choc Stars and Big Stars. Now based in Kampala, Bakorta offers his own unique take on Congolese pop and folk sounds, weaving traditional elements through a psychedelic lattice of guitar loops, mangled voices and eccentric beatbox rhythms on his debut full-length. He bends woodblock snaps on 'Kop' into stuttered blurs, wailing emotionally over twanging riffs and bizarre, theatrical xylophone twinkles. It's still pop music on some level, but curved around Bakorta's unwieldy personal narrative - there's a sense that everything could unravel at any time but it all hangs together, strengthened by Bakorta's confident, contemporary production smarts. 'Elles Vais' is more airy, with celestial soukous vocals that float above tight, electronic drums. Tangled guitar echoes overlap each other like dense, weaved tapestries, contrasting perfectly with Bakorta's urgent, driving pulse. Occasionally, he transcends completely, like on 'Molende' where his chants and phrases neatly flutter between praise music and contemporary R&B. "Hustling, hustling, hustling, everyday I'm hustling," an angelic voice coos over phased electric guitar plucks and looped, AutoTuned chorals. It makes perfect sense that Bakorta should team up with Metal Preyers' Jesse Hackett on the album's final track, the aptly-titled 'Titis Haunted House'. The two artists share a similar obsession with moonlit, carnivalesque soundscapes, and Hackett's eerie synths provide a suitably eccentric foundation for Bakorta's ghostly wails and fuzzy guitar sounds.

Boy Harsher, Portishead, Thom Yorke, Radiohead, Beak>, ERAAS, SUUNS. Over the past seven years, Public Memory's distinctive use of analog synthesizers, electronic beats mixed with organic percussion, lo-fi sound design, and gritty ambience has created a singularly eerie and shadowy world. The first seconds of Public Memory's new record, Elegiac Beat, thrust us immediately into that world. We are in media res, with a feeling of sudden movement from a sensible point A to B. Given some time however, we realize that there is something askew–a bit of brightness here, some shadows pushed aside, some jazz and funk amongst the dub and Krautrock. This is an unfamiliar, ambiguous mood that pushes Public Memory towards new ground. We still drift past the clouded lights and hollowed out buildings of previous albums, but with an occasional bounce in our step now, a bit of golden haze around the edges. First single "Savage Grin" cements this clearly. The track has a jazzy, trip-hop flavor, albeit filtered through Public Memory's narcotic, hazy lens. We could be in a hotel lounge in the alps somewhere on holiday, or out of time in a majestic, sparkling ballroom. But we still have the feeling of being haunted, or perhaps even hunted in some way. This feeling intensifies and comes to a head towards the ever-darkening end of the track, leading directly into "Afterimage", in which someone almost imperceptibly sings "I hear them coming" in a twisted, auto-tuned flail. Second single "7 Floor" begins with flanged drums and damaged synthesizer stabs, evoking a kind of apparition floating towards us in the mist. As the track moves on there is, similarly to "Savage Grin", a contrast in feeling between a cold exterior roaming and an interior, warmer, human place. This time however, we move from the colder to the warmer as the synths from the track's beginning make way for a Rhodes-style organ and backing string synth, infusing an unexpected sense of peace. But like "Savage Grin", the track moves to its end through an in-between place beyond the haze. Faded and distant synthesizers meld with voices–human, or perhaps otherwise–that beckon us, or perhaps warn us. We can't be sure which. Third single "Far End Of The Courtyard" brings us closest to classic Public Memory territory with hip-hop beats, chopped and screwed samples, lo-fi ambience, and ghostly electric pianos complementing the vocals. There is darkness, perhaps more here than in the previous two singles, but with a crucial moment of uplifting lightness so subtle it may be missed upon first listen. As an inverse to both "Savage Grin" and "7 Floor" we end with brightness, the jazzier side of the record pushed to the forefront as the track fades away on that golden haze. In the end though, the haze may be just that: a vapor, a mist, a slight dusting of some other world on top of the degraded one Public Memory so effectively portrays. Elegiac Beat is between two places, and as it straddles the line between the two, we are uncertain if the light it brings shines directly from the sun, or if it is dimly reflected through that majestic ballroom world. For fans of 1990s Bristol trip hop, coldwave, and Thom Yorke's The Eraser

Indies Only LP is opaque green vinyl. Both LPs come with a download. The moment the needle drops on Bite, the new A Giant Dog record, one’s conception of what an A Giant Dog record sounds like bends like space and time around a starship running at lightspeed. The biggest point of departure is that Bite is a concept album, concerning characters who find themselves moving in and out of a virtual reality called Avalonia. A Giant Dog’s first album of original songs since 2017’s Toy, Bite finds the band Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low, and Andy Bauer at their peak as musicians, challenging themselves with more complex arrangements and subject matter that forced them out of their heads and into those of the characters who occupy this supposed paradise. “We had to find ourselves within, or project ourselves into, the principal characters. We developed them, got to know their minds, emotions, and motivations, and then expressed those in nine songs,” Ellis explains. Themes of addiction, gender fluidity, living ethically in a capitalist society, physical autonomy, avarice, grief, and consent bubble beneath the promised happiness of Avalonia. This is evident in songs like “Different Than,” where Ellis sings, “My body can’t explain the things my mind don’t comprehend” as if societal gender pressure is squeezing its protagonist out of their skin. The songs on Bite are full of bombast, at turns calling to mind the spacefaring operatic rock of Electric Light Orchestra and the high drama of an Ennio Morricone film score. The album’s narrative sweep is epic in scope, its characters facing impossible odds and certain doom, existing as comfortably with the sci-fi grandiosity of Thin Lizzy’s Jailbreak as it does with the high fantasy of Dio and Iron Maiden. Appropriately, A Giant Dog came to this narrative armed to the teeth with new ideas, unleashing synthesizers and string sections to create what Ellis describes as orchestral, symphonic, futuristic punk. To achieve this, they left their home turf of Austin, Texas, for La Cuve Studio, just outside of Angers, France. Living in the French countryside, A Giant Dog laid down their vision of the future against a decidedly pastoral backdrop. On walks from Angers to La Cuve, Ellis says that they “would see many things, and also nothing at all. Swans on the river. Romani people living in little trailers, with a side hut built for their dog. A juggler on a unicycle—not fucking with you.” “We thought we wouldn’t be allowed back in France after this trip, to be honest,” they continued. “Five loud, stomping, clapping, rowdy Americans who ran through the streets of Angers for three weeks in November 2022.” The experience capped two years of planning and writing, fleshing out the universe of Avalonia beyond the bounds of most concept albums. The resulting nine songs do not merely occupy this space: They’ve lived in it, and they want out.

: Daft Punk, SAULT, BADBADNOTGOOD, Surprise Chef. Eraserhood Sound's mysterious, intergalactic house band Fantasy 15 are finally ready to unleash their debut LP, Zoltandia. After years of rising anticipation which saw the group release a handful of now-sold out, highly sought-after 45s, Fantasy 15 have delivered a modern synth-funk opus. The album, named after the group's remote home planet, is a dazzling display, and features an audacious blend of soul, funk, disco, boogie, house, hip hop, New Wave, and much more. Zoltandia is a true sonic journey, a concept album that tells the fantastical tale of the beloved freedom fighters Fantasy 15. The group, whose true identity has always been a mystery, push the limits of their musical experimentation further than ever. Leading single "Interplanetary Lover" features the show-stopping Kendra Morris on lead vocals, and serves as the group’s first proper love song. Elsewhere, the title track "Zoltandia" features chanting group vocals and a disco-boogie groove that nods to legends like William Onyeabor and Kiki Gyan.

Nottingham’s hottest prospects, the four piece have been making waves with their definitive, genre-spanning sound that incorporates elements of post-punk, indie and art pop to create something remarkable and unique. 2022 saw the band release their debut EP ‘Soft Soap’ which garnered rapturous praise from BBC Radio 1, NME, Clash and more, cementing their place as an outfit to watch.

Sweet little Tekno-Tribe sound, with more familial selecta of artists... A side tends on Techno Pump while the flip is really reminding the old school first OKUPE kind of sounds... Records comes with stickers.

A Tele Music CLASSIC from 1972, Pierre-Alain Dahan's Continental Pop Sound is of those library albums with something for everyone. Breaks? Check. Fuzz guitar? Check. Slower, jazzy stuff? Double check. It's a stunning collection of psychedelic rock, soulful funk and retro pop stylings that's currently going for over £200 on Discogs. And with good reason. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou and Sauveur Mallia) and Jef Gilson Septet. So, you know this Be With reissue is nailed on essential.

Skip the by-numbers opener "Rock Extra" and head straight to the deeeeeep, minimalist groove of "Slowrama", a humid masterclass in low-slung, creeping crime funk with weighty breaks and beefy bass complimented by hypnotic wah-wah and warm electric piano. Sensational. It was sampled by Prince Po in 2004 for his "Love Thang" track. The galloping "Latin Pop Sound" is a percussive, Santana-esque tour de force featuring fantastic guitar shreds over a bassline to die for. "Morning Melody" is a lightweight amble whereas the brief but deliciously psych-rock heavy "Islam Blues" is a must for your mixes when requiring short segue tracks. The A-Side closes out with "Phasing Drums N° 1, 2 & 3", all completely ace. For us, N° 3 is the pick of the bunch, with particularly slooooow and deliberate drums underpinned by a droning, sinister organ. Hip-hop, before hip-hop, no less.

The genuine monster "Pacific Rock" blasts out the gate to usher in Side B, a thrilling and unrelenting pop-rock instrumental that really drives. "Quasimodo Pop" contains great slow mo funk breaks and scratchy guitars that alternate with pretty heavy riffing to create a compelling base track. "Carmel Beach" is as beautiful as the location it's named after, as insouciant guitars glide over super slo-mo beats and dramatic organ before it breaks down to a laconic, reflective electric piano showcase. Sumptuous. "Auto Moto Rallye" is a brief driving funk gem, as you might expect, complete with revved up guitars tuned and played to emulate the irresistible sound of growling race cars.

The upbeat, piano-led rock stomper "V.S.O.P Rock" is all well and good but, what you might really be here for is the trio of tracks that ensure the LP ends on an almighty high. The three most famous tracks “Rythmiques 1, 2 & 3” all come complete with *ultra*-dope breaks. N° 2 is probably our favourite, with the shuffling bassline and breaks combo augmented by the wonderful cowbell. Though on any other day, it could be N° 3! This album is often considered as the “baby brother” to Tele Music's Rythmiques, and this triptych is all the proof you need. Outstanding.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Continental Pop Sound 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.

Der Soundtrack zur HBO-Serie "The Last of Us" basiert auf der beliebten Musik und Klangwelt des gleichnamigen Videospiels. Geschrieben wurde der Soundtrack vom mit einem Academy Award ausgezeichneten Komponisten Gustavo Santaolalla und von David Fleming.Die intime, gitarrenbetonte Klanglandschaft spiegelt die Emotionalität der Serie wider und nimmt die Hörer mit auf die ungewisse Reise durch die USA in einer postapokalyptischen Welt, zwanzig Jahre nach der Zerstörung der modernen Zivilisation durch eine, von einem Pilz verursachte Epidemie.

Based on the critically acclaimed video game of the same name developed by Naughty Dog for the PlayStation® platforms, The Last of Us is written and executive produced by co-creators Craig Mazin (Emmy® Award-winning creator of HBO’s “Chernobyl”) and Neil Druckmann (creator and writer of the award-winning “The Last of Us” franchise and Naughty Dog Co-President).


The Last of Us takes place twenty years after modern civilization
has been destroyed by a viral outbreak. Joel, a hardened survivor, is hired to smuggle Ellie, a 14-year-old girl, out of an oppressive quarantine zone. What starts as a small job soon becomes a brutal, heartbreaking journey, as they both must traverse the U.S. and depend on each other for survival.

The vinyl release to the acclaimed series contains soundtrack
highlights from the show. Featured are score tracks by composer Gustavo Santaolalla, with additional music by David Fleming as well as songs by Depeche Mode, Pearl Jam, Jessica Mazin & Nick Offerman.


The package contains 2x vinyl, standard weight at 140g, 1x green and 1x clear, a double-sided poster of the show’s key art, spot gloss and soft touch on the gatefold and an insert featuring liner notes by Neil Druckmann, Craig Mazin, Gustavo Santaolalla & David Fleming and images from the show.

Tomáš Knoflíček is a musician, sound organizer, and curator based in the Czech Republic. His activities are mainly related to post-everything quartet Gurun Gurun (Home Normal, Buh records), in which he collaborated with a number of mainly Japanese musicians (e.g. Haco, Asuna, Aus, Cuushe, Moskitoo). Since 2004 he has been working at the Faculty of Fine Arts and Music University of Ostrava, where he focuses mainly on interdisciplinarity in art, especially the relationship between image and sound. He is the co-organizer of the Kukačka project (kukacka.org), focusing on art in public space, and also the curator of the Lauby and Dukla galleries in Ostrava. As a curator or co-creator, he participated in a number of sound art projects and collaborated with many visual artists, for whom sound is an important means of research (e.g. Christoph Zwiener, Julia Gryboś, Barbora Zentková, Matěj Frank, Jan Krtička, Pavel Sterec, Lišaj). Knoflíček is also the author of several music videos and VJ-sets for Gurun Gurun, Wabi Experience, and Haco. In 2021 he released his first solo album Vaguely delimited targets (LOM label).

Wewantsounds Is Pursuing Its Ambitious Akiko Yano Reissue Program With The Release Of "japanese Girl", Her Landmark Debut Album From 1976. Backed By Little Feat With Lowell George And By The Cream Of Japanese Musicians (including Haruomi Hosono), Japanese Girl Is One Of The Most Important Japanese Albums Of The 70s, Mixing Pop, Rock, Japanese Folk Together With Little Feat's Superb Classic Sound. This Is The Very First Time The Album Is Released Internationally. The Deluxe Lp Edition Includes Remastered Sound, Tip-on Lp Sleeve, Download Card Plus The Original 4-page Insert With Lyrics And Full Line-up!
When Akiko Suzuki Left Her Home Town Of Aomori For Tokyo In The Early 70s Aged Just 15 To Become A Professional Musician, She Quickly Started Making Waves On The Local Music Scene Performing At The Jazz Club Rob Roy. In 1973 She Released A 7" With The Group Zariba And Caught The Attention Of A&r Man Koki Miura. She Then Recorded One Song, "oinaru Shiino-ki" With Haruomi Hosono On Bass And Drummer Tatsuo Hayashi (who Features On Many Hosono Albums And Also Hiroshi Sato's 1979 Album Orient) With A Full Album In Mind.

After A Marriage With Musician/producer Makoto Yano And The Birth Of Her Son (named Fuuta), Yano And Her Team Resumed The Recording Of The Album And Decided To Pitch Little Feat For A Collaboration As She Loved The Group. Against All Odds They Said Yes And Yano Left Tokyo For Los Angeles In March 1976 To Record A Full Side With Them. The Legend Has It They Found It So Difficult To Keep Up With Yano's Compositions They Returned Some Of Their Fee. The Session Was Nevertheless Stunning And Lowell George Even Compared Yano To Stevie Wonder. The Little Feat Blend Of New Orleans Groove Matched Yano's Melodies Perfectly, As Witnessed On "funamachi-uta Part 2." Originally A Traditional Song From The Nebuta Festival In Her Hometown Of Aomori (part I On Side 2 Gives A Good Idea Of What The Original Form Sounds Like), The Little Feat Version Is A Formidable Slow-funk Workout Not Dissimilar To Their Classic, "spanish Moon", Serving Yano's Beautiful Vocals And Sense Of Groove To Perfection. The Whole Side Is A Match Made In Heaven, Showcasing The Classic Little Feat Line Up At Their Funkiest With Yano's Unique Japanese Twist.

The Japanese Side On The Album Gives A Great Snapshot Of The Tokyo Music Scene Of The 70s With Many Musicians Gravitating Around Haruomi Hosono (and Present On His 1973 Classic Album 'hosono House' Including Sound Engineer Kinji Yoshino) And Also Several Musicians From Japanese Band, The Moonriders.

Recorded At The Legendary Onkyo Haus Studio In Tokyo, The Sessions Mix Singer-songwriter Sensitivity And Pop With Traditional Japanese Sounds And Instruments Like The Shinobue Transverse Flute, The Koto String Instrument Or The Tsuzumi Hand Drum As Played On "hekoriputaa" By The Legendary Percussionist Kisaku Katada Who Was Appointed Living National Treasure By The Japanese State In 1999; Together They Create A Beautiful East-meets-west Mix Masterfully Driven By Yano's Creativity And Unique Talent.

A Breathtaking Debut Album That Made Akiko Yano One Of The Most Important Artists To Emerge From The 70s, Japanese Girl Has Since Become A Milestone In Japanese Music With A Recent Documentary On Nhk Tv Telling The Whole Story Behind This Classic. Wewantsounds Is Now Proud To Present This Essential Album To The Rest Of The World.

Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Rythmiques 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.