Exhibition News

Get into the groove with Rico Puestel's new album VIBE that persuades anyone onto the dancefloor!

Sam Interface (formerly known as SNØW) returns to the seminal R&S Records following the success of last year’s R&S Presents: More Time Records Vol 1, which was a 4 track compilation featuring Ahadadream, Bala Bala Boyz, Bryte & SNØW.

He is the co-founder of London’s More Time Records, on which he has released much of his own music as SNØW (including collaborations with Zed Bias, Fox, Dread MC & more) and can also be found monthly on Rinse FM and Reprezent Radio playing a range of percussive genres including UK Funky, GQOM, Kuduro, Afrobeats and more.

The name change takes him closer to his first alias Interface, under which he had DnB hits with the likes of DJ Die and more, he explains: “When i first released music back in my early DnB days I used the alias “Interface” and so many people still call me Sam Interface - it feels like the most natural name for me.”

The lead track “Underground” (which samples an announcement from the tube) references a range of London-centric genres, combining polyrhythmic percussion with an extremely upfront bass sound which draws influence from and exxagerates recent drill productions.

“Finally”, a collaboration with an old friend & prolific DnB producer Break follows, bringing frantic motion to the release. The third track “Crud” utilises Sam’s signature gully bass production, flooding the speakers with low end on the drop. The EP wraps up with “Pink Dolphins” - a euphoric dancefloor moment which channels the energy and emotion of jungle, drawing on some of Sam’s earliest rave influences.

2026 Repress

Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...

Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.

It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".

Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!

Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.

The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.

The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

These tracks are among my absolute favourites in the realm of house music. Their haunting grooves seamlessly blend into house, techno or even garage sets. Despite being recorded about 30 years ago the sonic quality remains unmatched for its time, embodying the essence of timeless music.

However, I’ve never been entirely satisfied with the sound of the original pressings. The vinyl limited total time length compromised the audio quality. Thus, I’ve long desired to remaster it in my studio and properly cut them, which led to our decision to undertake this endeavour.

I am immensely proud of this release and thrilled to include it in our exquisite collection on Pariter. YA.

These tracks are among my absolute favourites in the realm of house music. Their haunting grooves seamlessly blend into house, techno or even garage sets. Despite being recorded about 30 years ago the sonic quality remains unmatched for its time, embodying the essence of timeless music.

However, I’ve never been entirely satisfied with the sound of the original pressings. The vinyl limited total time length compromised the audio quality. Thus, I’ve long desired to remaster it in my studio and properly cut them, which led to our decision to undertake this endeavour.

I am immensely proud of this release and thrilled to include it in our exquisite collection on Pariter. YA

Orange County"s Social Distortion returns with its first album in 15 years with Born to Kill. Armed with 11 urgent songs, Mike Ness continues to build on the mystique that Social Distortion is more than just a punk band. Throughout the collection, Ness revisits the sounds of the 1970s, his formative adolescent years. Born to Kill is a continuation of the bar of excellence that Social Distortion and, in turn, Ness has long been praised for. Born to Kill is a body of work that will live long in the Social Distortion catalog. Songs like the hard-charging title track that serves as the album"s mission statement, along with the riff-laden "Partners in Crime," the nostalgic "The Way Things Were," and rollicking "Tonight" are songs that fit in across any of Social Distortion"s various eras. Now nearly five decades into its career and with a remarkable catalog spanning nearly three generations, Social Distortion has no intention of slowing down any time soon.

Orange County"s Social Distortion returns with its first album in 15 years with Born to Kill. Armed with 11 urgent songs, Mike Ness continues to build on the mystique that Social Distortion is more than just a punk band. Throughout the collection, Ness revisits the sounds of the 1970s, his formative adolescent years. Born to Kill is a continuation of the bar of excellence that Social Distortion and, in turn, Ness has long been praised for. Born to Kill is a body of work that will live long in the Social Distortion catalog. Songs like the hard-charging title track that serves as the album"s mission statement, along with the riff-laden "Partners in Crime," the nostalgic "The Way Things Were," and rollicking "Tonight" are songs that fit in across any of Social Distortion"s various eras. Now nearly five decades into its career and with a remarkable catalog spanning nearly three generations, Social Distortion has no intention of slowing down any time soon.

A great name. A great cover. And - of course - outstanding library music.

Soul City Orchestra's Meal Ticket houses titanic funk, mellow groove and symphonic disco-soul.

Released in 1977 on Rouge, a subsidiary of the prestigious and long-established British library label Music De Wolfe, Meal Ticket was crafted by the studio band Soul City Orchestra (a pseudonym for the De Wolfe in-house composers Chris Rae & Franck McDonald).

The driving instrumental funk-rock of the A Side is enhanced with strings and no little drama. However, it's undoubtedly the peerless flipside that makes this record an essential part of any collection.

Head straight to highlight "Chamber Maid"; insistent, conga-driven funky rock with lashings of string-heightened drama. It's sophisticated, classical and deeply classy.

The majestic, powerfully emotive "Sore Head" contains an excellent intro drum break and sultry slo-mo disco breaks throughout. It's low-key stunning. With a few melodic switch-ups, it's symphonic soul heaven and is comfortably the best and most beautifully crucial track on Side A.

The breezy, Philly soul-tinged "Short Change", its intense strings reminiscent of the Salsoul Orchestra and TSOP, presents an easy-glide funk that's just irresistible.

The funky, cool and slick AF "Wheeling And Dealing" is laconic flute and string-propelled sophisticated mid-tempo disco soul. It's worth the price of admission alone.

The breezy, mellowed out disco-funk workout "The Jam" is a deliciously slinky and sophisticated soul strut. Try not swaggering into the club with this in your head next time you venture into the murky world of "the night". Just ace.

The crowning glory is the sweeping, sublime symphonic disco breaks of horn-infused "Soul City Drive", an absolute monster of radiant heavy soul-funk à la Barry White with great string & brass arrangement.

Basically, this is essential for all groove-aficionados.

The audio for Meal Ticket has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Since the recent reissue of Sylvia Striplin's one album for Uno Melodic Records, demand has been building again for two of the key tracks back together again on 12' single. Huge on disco, rare groove, two step scenes these track capture the essence of the period of music and genius of producer Roy Ayers. First released in 1980, both tracks became signature tracks for Roy's Uno Melodic label. Sylvia previously sang with Roy at Polydor, sang lead momentarily with Aquarian Dream and one album with Eightes Ladies.

More limited 80’s records goodness from a stellar line of regular hitmakers Linkwood and Zaf, alongside the Chicago legend Darryn Jones. Remember this stock is usually only around for days, so don’t sleep!

Only vinyl. Limited edition. No digital download.

'' Scandinavia Bass Dreams '' is a Various Artists record with electro from up north. All of the names are new and fresh but wil soon be leading the path of electro electronics. Br.Beta and Sir Kenneth Ray are from Gothenburg Electro Ciy.. Just Listen! Televsion is what is it is. So happy to finally release this and very happy to have them onboard! I neeed myyy remote to pu the Televsion on!!!!!!!! Enjoy! Nordic Electro Sounds From The Underground!

Sciahri and his label Sublunar are proud to present the second chapter of the "Veil of Echoes" project, a continuation of a journey that connects emerging and established artists from the label.
Following the vision introduced in the first volume, this release unveils a new dimension of techno and electronic music, merging timeless roots with forward-thinking sound design.

The trip begins with "Voltages" by Cirkle, a sharp and direct cut built for the floor, followed by "Tides" by Red Rooms, an hypnotic journey driven by an entrancing vocal hook.
"Phonolith" by Border One brings a mental and groovy touch, while "Basic Instinct" by Hemka stands out for its captivating arrangement and refined sound design.
The first record closes with "Your Hands Forget Their Shapes" by Hadone, a truly memorable track destined to stand the test of time.

The second record opens with "The Radius" by Temudo, one of his most acclaimed digital tracks now available for the first time on vinyl, followed by "Etched" by Hurdslenk, a powerful and driving piece of precision techno.
Next comes "Nardo" by Pierre, a modern, groove-heavy weapon with a distinctive sound identity, and "Serpents" by Ketch & Alessio Landini, a hypnotic and tribal tool for any moment of the set.
Closing the journey, "Zone 0" by Danya delivers a mystical and immersive ending that transports the listener into another dimension.

With "Veil of Echoes II," Sublunar presents a visionary collection that captures the essence of techno and electronic music, bridging its past influences with the sound of the future.

Walter G & Jay Caruso deliver a warm, groove-led Soulful Disco version of “From East To West”, built for DJ’s who appreciate real disco dynamics. Rolling basslines, bright piano chords and lush strings wrap around an emotive vocal, creating a timeless club-ready moment that bridges classic 70s soul-disco with modern dancefloor aesthetics. Ben Liebrand delivers a classic 12-inch reconstruction rather than a modern nu-disco vibe. It leans into Ben Liebrand’s signature extended format philosophy, letting the groove breathe. His is a rhythm-first reconstruction with crisp percussion, dynamic low-end and long instrumental sections. The vocal sits naturally within the groove, while the arrangement allows DJs space to build, ride and transition with ease. Less modern sheen, more heritage authority, a purist disco tool with timeless floor appeal.

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band over the course of a spring week last year, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

Niemand hätte jemals die Entwicklung voraussehen können, die Hardcore nehmen würde, als diese Bewegung entstand. Und Anfang der 2000er Jahre hätte niemand vermutet, dass eine Band wie TERROR auch 24 Jahre nach ihrer Gründung noch immer eine der einflussreichsten Bands des Subgenres sein würde. Ihre Aggressivität, gepaart mit ihrer Liebe und Wertschätzung für die Szene, die so viele gekommen und gegangen sind oder sogar ganz vergessen haben, hat ihnen Erfolg beschert - nun veröffentlichen sie ihr zehntes Album, STILL SUFFER, das am 24. April bei Flatspot Records erscheint. TERROR stammt aus Los Angeles, Kalifornien, aus einer Zeit, als Hardcore eine Band brauchte, um wieder auf Kurs zu kommen, da das Genre aus der Bahn geraten war. TERROR stürmte herein, machte sich sofort einen Namen und ließ nicht mehr locker. Die Band hat ihren Ursprung in der kalifornischen Hardcore-Szene, die sich in den späten 1980er und frühen 1990er Jahren von der Punk-Szene abspaltete. TERROR stammt aus Los Angeles, Kalifornien, und entstand zu einer Zeit, als Hardcore eine Band brauchte, um die Dinge wieder ins Lot zu bringen, da das Genre aus der Bahn geraten war. TERROR stürzte sich in die Szene, hinterließ sofort seine Spuren und gab sie nie wieder auf. In Zusammenarbeit mit dem Produzenten (und ehemaligen Gitarristen) Todd Jones schuf die Band zehn schnelle, aggressive, provokative Tracks, die die Themen aufgreifen, die TERROR überhaupt erst so einflussreich gemacht haben. Songs über Selbstermächtigung, Überleben und den unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung zu stellen, die innerhalb dieser Mauern zu finden sind. STILL SUFFER wurde durch die Technik und zusätzliche Produktion von Taylor Young im The Pit Recording Studio, das Mixing von Jon Markson und das Mastering von Brad Boatright bei Audiosiege vervollständigt, mit zusätzlicher Vocal-Technik von Jay Zubricky bei GCR Audio und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's Als Gastsänger auf dem Album sind Jay Peta von Mindforce in ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine in ,Deconstruct It" sowie Chuck Ragan von Hot Water Music zu hören, der in ,Fear The Panic" eine selbstbewusste Performance liefert. Dieser Song wurde auch von Chad Gilbert von New Found Glory co-produziert. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so wichtig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin mit den Werten und der Unterstützung, die sie innerhalb dieser Mauern findet, Herausforderungen direkt angeht. Die Songs handeln von Selbstermächtigung, Überleben und dem unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung, die innerhalb dieser Mauern zu finden sind, direkt zu stellen. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so lebendig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin erfolgreich ihre Mission verfolgt, authentischen Hardcore zu liefern und der Welt zu zeigen, dass dies viel mehr als nur Musik ist. Diese Gemeinschaft und Bewegung, die niemand wirklich in Worte fassen kann, ist genau der Ort, aus dem die Energie stammt, die TERROR antreibt, mit STILL SUFFER weiter zu wachsen und sich weiterzuentwickeln. ,Die Ewigkeit ändert sich nicht, du bist genauso beschädigt wie ich."

A deeply hypnotic and beautifully crafted statement from one of the true masters of subtle groove and atmosphere. Playedby‘s label boss himself, returns to his very own imprint Tripsi Records with a stunning new vinyl release. Pure hypnotic brilliance, essential for selectors, collectors, and lovers of deeply crafted electronic music.
Tripsi Records is more than just a label. It is an audio-visual world created by Cristi Klebleev, where sound and image come from the same hand. Every release features only his own music, accompanied by original artworks painted by Cristi himself on canvas, making each record a fully personal expression, both sonically and visually. A perfect example of why Tripsi Records continues to stand out in a crowded world. Finest mastering and Cut, 180g Vinyl!

Adventure Rock pioneers Hällas deliver their most ambitious album yet with "Panorama”, released on 2026-01-30. The album both consolidates and expands the image of what the band is, but also what rock can be. This time different perspectives in a scenario are explored regarding whether humanity is capable of understanding a viewpoint other than their own. It reflects our time but is, in typical Hällas fashion, staged in a fictional, distant world.

Hällas' cult following in modern prog and hard rock will find "Panorama" familiar in a way: an imaginative hybrid of progressive 70s rock and heavy metal with echoes of both folk and psychedelia, along with conceptual content. In another sense, you have not quite heard a record like this from Hällas before. The self-confidence has never been as evident. Influences from different directions collide, and sometimes clash, contributing to the feeling that the expected instead culiminates in wonder at what it is you’re hearing.

Hip Hop’s golden era constituent, Queens’ native, the godfather of Mafioso rap, legendary and influential emcee, Kool G Rap, broke out in the late 80s and early 90s as one half of the duo with DJ Polo. Together, Kool G Rap and DJ Polo released three undisputed classic albums; beginning with their debut album, Road To The Riches (1989), Wanted: Dead or Alive (1990) and Live and Let Die (1992).

Simultaneously, G Rap and DJ Polo gained notoriety as members of the Juice Crew, whose noteworthy membership includes DJ Marley Marl, Big Daddy Kane, Masta Ace and Roxanne Shante At the height of hip-hop’s golden age, The Juice Crew was the definition of innovative and not only influenced the culture as a whole (style, lyricism, creativity), but also impressed the importance of style, substance and technique upon the next wave of street ambassadors.

After a successful run with DJ Polo and the Juice Crew, G Rap embarked on a solo-career, with his solo debut, 4, 5, 6, (1995), which was preceded by Roots of Evil (1998) and The Giancana Story (2002). Since then, we’ve only been intermittingly blessed by bodies of work from the Kool Genius Of Rap; Half a Klip (2008), Riches, Royalty, Respect (2011), Return Of The Don (2017) and Son Of G Rap with 38 Spesh (2018).

Now, the recent National Hip-Hop Museum inductee returns with his first solo-album in

five-years with Last Of A Dying Breed, entirely produced by Domingo, which features collaborations with AZ, NEMS, Vado, 38 Spesh, Royal Flush and Big Daddy Kane; with production supplied by Domingo. Kool G Rap’s "Last Of A Dying Breed" is now available on limited edition vinyl, digipack CD and cassette.

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

London-based Irish singer-songwriter Seamus Fogarty returns with 'Ships', his most expansive and uplifting album to date, released March 6, 2026 on limited-edition 12” coloured vinyl, CD and digital formats. Praised for crafting “magical journeys through fable and modern life and back again, often in the same song” (----- – The Guardian), Fogarty blends motorik rhythms, folk traditions and leftfield electronics into a richly detailed collection that channels influences from Tortoise to early ’90s hip hop. Following 2023’s 'Hee Haw EP,' 'Ships' is packed with poignant, funny and deeply human vignettes touching on love, loss, DIY coffins, chance encounters and the quiet determination required to keep going.
Written in the wake of 'A Bag Of Eyes' and road-tested on tour with Lisa O’Neill, 'Ships' was brought to life with an esteemed cast of collaborators including Emma Smith, Chris Vatalaro, Aram Zarikian, Joe Auckland, Leo Abrahams and Mike Lindsay. Recorded across London, St Leonards-on-Sea and Margate, and fine-tuned in Fogarty’s Walthamstow home studio, the album moves effortlessly from the urban hum of ‘Come Down To The Square’ to the romantic sweep of the title track ‘Ships’ and the defiant crescendo of closing track ‘Doer Undoer’. “There’s something strangely uplifting about this collection,” Fogarty says. “It’s more honest than anything I’ve released before.”

Pumpin South France sound...

With a collab between Uzi and Keja for the opening, creative drops and mental effects.
Then comes a Jarotek and Trizia Moth versus with a Old School inspiraly sound... And a deep drop. tribe is tribe...

The Flip starts with a Keja long 145 BPM tune. Mental Twirler at a sweet tempo... boostable.
Last tune is a superb ragga jungle banger from Uzi. A master piece... Short but wicked !!

Record comes with an Insert and a sticker.

brillant and mental shiny music.

From Wisdom Teeth’s recent compilation nagoyaka na kaze / 和やかな風 (quiet wind)—which cast a spotlight on the Japanese city of Nagoya—emerges “2++”, a new label launched by abentis, who curated the compilation alongside Facta and K-LONE as a central figure in the scene. Conceived as a series introducing facets of Nagoya’s underground electronic music to the world on vinyl, its inaugural release is abentis’ debut album, Dim Grow.

Across the album, intricately designed electronic mallet sounds—created using Ableton Live’s physical-modeling synthesizer—take center stage. Fresh and percussive like marimba or kalimba, yet simultaneously carrying an otherworldly, unreal quality, these tones form the core of the record’s sonic identity. In moments of near-silence, a crystalline resonance poised between glass and metal shimmers with subtle shifts in temperature, giving the album its distinctive texture.

While resonating with the sonic sensibilities of fellow Wisdom Teeth affiliates such as K-LONE, Tristan Arp, and Salamanda, abentis’ uniquely strange palette can be traced back to one of his strongest influences: Haruomi Hosono. In particular, Hosono’s mid-’70s tropical-infused solo albums — Tropical Dandy (1975), Bon Voyage Co. (1976), and Paraiso (1978) — serve as a key reference point. Symbolically reflected in Hosono’s marimba and vocal performance at a 1976 live show in Yokohama Chinatown, the marimba functioned as a central instrument for constructing imagined exotic landscapes inspired by Martin Denny and Hawaiian music.

For abentis—who worked at a local jazz bar before becoming active as a hip-hop beatmaker—the language of “tension chords,” a harmonic vocabulary rooted in jazz and R&B that hovers ambiguously between brightness and darkness, forms a consistent grammar throughout Dim Grow.

Behind the album’s core theme of “mallets + tension chords” lies a broad musical lineage: the harmonic sensibility of Claude Debussy, who anticipated the tensions of jazz; the proto-minimalist spirit of Erik Satie; the marimba-centered structures of Steve Reich; their continuation in Japan through Mkwaju Ensemble (with Midori Takada and production by Joe Hisaishi); and the subsequent branches into post-rock, electronica, and ambient music.

Growing up in Nagoya—an industrial city where creative independence is deeply valued—and being rooted in punk and hip-hop counterculture scenes naturally fostered abentis’ affinity with these predecessors. His practice between genres, combined with an encounter with the highly cross-pollinated musical perspective cultivated around Wisdom Teeth, provided the framework through which his own musical language crystallized. Dim Grow stands as the natural culmination of that journey.

Sweet DCT keeps on...
Mental deep tribe... at the dub limit... without effects. Dry and sweet !

It's a great honour to announce this Detroit legend: Alton Miller! Alton needs no introduction. A classy producer for decades, we're more than happy that he sent us some essentials over for his new ep - essentials ya dig! The main track "Where u r" is a deep, emotional and jazzy clubber, just right for some hot summer club action. The flip side offers again top quality with "Hard to lose", which is pure detroit magic and "Give it up", a track that origianlly has been relesed in 2010 and now gets a deep soulful jazzy remix from Boddhi Satva. Essentials ya dig, indeed! And yes, we love that fantastic artwork by Giza One too!

Japanese pressing

two Japanese rare groove classics from 70's selected by DJ CHINTAM (Wamono AtoZ), both tracks are first time pressed on 7 inch.

Having transitioned between London, Lisbon and back again as a DJ and producer, as well as across the world as the drummer in beloved pop group, Metronomy, Anna Prior remains an essential and independent force in alternative and electronic music culture. The current epicentre of this creativity is undoubtedly Prior’s own label, Beat Palace. Established in 2021, it has showcased the talent and diversity of FLINTA producers carving an esoteric space within alt-pop and electronic music.

Returning to the imprint for the first time since its inception, Anna Prior utilises this vital platform to refine her own craft across the five-track ‘Firefly’ EP, exploring new moods and styles, balancing playfulness with vulnerability, shadow and light. Prior describes ‘Firefly’ as, “a collection of moments - some fleeting and some stubbornly lingering.... Each track came together almost by accident, but now feels to me like they've always belonged together.”

Lead single ‘True For You’ pulsates with soft euphoria, as Prior weaves softly cascading synths with her own earnest declarations, composing a sensual, sophisticated drama about “letting other people's differing truths sit alongside your own” that nonetheless carries a distinct club energy. In contrast, title track ‘Firefly’, written alongside co-producer Matt Karmil, unfolds as a spoken-word piece, investigating memory, “the tricky mirror that reveals more than it conceals”. Throughout, Prior’s inquisitive, native Yorkshire accent anchors a wide-eyed soundscape that gradually, impressively escalates into the cinematic.

Centerpiece track ‘Silence’ turns this approach inside out, escalating the tempo and revealing a DnB-influenced shade of Prior’s work that is certain to surprise and impress, scattering elegant syllables amongst serious soundsystem pressure as Prior navigates the feeling of being ghosted; by friends, lovers and even her own work. ‘No More Drama’ returns to pop, presenting a bold cover of Mary J. Blige’s classic that inverts the original’s unmatched intensity for a more serene, but no less affecting rendition.

Finally, ‘Beside You’ delivers one last, sublime blend of Prior’s songwriting and sequencing instincts, a simple pop incantation that coaxes dancers into a soft trance while concluding with a reminder from Prior that “amid life’s unanswered calls and fleeting highs, there is always space to feel safe and unjudged.” Concluding this sublime EP, Prior finds new ground to settle into her talents.

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

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

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

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

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

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