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Opening 4 intense stories EP in side A1 is Giuseppe Angeloro, a talented young Italian producer with one of his tracks that has already ignited several European dancefloors. He will share this side with one of the co-founders of the Offenbach-based HWSD collective Cedrik Dekowski and his strong jamming Roayal, spinning the record will be done by label cofounder Luca Piermattei with Italian voices inside the track, in company with a techno groove and melodic track by the other talented HWSD producer now based in South Korea, Thilo dietrich. These are four different tracks but with a minimum common determiner , that of having a killer instinct for your dancefloor!

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Quantum´s upcoming album, "Down the Mountainside", contains eight very elaborate and intense compositions, spanning 45 minutes of music that shimmers in acoustic soundscapes one minute to explode into spastic grooves in the next. The lyrical themes deal with humans alter egos - or masks - that people in our society rely on in order to get by with their everyday lives, and how these affect them psychologically and eventually lead them towards a breaking point. There is also commentary on how this behavior affects the general attitude in the society we live in. Overall, with "Down the Mountainside", Quantum has created a timeless progressive rock album, which feels both fresh and innovative, which will appeal to old prog diggers as well as listeners of the more modern school.
The album features guitar solos from the brilliant Richard Henshall and Tom MacLean from the band Haken.

Quantum´s upcoming album, "Down the Mountainside", contains eight very elaborate and intense compositions, spanning 45 minutes of music that shimmers in acoustic soundscapes one minute to explode into spastic grooves in the next. The lyrical themes deal with humans alter egos - or masks - that people in our society rely on in order to get by with their everyday lives, and how these affect them psychologically and eventually lead them towards a breaking point. There is also commentary on how this behavior affects the general attitude in the society we live in. Overall, with "Down the Mountainside", Quantum has created a timeless progressive rock album, which feels both fresh and innovative, which will appeal to old prog diggers as well as listeners of the more modern school.
The album features guitar solos from the brilliant Richard Henshall and Tom MacLean from the band Haken.

Maurice Fulton's outrageous remix of "The Fall" by Rhye has been cherished as a stone-cold masterpiece for the past decade. Out of print almost immediately, its legend has only grown and for too long it's been impossible to find a copy without parting with considerable cash. We've wanted to remedy this situation for years so we're delighted to announce that we've finally given it the Be With treatment.

The word ‘genius’ is bandied about liberally but it's fair to anoint Maurice Fulton with such lofty praise. Sheffield’s king of oddball disco, Fulton is one of our favourite artists, an outerspace-minded producer with roots in Baltimore club music who has no problem injecting dank interplanetary funk into the smoothest of acts. And so it goes with his remix of "The Fall". Rich and typically off-kilter, this is spellbinding disco par excellance. Fulton arms the track with a juddering electro-funk synth-bassline before shifting to a twanging disco reverb and conga-led, crash-cymbal-elevated groove.

Essential doesn't even cover it; it's just astonishingly good.

The gorgeous original, situated here on the flip, is a sublime serenade, all twinkling strings and sweet, sumptuous vocals over smooth, jazzy piano styles. It earned comparisons to Sade, Air and the xx upon initial release and it's still easy to understand why; it's warm and buoyant yet deeply melancholy. Elegantly downlifting, you could say.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every year.

Ein bahnbrechendes Amalgam aus aufzugfreundlichem R&B und Synthesizer-lastigem Smooth Jazz. Tony Palkovics Debüt aus dem Jahr 1986 geht so leicht runter wie ein Hauch von zahnärztlichem Lachgas. Die seidigen Grooves und Ausbrüche der Drum Machine 1.0 auf "Born With A Desire" bleiben als 80er-Jahre-Vision einer zukünftigen Erde bestehen, mit 8-Bit-Grafiken und pastellfarbene Paletten in einem Synthesizer-Shangri-La.

Ein bahnbrechendes Amalgam aus aufzugfreundlichem R&B und Synthesizer-lastigem Smooth Jazz. Tony Palkovics Debüt aus dem Jahr 1986 geht so leicht runter wie ein Hauch von zahnärztlichem Lachgas. Die seidigen Grooves und Ausbrüche der Drum Machine 1.0 auf "Born With A Desire" bleiben als 80er-Jahre-Vision einer zukünftigen Erde bestehen, mit 8-Bit-Grafiken und pastellfarbene Paletten in einem Synthesizer-Shangri-La.

After a few months spent on planet Earth, taking inspiration from its best dancefloors, Antam Records is ready to serve you some tasty grooves served by the Madrid based producer Mostly James... Get ready for the intergalactic ride!

On their eponymous debut, Super American Eagle deliver manna for heavy rock fans craving ergine detours into noise, psych and sludgy dank, herbal grooves. A union delivered via chance, Brent DeBoer of The Dandy Warhols, Dave Mudie from the Courtney Barnett band and Bob Harrow of Immigrant Union, played an impromptu Immigrant Union NYC show as a three-piece. That night the chemistry was undeniable and so Super American Eagle soon took flight. Known for the individual talents they bring to other’s bands, the trio take control of the destination, reveling in the creative liberty that beats at the heart of the project. From a lightening moment of musical connection Super American Eagle have built a thrilling, fuzz-filtered debut of urgent and essential psych and super heavy rock vibes.

Next on deck, straight from Producer Dan Ubick’s Lions Den Studio, comes two more re-imagined soul classics from Los Angeles’ own Night Owls. First up, we have soul phenom Eli “Paperboy” Reed taking on Ray Charles’ classic “You Don’t Know Me” and Rocksteady champions Jr. Thomas & The Volcanos, laying their beautiful soul harmonies to Eddie Kendricks’ timeless “If You Let Me.”

For Side A’s “You Don’t Know Me,” Ubick had a tough assignment - find someone who could bring his own innate soulfulness to a song sung by “The Genius” in his prime. The answer came from Massachusetts-bred Eli “Paperboy” Reed, who moved to Clarksdale, Mississippi at 18 to cut his teeth singing in juke joints all over the Delta. Then, moving on to spend a year as minister of music at Chicago’s Southside church of Soul legend Mitty Collier (Chess Records) and relocating back to the East Coast to record for Capitol Records, Warner Brothers, Colemine Records, and now Yep Roc, Dan had found his man. On “You Don’t Know Me,” Reed’s voice ranges from belted lows to soulful highs that perfectly sets the stage for this more upbeat and Roots Reggae-infused rendition. With a tip of the hat to Jamaican legend and producer Bunny “Striker” Lee, Night Owls take Charles’ classic soul and R&B standard to new territory. But that’s not all; Ubick also brought in Staten Island’s crown jewel, Eamon Doyle, who meticulously laid in all the vocal harmonies, faithful to Ray’s original. On Side B is Eddie Kendricks’ “If You Let Me” feat. Jr Thomas & The Volcanos (Colemine Records), re-done here with a nod to another legendary Jamaican singer, songwriter, and music producer, The Techniques’ own Winston Riley (Johnny Osbourne, Dave & Ansel Collins, Hortense Ellis, etc.). Originally debuted on Eddie Kendricks’ post-Temptations 1972 masterpiece People…Hold On (Tamla/Motown), Night Owls create a decidedly more moody and dubbed-out tone here, laying into a bass-heavy one-drop feel that perfectly sets the stage for Jr Thomas’ soulful lead and Volcanos members Alex Desért (Hepcat, The Lions) & John Butcher’s (The Expanders) spot on backing harmonies. While keeping much of the original harmonic language, Night Owls bring this much-loved classic to new heights, primed for the dance floor. It’s hard not to sway your hip and groove to this one!

Reissue for the first time colored vinyl 500 ex "PAST PRESENT FUTURE feat BAM (from Jungle Brothers) MATTIC, BARBARA MOLEKO BLACC EL, ELIAS, ASM...

“ Dafuniks is bringing back their brand of cool hip-hop, soul and groove””

Drummer Kendrick Scott and bassist Alexander Claffy join rising-star Danish pianist RasmusSorensen for the release of a special trio project - BalancingAct- recorded in true jazz spirit in the heart of New York City. Timeless repertoire and intricate originals combine in a piano trio session which captures thetradition of years gone by: three players meeting in a studio to produce music which somehow sounds as if they spent a lifetime together. Sorensenrelocated to New York City in 2018 to pursue his studies at the Manhattan School ofMusic on a full-tuition scholarship and within five years had proved himself as a compellingcreative force, playing alongside some of the scene"s most reputable musicians and performing his original compositions in some of the world"s mostrevered jazz clubs. In line with New York"s fast paced spirit, the session with Claffy and Scott was set up, planned and recorded within a matter of days, with the musicians meeting on the day and spending just three hours together in the studio. It"s something of a rite of passage for pianists to showcase their treatment of classic jazz repertoire;Sorensen choses a selection of Great American Songbook classics and a lesser-knownColtrane number for this, his sophomore album. Alongside a handful of originals, the recording with two veteransof New York"s prestigious scene is a masterclass in energetic, spontaneous, playful and exciting piano trio playing. Effortless groove, rich contemporaryharmony, virtuosic improvisations, dextrous rhythmiccomplexity and intricate arrangements make for an adventurous and thrilling listen; the first meeting of three fearless and experienced masters of their craft. Jazz is no stranger to the concept of passing the baton from one generation to the next, not through loud exclamations and accolades, but by who the greats choose to work with. With Balancing Act, Sorensenhas not only produced a beautiful trio album, but staked his claim - with the help of Scott and Claffy - as one of the ones-to-watch from the new generation of pianists.

Is this the future sound of black American jazz - an inclusive yet rhythmically complex groove based music that owes as a much to black urban culture - predominantly hip hop and trap music rhythms - as it does to jazz improv techniques and rhythms? It's certainly interesting that similar elements swim through the music of Robert Glasper and Kamasi Washington, who along with Scott are currently big box office, pulling-in substantial new audiences for their music. Ruler Rebel is the first album of a trilogy celebrating 100 years of recorded jazz, and will be followed by Diaspora and Emancipation Procrastination later. At the heart of this music are polyrhythmic grooves that might come from jazz, New Orleans black Indian music, trap, Malian rhythm Kassa Soro and the interplay between an SPD drum machine and live drumming. Largely featuring Scott's trumpet, the record introduces his articulate and frequently eloquent voice as the narrator of Ruler Rebel, much like the Persian Princess Scheherazade narrating her tales of the mysterious east to Sultan Shahriar over one thousand and one nights. A key track is `Encryption', a summation of Scott's direction of travel on the album. Here the running rhythm is derived from the New Orleansian Afro-Indian culture married with Malian Kassa Soro. This is in turn is layered with SPD-SX electronic drum machine and sampling machine played by Joe Dyson and Cory Fonsville that introduce rhythmic elements from trap and hip hop. Sounds complex? Well it is, but it works. Other highlights include `New Orleansian Love Song' and `New Orleansian Love Song II' and a celebration of Afro-Indian culture on `The Coronation of K. Atunde Adjuah'.

Is this the future sound of black American jazz - an inclusive yet rhythmically complex groove based music that owes as a much to black urban culture - predominantly hip hop and trap music rhythms - as it does to jazz improv techniques and rhythms? It's certainly interesting that similar elements swim through the music of Robert Glasper and Kamasi Washington, who along with Scott are currently big box office, pulling-in substantial new audiences for their music. Ruler Rebel is the first album of a trilogy celebrating 100 years of recorded jazz, and will be followed by Diaspora and Emancipation Procrastination later. At the heart of this music are polyrhythmic grooves that might come from jazz, New Orleans black Indian music, trap, Malian rhythm Kassa Soro and the interplay between an SPD drum machine and live drumming. Largely featuring Scott's trumpet, the record introduces his articulate and frequently eloquent voice as the narrator of Ruler Rebel, much like the Persian Princess Scheherazade narrating her tales of the mysterious east to Sultan Shahriar over one thousand and one nights. A key track is `Encryption', a summation of Scott's direction of travel on the album. Here the running rhythm is derived from the New Orleansian Afro-Indian culture married with Malian Kassa Soro. This is in turn is layered with SPD-SX electronic drum machine and sampling machine played by Joe Dyson and Cory Fonsville that introduce rhythmic elements from trap and hip hop. Sounds complex? Well it is, but it works. Other highlights include `New Orleansian Love Song' and `New Orleansian Love Song II' and a celebration of Afro-Indian culture on `The Coronation of K. Atunde Adjuah'.

SUWI, with its strong live reputation, renowned for skillfully engaging and connecting with its audience, unveils its third studio album. Food for the lovers of Khruangbin, Menahan Street Band and other instrumental soul bands. Including members from Nordmann, Kosmo Sound and Robbing Millions.

Playing for Oscar is the raw power of nature speaking to you, the romance of 'dying is realizing that you are alive.' It manifests itself with the physical experience that is groove and the serenity and simplicity that we already know from their previous albums. The addition of lyrics and singing provides the biggest change in their band sound.

Cyriel Vandenabeele, an avid reader and transcriber of film, series, and game music, provides the compositions. The magic of SUWI is complete when they, as a trio, with Mattias Geernaert on bass and Elias Devoldere on drums, surrender to the moment. On this album as well, this results in the spontaneous and sincere expression that is love. Think Jimi Hendrix, Herman Hesse and Mariokart64.

Did you know that for decades, record collectors across the Dutch-speaking region have overlooked a significant portion of their own musical heritage while avidly searching for rare grooves and breaks in bins filled with more exotic music? It's a fact! And that's where Harde Smart comes in. After delving deep into dusty crates of Belgian and Dutch music, Harde Smart's inaugural compilation in 2019, dedicated to music from the 1970s, brought to light a selection of smooth, jazzy, funky, and soulful gems from Flanders (the Dutch-speaking part of Belgium) and Holland. In addition to exquisite grooves and hard-pounding drums, these songs shared Dutch lyrics, offering a unique compilation of lyric-driven Flemish and Dutch music from back in the days.

Yet, nothing is as certain as the unexpected. This compilation marked the first time a Dutch album uncovered the authentic Afro-American funk and soul vibe, which, albeit sporadically, influenced the work of both popular and lesser-known singers and musicians in this corner of the world during the 1970s. Undoubtedly, influences also stemmed from French chanson and rock music of the era. This 21-trackalbum shattered all musical predictability, taking listeners on a strange and nostalgic journey, offering a revised collection of "essential homegrown classics" for local listeners while also captivating non-Dutch-speaking audiences.

With the second compilation, Harde Smart shifts its focus from the 1970s sound to explore the next decade, the 1980s. Vinyl aficionados No Sleep Richy and Micha Marva joined forces with Sjefke De Kok, one of Holland's premier crate diggers, to continue their musical odyssey. Digging even deeper into dusty bins filled with Dutch and Flemish records once again unearthed an exquisite selection of tracks-too weird to play, too rare to ignore. From butt-shaking boogie to weird disco adventures on wax, this album encapsulates all the good stuff of the 1980s: smooth and seductive alongside dark and wavy. Get ready for an atypical introduction into the Dutch lyric-driven music from the 1980's.

New selection of Acid Jazz songs this time from the funkier side of this music. Groove, rhythm and a lot of happy feeling.

Inside some classic artists of the genre such as Black & Brown, Jestofunk, LTJ Xperience, Funky Destination, Lo Greco Bros & Fusion Funk Foundation, Man Sueto, Vito Lalinga (Vi Mode Inc. Project), The Smoke Orchestra, The Last Minister , Gazzara with many versions not available on vinyl for some time or never released on this support.
Limited edition double vinyl.


Groove, rhythm and a lot of happy feeling.

Scottish Techno wizard Astro joins PIFF Records on their landmark tenth release, with 5 cosmic and groovy belters.

Having recently found success with his own Neptune Discs imprint and regularly performing up and down the country, Astro has firmly established himself as one to watch in the techno sphere.
Opening with the title track, Astro combines a relentless bassline with dubbed-out chords and spacey leads. Echoing space-age soundscapes and futuristic sounds of 70s kosmische musik and 90s techno, Astro makes good on the aesthetic promised by his artist name.

Astro brings down the tempo for the hypnotic Cloned Substance. A mesmerising hat pattern combines with delay-drenched leads and a bouncy bassline to create a track intent on capturing the listener in a state of trance.

Thunderstorm adheres to the tried-and-tested Astro combination of a thick bassline, spacey stabs, and continuously evolving drums. As to be expected, the results are spectacular. Irresistible grooves and rich soundscapes are the order of the day as Astro delivers once again.

A haunting and proggy FM-lead acts as the foundation for Pluto, underpinned by a sub-heavy kick and tranquil chords. The meditative ebb and flow of various elements masterfully expresses the solitude of the track’s namesake.

Planetary Blitz closes the EP as a digital bonus track. Expanding on the spaced-out motifs of the previous track (as reflected in the track title), Astro substitutes chord stabs and warm basslines for a driving blend of punchy kicks and a subtle glittery guitar.

finally repressed !

ARCHIELONG LP album consists of 8 intensely rolled tracks dating between 2012-2020. The release unfolds on 4 discs of 180gr, with gatefold covers, coated in Sani Stranskiʼs artwork.

Throughout ARCHIELONG LP, we are absorbed by what typically characterizes his narrative: a peculiar style of story in constant development. Structure and flow are a hallmark feature of his selections, adding one more trippy, eerie minimal style on top of the other, creating a rich and quirky haunted sphere.

A – The opening track, I HEAR VOICES THROUGH THE PIPE sets the scene for whatʼs to come, stirring the imagination with its dreamy, cinematic, organic sounds in disguise. The track provides a guidebook to distilling story, emotion and image into sonic form.

B – EXCESS ALL AREAS – hypnotizes the dancers with endless, reverberating grooves and a punchy 4/4 beat, introducing the audience to his gloomy world of emotions.

C – LA MANIA – lights up some dark pitched atmosphere around you and makes you feel like you are on the mythical La Mania club dancefloor in complete harmony, surrounded by strange and beautiful trippers. The song is like a painting, with frames that evoke flashbacks.

D – NEW LIFE – is a perfect minimalist setup of a percussion loop, throbbing chords and a sinewy walking bass, and itʼs almost intimidatingly heady. Its militant kick and incessant hi-hats propel the beat – definitely a dancefloor highlight.

E – MELODROM – percolates with Latin percussion and shuffling snares, which commingle with an array of voices and whispers that come from every corner of the song. From toolish to melodic, itʼs the diversity that creates the magic.

F – SING AND RUN – is one of those tracks that gives you nostalgia and reminds us of early mornings at the end of the party when the sun would be coming in through the windows and the dancefloor was in total harmony. Could easily cast a spell with the right audience.

G –RUMBLING DREAM – is a ritualistic-sounding slice, crossing towards the kind of slow-burning, atmospheric cuts that doubtless inspire his intricate studio productions. The vocals are unusually illustrative and make a lasting impression.

H – KLAUS DID IT – is an intriguing interplay between dark functionality and high velocity grooves — the type of deep, trippy, IDM-tipped tunes. Its warped tones are forming dank, lurching rhythms that trap you like a spiderweb, venturing into a bizarre, rewarding territory. The conclusion? You can spend a decade honing a very particular personal vision and not run short of inspiration. Mihigh is a world-builder: everything he does is about further extending and reinforcing that world.

ARCHIELONG LP is capturing the beauty at the intersection of experiment and perpetual learning

Marbled Yellow Vinyl 2024 Repress

NEOACID07VA is an EP of collaborations between Jacidorex and 4 artists in very eclectic styles.

First track of the A-side with Raito use synths from 90's rave with nice grooves en percussions, sharp acid line and a huge kick.

A2 with Zahia is an electro-techno track with a heavy bass synth and an exploding clap.

B-side turns up the BPM with the first track produced with Dyen, nearing hardcore techno with gabbersynths & discorded kick.

The last track of this EP is the second collaboration between Jacidorex & Epidemie, the second generation of Belgian Acid scene. This one is an energic hard track, with hard floor kick, dark hovers and heavy acid lines.

The whole EP is a really good example of what Neoacid can propose as different kind of acid music.

On "The Best EP", Chengdu-based artist B.AI shows she can not only write memorable hooks but can do so while covering a broad array of registers. One of her most enticing feats is her ability to make the minimal, electro and tech house genres she navigates her own by injecting them with a unique sense of melody. "Nightdreaming" is a moody builder: although new, sturdily patched layers keep being introduced and the pace never slows down, a sense of restraint remains. This atmosphere quickly changes on "Satisfy", which, with its tapestry of indeterminate arpeggios and EBM-evoking vocals, takes a nervous turn. "The Best" on the B-side is a slab of vigor tailored for the peak time. Set to an effective bass groove, modulated chords, white noise sweeps, delicately mixed moans and bright pads nearly trip one over another. On "Crash Landing On Nimas" B.AI , together with Diego Santana, unleashes a batch of detuned and portamento heavy square wave patterns. The EP, diverse yet balanced, ends on a note so ominous...

Limited To 140 Copies Worldwide*

This is the first release by Essex warrior Diplomat, who would later go on to making some serious noise on the hardcore/gabba label Deathchant as well as running Electro Avenue Records. He is still at the top of his game when it comes to production, recently releasing two EP’s on the Vinyl Fanatiks sister label, Amen Brother.

This EP originally came out on Vinyl Fanatiks in 2020, just as the whole covid thing happened. Due to everyone being at home, the record sold out quickly and only a box was saved for distribution at the time. A proper slice of UK hardcore rave – intense, plenty of stabs and crazy samples with a good dishing out of hip hop vocals. This one really is for the 1993 heavy stompers, a classic slice of the nice. Originally released in 1993 on Diplomat’s Immunity Records.

Only 140 have been pressed on 180g pink marbled vinyl.

Hit La Rosa are the heirs of the psychedelic cumbia of Los Mirlos and Los Destellos. The band explores the many facets of Peruvian cumbia music, infusing it with pop music, folklore, jazz and dancehall to produce its distinctive grooves and hooks. “Ceres Entrópicos” it’s a collage of the landscapes and rhythms of Peru, product of sound exploration and free composition. This special edition of the original album has some remarkable additions like ‘El Pongo’, their single with the legendary amazonian group Los Mirlos and the remixes of the outstanding Latin producers El Remolón (Ar) and Ballcap (Mx). The band's precise-yet-dreamlike music and punk sensibility all come together to make music that explores life's shadowy sides. They are one of the Peruvian bands with the biggest international growth and one of the few with a Tiny Desk Session. The band is inspired by the sound of Peruvian Cumbia roots and also explores the folklore of other cultures around the world. Their experimentation is wrapped with a contemporary sound and psychedelic vibe that blends into a particular and unique harmony. The band hit Lima's underground scene in 2014 and released their first studio album in 2017 called "Hit La Rosa y Su Gran Unidad Tropical". In 2021 they released “Ceres Entrópicos”, their secondstudio album (digital only). From the beginning until now they have been part of the biggest festivals in Peru, the rest of Latin America, USA and Europe. “Ceres Entrópicos” it’s a collage of the landscapes and rhythms of Peru, product of sound exploration and free composition. First time vinyl edition

repress!

ARCHIELONG LP album consists of 8 intensely rolled tracks dating between 2012-2020. The release unfolds on 4 discs of 180gr, with gatefold covers, coated in Sani Stranskiʼs artwork.

Throughout ARCHIELONG LP, we are absorbed by what typically characterizes his narrative: a peculiar style of story in constant development. Structure and flow are a hallmark feature of his selections, adding one more trippy, eerie minimal style on top of the other, creating a rich and quirky haunted sphere

E – MELODROM – percolates with Latin percussion and shuffling snares, which commingle with an array of voices and whispers that come from every corner of the song. From toolish to melodic, itʼs the diversity that creates the magic.

F – SING AND RUN – is one of those tracks that gives you nostalgia and reminds us of early mornings at the end of the party when the sun would be coming in through the windows and the dancefloor was in total harmony. Could easily cast a spell with the right audience.

G –RUMBLING DREAM – is a ritualistic-sounding slice, crossing towards the kind of slow-burning, atmospheric cuts that doubtless inspire his intricate studio productions. The vocals are unusually illustrative and make a lasting impression.

H – KLAUS DID IT – is an intriguing interplay between dark functionality and high velocity grooves — the type of deep, trippy, IDM-tipped tunes. Its warped tones are forming dank, lurching rhythms that trap you like a spiderweb, venturing into a bizarre, rewarding territory. The conclusion? You can spend a decade honing a very particular personal vision and not run short of inspiration. Mihigh is a world-builder: everything he does is about further extending and reinforcing that world.

ARCHIELONG LP is capturing the beauty at the intersection of
experiment and perpetual learning

Yes! Tommy Guerrero’s revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007.

Coolly opening the album, "And The Folklore Continues" can be said to be both a titular and actual nod to his past work. As ever, there's heavenly Latin guitar stylings that make you swoon and the melancholic vibe is accentuated by the addition of some melodic wordless vocals from Tommy. Just divine. The sparkling "La Califas Perdido" follows, all dreamy melodic guitars and twinkling vibes over dusty drums and a fine bassline. The shuffling, conga-assisted "I Would Go With You" is a gentle, romantic gem whilst the brief but beautiful "No Time For Time" feels in a hurry to let us know that Tommy can work with more propulsive rhythms. In this case, they underpin Tommy's gorgeous, shimmering guitars wonderfully well.

The head-nod funk of "Calling For Ya!" (get it?) features Curumin delivering the clever title as a hypnotic vocal refrain peppered throughout, all hung around some buried spoken word vocals and gorgeous cello work from Lenny Gonzalez. "Bloodinthemud" is a low-down gritty funk workout whilst "Zapata's Boots" is a total low-key groover, all Latin percussion and Morricone muscle aided by a whistled Spaghetti Western melody. The startling instrumental "Mosaic Man" closes out the side with a lean slice of mellifluous, virtuoso guitar bliss.

The reflective "What Have I Been Doing Since I Was Gone?" opens the B-side in glorious fashion, the type of melancholic melodic head music that should soundtrack a bright walk on a cold winter's day. The hypnotic groover "Paper Switchblade" is a razor-sharp fuzz-funk whilst the beautifully downbeat "Never Forget To Remember" is a kaleidoscopic kalimba-koolout. Galloping cop-funk breaks workout "Run With The Hunted" is a rollicking ride and it's followed by the fresh chiming guitar funk of "New Terrain".

The upbeat and bright "40 Summers", featuring congas from Alfredo Ortiz, is as clean and poppy as Tommy gets and it really is a look he wears incredibly well. Just straight up guitar pop. "The Simple Man" a gorgeous, melancholic ballad, closes out the record with deeply yearning vocals from Tommy, a rarity and a treasured one at that.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Samosa Records roars into 2024 with a sublime four-tracker, the curiously titled ‘(Re)-Funk+Head EP'.

All four tracks have been carefully sized, selected and re-edited by De Gama himself. For those not in the know, Re-Funking is serious business and you can tell De Gama’s laboratory was in full flow in bringing these tracks even closer to the dance floor!

First up on the A-Side are Samosa favourites Dirtyelements & Drunkdrivers with the hypnotic, smokey dim lit club thumper ‘Keep It Coming’. Coming in at a deceptive 115bpm, the bass massages your brain whilst the keys, vocal sample and beats tickle your toes. A deliciously salty and sweet re-edit.

Sneaking up on you is A2 and a track from label boss De Gama himself – the flutey, tootie late night funk bomb that is ‘Some More’. Be warned - this dirty birdie stirs up primordial feelings that are probably illegal in some countries. It’s not an overstatement to say that ‘Some More’ is the definition of pure, adult-orientated funking. Saddle up, put out the camp fire and ride it into town.

A quick flip to the B-side and you’ll find Paul Older’s Sax Francisco (B1) parading down the street in all its splendid glory. Mr Older sure knows how to cook - and served on his sombrero-shaped sun terrace is this fantastic tropical sorbet of a tune. The production is assured and so warm that you lose yourself for the entire 6 mins and 26 seconds in its spell. Expect this to be packed in your summer 2024 suitcase with your Factor 50.

Closing the EP off is the super-talented MB Edit and his deadly groover ‘Got The Feeling’. The serious business of Re-Funking is on full display here – stompy, squeaky clean four-to-the-floor drumbeats, twisted riffs and subtle piano prepare you for the soaring horns, heavenly strings and disco-fied vocal breakdown that used to make lofts bounce and dark clubs heave. A dreamy, relentless journey into the disco ball for those lucky enough to jump in.

(Re)-Funk+Head is another exceptional EP from the Samosa stables and pushes the ever-expanding sonic boundaries with seriously solid production, stone cold grooves and a roster of amazing talent on one EP. A must, must, must have for the record box!!

Ste Hendry Black Light Disco

Bas Punkt hardware music is recorded Live... His electro acid sound is defenitely from the Nederlands.
Here you will hear 3 tunes, last one is depitched in order to be played at 45RPM.
And ends with a locked groove...

First side is a trippy 165 BPM round kick swinger.

The flip opens with a 174 BPM pumpin minimal after-parties weapon...

...and continues with a 135 BPM bleepy-spiky jumper... trapped because actually it's depitched : so B2 shall be played at 45 RPM !
... and its infinite outro : the locked groove.

Total massive cut by Hervé @ DK Mastering !

OLUMA wurde 2021 von dem Bassisten Gregor Nicolai, dem Schlagzeuger André van der Heide und dem Saxophonisten Roman Polatzky gegründet. Die instrumentalen Kompositionen der neunköpfigen Band lassen sich dem Global Groove zuordnen. Sie schaffen dichte Grooves, die von energetischen Brass-Lines bespielt werden und in virtuose Improvisationen münden. Die vier Bläser können das Publikum aber auch schwebend und leicht in eine träumerische Welt begleiten. Die multikulturelle Szene Berlins mit ihren unterschiedlichsten musikalischen Einflüssen haben André und Gregor geprägt und zusammengebracht. Dazu kommt die Liebe zu handgemachter Groove-Musik, die Leidenschaft zu tanzbaren Beats. Roman trafen sie im Dunstkreis der Musikhochschule Leipzig, wo sich die internationale Band gefunden hat. Der Albumtitel Cooking Time entstand nicht zufällig: Die Musik entsteht in gemeinsamen Songwriting-Sessions, bei denen Beats gebastelt und Ideen eingesungen werden. Die Band gewann den Delay-Nerd und Afrobeat-Liebhaber Umberto Echo für ihre Aufnahmen, der mit Verwendung alter analoger Technik einen nostalgisch anmutenden Sound schafft, welcher auf moderne Produktion trifft. Mit ihrem Debut-Album möchte OLUMA die Idee teilen, dass Musik einen Beitrag zur globalen Verständigung leisten kann und Menschen verbindet. Carolina Vallejo vom Label One World Records hat dafür genau die richtige Umgebung bereit gestellt. OLUMA präsentiert ein klangvolles Zeugnis für die universelle Sprache der Musik. Ihre mitreißenden Auftritte und ihre künstlerische Vielfalt machen sie zu einer der aufregendsten Bands der gegenwärtigen Musikszene.

2024 Repress

Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).

While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar.

Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch.

Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys.

Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones

After the release of the first volume of music selected by Klinkhamer Record shop owner Michel Veenstra in 2022, the anticipation and expectation amongst the heads for a follow up compilation has been building. Now BBE Music can announce that Klinkhamer Volume 2's
collection of music from the 70's and 80's is ready to add to the series.

An eclectic selection of tracks which crosses genres and styles, Michel has once again curated a compilation album of music that will appeal to the heads, the collectors and the lovers of the groove. A melange of folk, Jazz and funk for the headphones and the dancefloor, Klinkhamer juxtaposes instrumentals with vocal tracks in English, Swedish and French over a double vinyl release and a track order that creates as much a journey as a flow.

Michel, alongside his brother Stephen, is the owner of the Klinkhamer Record shop in Groningen and a regular trader at the globally known Utrecht Record Fair since the 1990s. It is this wealth of experience, a nose for a gem and an ear for a tune that that has fed into a compilation that has music lover stamped throughout its eight tracks, all remastered from original vinyl.

Coming as a double vinyl and digital release, Klinkhamer Volume 2 is a Godfather II level of follow-up to the previous compilation in the series and really is a must for all true music collectors, vinyl junkies and lovers of tunes curated for the mind, the heart and the feet.

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists.

“Fela Kuti meets Aphex Twin”
This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Following his meeting with Mathias Duchemin, founder of the Circus Company record label and a keen enthusiast of the new Israeli jazz scene, Yuval chose to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums.

While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.

Necrot continue their ascent to the forefront of American aural extremity, pushing the boundaries of style and continuing to recast metal in their image. Founded by bassist, vocalist and principal songwriter Luca Indrio and drummer Chad Gailey in 2011 – guitarist Sonny Reinhardt joined the next year – the Oakland, California, trio offer Lifeless Birth (in continued collaboration with Tankcrimes) as a culmination of their to-date efforts to encapsulate and push forward the deathly stylings of 2020’s Mortal and their 2017 debut, Blood Offerings. It’s not about giving up a ferocity that’s helped make them a household name among the converted. Instead, Necrot use that same, by-now-characteristic intensity as the backdrop for an expanded songwriting palette. They’ve always been a band who stood out. The maturity they show on Lifeless Birth confirms that’s been the plan all along. It is a vision of what metal can be and do in 2024, tearing down old barriers and keeping those traditional elements that make it stronger. Recorded with Grammy-winning producer Greg Wilkinson (who has helmed all three Necrot albums) and mastered by Brad Boatright at Audiosiege, Lifeless Birth pivots fluidly between technical intricacy, progressive poise and all-out brutality. Scouring lead work will have thrash heads nodding knowingly, and an overarching groove reaches out across the metal microgenres with a righteous call to worship. Its songs are memorable and varied, unpretentious but able to rear up with statelier violence. At the same time, “Drill the Skull,” “Cut the Cord,” “The Curse” and others prove that just because a song is beating you into the ground doesn’t mean it can’t also be forward-thinking. Or catchy. After having their Mortal tour plans scuttled owing to the covid pandemic, family health issues that led Luca, who became a US citizen in 2016 and currently lives in Mexico, to return to Italy for a time canceled what would have been their first tour post-plague. Still, despite this and Chad suffering a broken back, requiring multiple surgeries and intense physical therapy to be able to drum again, period, Luca being struck with Bell’s Palsy the night before he was originally due to fly to the studio to record, and Sonny requiring multiple surgeries on his hands in the months since they finished, Necrot charge forward with material distinguished in its real-world point of view and willingness to look beyond extreme metal tropes in lyrics, the melodies of its guitar solos, and unbridled audience engagement. For a collection of songs that feel so much written for the stage, it should be no surprise tours early in 2024 and summer festivals are to be announced. Mortal (2020, Tankcrimes) was #2 on Billboard's Top New Artist chart, #30 on the Top Current Albums chart, #4 on the Current Hard Music, and #10 on the Heatseeker Albums chart for week of release. Necrot have toured in North America, Europe, Australia and Japan, and shared the stage with Cannibal Corpse, Immolation, The Black Dahlia Murder, Suffocation, Morbid Angel, and hundreds of others. Expect no letup as Lifeless Birth brings Necrot all the more to their own place among metal’s superlatively aggressive proliferators. – JJ Koczan

When we started playing music together in 1997, we could spend a lot of time on each individual track. It would mutate, go through many phases, until we’d get to the point when we’d decide to capture it and mix it on the fly.

Twenty-five years later, we changed gears. This album was produced across a two year period, during several sessions in our studio (the third member of the band), following this process: we plug the machines, we start a musical conversation, we press record when it gets interesting.

In the studio, that moment always comes, when a fragile and magical balance happens. That’s when we record, usually in one take, sometimes all in the same stereo channel, the computer sitting in a corner, its presence not interfering with our ears.

La Folie Studio is the fruit of this process.

Let’s get numerologistic with this new age reactionary-philosophic strategy manifesto:

Playing electronic music, whether alone or not, must be joyous, funky, and make you feelgood.

The studio is not a sanctuary but a place of life. Technology must not be intimidating.

Welcoming friends and new objects in the studio should be an infinite source of inspiration.

If nothing happens in the studio, turn off the light and play a percussion record.

Techno heads of all ages need something more spontaneous and freer than little thumbnails shared on a pocket computer. Château Flight offers a musical experience carved on grooves.

With 25 years of experience, Château Flight can cure all your musical ills, instantly and painlessly.

The key to success: midi sync + din syc + external trigs.

Lauren Ritter returns to her roots with “Antigone // Sarus”, a new EP featuring two emotive, nostalgic, and melodic compositions,
“Antigone” and “Sarus,” that sure to please fans of her All Day Dream 2015 debut Lark EP and her recent Rift Vision output alike. She
invites friends Powel (DE – All Day I Dream) and Zone+ (BH – All Day I Dream / Satya / Mixcult) to provide their takes on both tracks,
who weave in dynamic grooves and vocal elements in their signature styles to underscore Ritter’s melodic motifs.

'This Is Mod' ist Teil einer neuen Serie, die sich an Vinylkäufer richtet, die eine genrespezifische Compilation suchen. Kuratiert von Dean Rudland, der auch die Liner Notes schrieb, führt 'This Is Mod' in die dunklen Keller von Soho, wo jeder die schicksten Klamotten trägt und zu den feinsten, tanzbarsten Klängen aus dem schwarzen Amerika tanzt. Soul, R&B und ein Hauch Jazz sind an der Tagesordnung. In den Grooves finden wir düsteren Southern Soul von Clarence Carter und Jimmy Hughes, den Sound von Memphis mit freundlicher Genehmigung von James Carr, Danny White und Timmy Thomas sowie R&B von Lowell Fulsom und Richard Berry. Dazu Northern Soul, unter anderem von Mary Love und Darrow Fletcher. Klassisch, schwarzes Vinyl!

Wenn Geduld eine Tugend ist, könnten Love Sex Machine genauso gut Heilige sein, wenn auch Heilige mit einer Vorliebe für die dreckigsten Sludge-Metal-Riffs, die durch Downtempo-Post-Metal-Grooves und einen teuflischen Sinn für lyrischen Humor ausgeglichen werden. "Trve" besteht aus 10 neuenTracks voller rechtschaffener Empörung, ironischer sozialer Kommentare und natürlich unsagbar ekelhafter Härte. Von Anfang an zeugt das Album von der jahrzehntelangen Erfahrung der Band als eigenwillige Veteranen der europäischen Sludge-Szene. In den letzten acht Jahren haben die vier Franzosen das Fett von ihren Knochen gestrichen, so dass nur noch ein schlagendes Herz aus bedrohlichen, hypnotischen Riffs übrig geblieben ist, die sich unaufhörlich in dein Gehirn bohren. Obwohl die Band noch nie so rau geklungen hat, gibt es auch eine faszinierende, raffinierte und unbestreitbar poppige Note in "Trve", die dieser musikalischen Konfrontation ein neues Element hinzufügt, in dem Love Sex Machine gedeihen. Atmosphärische Intros, überflüssige Refrains und unheimliche, instrumentale Outros mögen klassische Kennzeichen ihres Genres sein, aber hier findet man nichts davon. Ähnlich wie bei der Vorab-Single "FUCKING SNAKES" sind die meisten Tracks auf "Trve" um die drei Minuten lang und zeichnen sich durch hochoktanige Black-Metal-Riffs aus, die in einer beunruhigend optimistischen Dur-Tonart gespielt werden, durch Synthesizer-Motive, die ans Triumphale grenzen, und - zum ersten Mal bei Love Sex Machine - durch Gesangsharmonien, die den Hörer für einen kurzen, schönen Moment in die Höhe heben, bevor die nächste Welle von groovigem, nihilistischem Schlamm einen wieder in die Knie zwingt.

Wenn Geduld eine Tugend ist, könnten Love Sex Machine genauso gut Heilige sein, wenn auch Heilige mit einer Vorliebe für die dreckigsten Sludge-Metal-Riffs, die durch Downtempo-Post-Metal-Grooves und einen teuflischen Sinn für lyrischen Humor ausgeglichen werden. "Trve" besteht aus 10 neuenTracks voller rechtschaffener Empörung, ironischer sozialer Kommentare und natürlich unsagbar ekelhafter Härte. Von Anfang an zeugt das Album von der jahrzehntelangen Erfahrung der Band als eigenwillige Veteranen der europäischen Sludge-Szene. In den letzten acht Jahren haben die vier Franzosen das Fett von ihren Knochen gestrichen, so dass nur noch ein schlagendes Herz aus bedrohlichen, hypnotischen Riffs übrig geblieben ist, die sich unaufhörlich in dein Gehirn bohren. Obwohl die Band noch nie so rau geklungen hat, gibt es auch eine faszinierende, raffinierte und unbestreitbar poppige Note in "Trve", die dieser musikalischen Konfrontation ein neues Element hinzufügt, in dem Love Sex Machine gedeihen. Atmosphärische Intros, überflüssige Refrains und unheimliche, instrumentale Outros mögen klassische Kennzeichen ihres Genres sein, aber hier findet man nichts davon. Ähnlich wie bei der Vorab-Single "FUCKING SNAKES" sind die meisten Tracks auf "Trve" um die drei Minuten lang und zeichnen sich durch hochoktanige Black-Metal-Riffs aus, die in einer beunruhigend optimistischen Dur-Tonart gespielt werden, durch Synthesizer-Motive, die ans Triumphale grenzen, und - zum ersten Mal bei Love Sex Machine - durch Gesangsharmonien, die den Hörer für einen kurzen, schönen Moment in die Höhe heben, bevor die nächste Welle von groovigem, nihilistischem Schlamm einen wieder in die Knie zwingt.

Remastered Reissue des 1973er Debütalbums von Ray Fernandez und seiner Familienband, die sich in den 70ern als äußerst einflussreiche Combo in der Latin-Musikszene Miamis profilierte. Ihre psychedelisch angehauchten Kreationen waren stark von Deep-Funk und lateinamerikanischer Musik beeinflusst und enthielten weitere kaleidoskopische Soundinfusionen wie Soul, Calypso, Afro-Cuban, Reggae und Salsa. Von DJs weltweit gesamplet (inklusive DJ Shadow), ist diese remasterte und auf audiophiles Virgin-Vinyl gepresste Reissue ein Muss für jeden ernsthaften Latin-, Funk- oder Rare-Groove-Sammler.

We decided to sign BOTTENHAVET after about 30 seconds of the first demo song we heard. Swedish rock forged in snow. They deliver unbeatable groove and stunning melodies. The band name translates to ’The Bothnian Sea’ so it's not hard to guess that the harsh climate has had an impact of this band! Before even releasing an album they have shows booked in Sweden, Finland and Poland. Listen and you will understand why!

Ljud i Tysta Rum by Bottenhavet includes the following tracks: "Bränn broar", "Jord", "I skuggan" and more.