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Der nicht zuletzt von Iggy Pop und Grace Jones geadelte Kopf und Namensgeber der One-Man-Band Skinny Pelembe hat mit 'Hardly The Same Snake', nach 'Dreaming Is Dead Now' (2019) das zweite Album des in Johannesburg geborenen und in Doncaster aufgewachsenen Künstlers, endlich seine Stimme gefunden.

Entschlossen, die Sammlung nicht wie ein Bandalbum klingen zu lassen, aber auch nicht zu sehr "button push-y”, erfand Skinny seine Songs neu, indem er die ursprünglich live aufgenommenen Instrumente sampelte und neu zusammensetzte, einschließlich der zerhackt-komplexen Beats, die der brillante Malcolm Catto (The Heliocentrics) beigesteuert hatte. Ein mühsamer Prozess, aber ein lohnender, an dessen Ende ein Album stand, das seinen verheißungsvollen Vorgänger hinter sich lässt und die kreative Entwicklung von Skinny als Häutung schon im Titel widerspiegelt; eine trotzig nach außen blickende Platte, die sich mit Familie, Religion und den wichtigsten Wendepunkten im Leben - von der Elternschaft bis zum Tod - auseinandersetzt.

Dass er die Schwere seiner Themen dabei immer wieder mit einem gesunden Humor und dem Hang zu einer gewissen Selbstironie zu brechen imstande ist, macht Skinny Pelembe zu einer der vielleicht furchtlosesten und originellsten künstlerischen Stimmen des zeitgenössischen Großbritanniens.

Der nicht zuletzt von Iggy Pop und Grace Jones geadelte Kopf und Namensgeber der One-Man-Band Skinny Pelembe hat mit 'Hardly The Same Snake', nach 'Dreaming Is Dead Now' (2019) das zweite Album des in Johannesburg geborenen und in Doncaster aufgewachsenen Künstlers, endlich seine Stimme gefunden.

Entschlossen, die Sammlung nicht wie ein Bandalbum klingen zu lassen, aber auch nicht zu sehr "button push-y”, erfand Skinny seine Songs neu, indem er die ursprünglich live aufgenommenen Instrumente sampelte und neu zusammensetzte, einschließlich der zerhackt-komplexen Beats, die der brillante Malcolm Catto (The Heliocentrics) beigesteuert hatte. Ein mühsamer Prozess, aber ein lohnender, an dessen Ende ein Album stand, das seinen verheißungsvollen Vorgänger hinter sich lässt und die kreative Entwicklung von Skinny als Häutung schon im Titel widerspiegelt; eine trotzig nach außen blickende Platte, die sich mit Familie, Religion und den wichtigsten Wendepunkten im Leben - von der Elternschaft bis zum Tod - auseinandersetzt.

Dass er die Schwere seiner Themen dabei immer wieder mit einem gesunden Humor und dem Hang zu einer gewissen Selbstironie zu brechen imstande ist, macht Skinny Pelembe zu einer der vielleicht furchtlosesten und originellsten künstlerischen Stimmen des zeitgenössischen Großbritanniens.

Many people consider the Tbilisi scene (thanks to the artists that turns around Khidi club) as one of the most advanced and influential in the entire world. Giorgi Kolbaia (aka Downwell) & Giorgi Kharanauli are a good example of those talented georgian artists. They have made partnership as Initial Light to present a more relaxed work in relation to their solo acts stuff, “40 Degrees In The Air” is a blend of Italo, breaks, synthwave and modern ebm / new beat keeping a common pleasant industrial taste in the 6 tracks included in their vinyl debut.

DJ Plant Texture's latest EP, "JUST EP", is a heartfelt tribute to the 90s rave era. With its heavy influences from the Early Acid House and Hardcore hip hop movements, the EP features infectious beats and classic synthesizer riffs that will transport listeners back in time. Each track on the EP is a testament to DJ Plant Texture's skill in production and composition, creating a sound that feels both fresh and nostalgic. Whether you're a long-time fan of the 90s rave scene or just discovering it for the first time, "JUST EP" is a must-listen for anyone who loves electronic music.

Die treuen Weggefährten des Indierocks, CHARMIN´CARMEN, seit 1996 bestehende Indie-Rock Kapelle aus Stuttgart, veröffentlicht am Freitag, 24. März 2023 ihr neues Album STEADY COMPANIONS auf 7us Music. Digital auf allen gängigen Streamingplattformen und physisch auch als Vinyl im gut sortierten Plattenhandel zu erstehen.
Ein bunter Strauß aus Americana, Ska, Pop, Punk und Rock´n´Roll-Blüten fügt sich auch diesmal, auf ihrem mittlerweile siebten Longplayer, zu einem unverwechselbaren charmin´rockin´beats sound.
Auf Platte unersetzlich – live unvergesslich! Enjoy it!

Gear up, get down & flip shit! IT’S PARTY TIME!!! San Diego, California’s Peak Geeks brings it in the form of real-deal west coast BREAKS, like actual f’n BREAKS!!! - for all the ladies, homies & heads far & wide, from street 2 shore!

Entirely remastered from the original analogue tapes and featuring brand new artwork designed by Luke Insect, this Four Flies reissue finally brings back to life one of the most surprising albums from the strange phenomenon that was the Italian library music of the Seventies.

Gianni Safred's Electronic Designs was released in 1977 on the Milanese label Jump, in their "Music Scene" series, simply as a collection of musical pieces intended for use in television programmes. However, hidden behind a nondescript cover were twelve electronic music tracks revealing a recognizable style of composition; twelve little gems masterly combining experimentation, catchiness and practical functionality thanks to a unified and unique style. Each through a specific mood, these tracks give expression to Safred's distinctive sound, where irresistible mechanical grooves are over-layered with melodic lines perfectly played on a Polymoog or ARP Odyssey.

A native of Trieste, Safred started out with little swing bands soon after WW2, before eventually playing with great soloists like Django Rheinhardt. Ultimately, it is his background as a jazz pianist that makes Electronic Designs so special. As with other Italian jazzmen who got into synthesizers (above all, Piero Umiliani), Safred's blend of complex harmonies and (quasi-) bebop virtuoso flourishes, with its obsessive repetitions and refined tone colours, gives a retro-futuristic quality to this library album, whose electronic music islight-years ahead ofthe 'pop' electronic music of the time and, in many ways, anticipates the best stylistic features of early-Nineties dance music.

Safred best expresses his experimental verve – and does a great job in creating the 'electronic designs' of the title – in "Mystification", "City Problems", "Trapdoor", "Planetarium" and "Poe's Clock", all of which unfold through hypnotic beats and sinusoid or square wave explosions. In other tracks, however, the compositional style is less unconventional, with relaxed yet not banal atmospheres ("Spheres", "Elastic Points", "Sacred Interlude"), as well as flashes of irresistible groove inspired by Herbie Hancock's more pop-oriented work ("Automation Age", "Jazz Motion Study", "Bottom Up"). The album's masterpiece is arguably "Hasty Chant", a detective-funk ride with an unforgettable theme, which manages to pull all of the album's various strands into a cohesive whole – as a side note, the allusive and apt description of the song on the back cover reads: "Things are happening".

Visceral yet inherently soulful, 'Hardly The Same Snake' is the sound of the Johannesburg-born, Doncaster-raised artist Doya Beardmore finally finding his voice – both literally and figuratively. In practical terms, that involved finding the courage to foreground his gravelly baritone in these gloriously genre-agnostic productions. But it also meant branching out beyond his safety net to figure out the artist he truly wanted to be. As Skinny puts it today, “This album is what I would have created the first time round had I rated my own voice.” The idea of forging your own path – and shedding skin, so to speak – is integral to 'Hardly The Same Snake'. Begun pre-pandemic and completed in the spring of 2021, it’s a defiantly outward-looking record contemplating family, religion and major life milestones, from parenthood to death. Where previously Skinny relied on dream diaries as his primary lyrical resource, this time he took notes at design exhibitions, using these unfiltered observations as a jumping off point for songs. If this superb second album proves anything, it’s that it doesn’t matter how much Skinny errs on the side of self-deprecation – he remains one of the UK’s most fearlessly original voices. Skinny Pelembe's second album 'Hardly The Same Snake' is out on April 28th on Partisan Records.

Summer Forever And Ever succeeds Blue Gene Stew, 2019’s debut by the Wolfmanhattan Project, a collective unit co-starring three musicians familiar to In The Red listeners: singer-guitarist Mick Collins, front man of the seminal Detroit-bred garage units the Dirtbombs and the Gories, singer-guitarist Kid Congo Powers who played in such legendary bands as the Gun Club, the Cramps, and Nick Cave and the Bad Seeds, and drummer-vocalist Bob Bert, whose skin work has distinguished albums by Sonic Youth, Pussy Galore, Lydia Lunch’s Retrovirus, and Jon Spencer and the HITmakers. The group was founded as a studio project by three musicians who are kept busy by their primary bands. Blue Gene Stew was written and recorded quickly. Powers says, “I think that the new record was much more a group effort. I think there’s more of a group kind of sound, as eclectic as it is. I feel like we all played together, as opposed to playing on each other’s songs.” Bert notes that the band’s music is grounded in spontaneity: “Me and Mick went in and had a couple of rehearsals, and I would come up with a beat, he would come up with a riff. I still have a cassette Walkman, believe it or not, and we’d put it down on that. It wasn’t even a full song. We’d just put down a bunch of ideas. When it came to recording we’d lay down the basic tracks and work out different things, and a lot of it was made up on the spot. It really is a great collaboration.” Recorded and engineered by Mark C. of Live Skull at his studio, Summer Forever And Ever finds Powers playing piano and the Kaoss touch-pad effects unit and Collins playing synthesizer, in addition to their usual instruments. The album reflects the same eclectic mix of musical styles heard on the debut. References and sometimes even direct quotes from sources as diverse as the Andrea True Connection, Captain Beefheart, the Count Five, and Eurythmics leap out of the speakers.

Îlot, an isolated element within a different whole. For his new album, Sheldon, emblematic rapper of the 75e Session collective, continues his work of introspection on organic compositions, filled with the multiple references that build the musical universe of the artist.

Produced by Epektase and mixed by Sheldon himself at Winslow Studio, the project leaves a lot of room for the guitar and the rapper's 60/70s rock influences such as Bowie and the Beatles. There are also influences from Soul, R&B, Lo-Fi and Jazz, pushing the meeting of rap with other musical genres even further.

A nod to Böcklin's painting Isle of the Dead, a work of multiple interpretations that obsessed the painter himself, the island echoes feelings of isolation and solitude, but also the need to escape and introspect. We thus find the themes that haunt Sheldon: his childhood and his relationship with others, his questions about his place as a human being, which he poses head-on or through lighter notes of humour, and his dismay at a world for which he "knows the problems, not the solutions". His texts, unique and personal, reveal his most intimate thoughts. Like a conversation, they resonate within each of us and create a strong bond, a deep sense of understanding, against the backdrop of all the sweetness and melancholy of the images he conjures up: "One more day on my islet, watching the sailboats go by."

The metaphor of the islet continues in the visual universe built around the album, where the central element is a monolith used to represent isolation and emptiness. Made up of four mirrored sides, this imposing artefact represents both the island and the subject of the album: the central element is not the main subject, Sheldon, but rather what he tells us about the world around him.

Dial D for Digitalism. The return of Hamburg’s most prolific and bewitching production duo is a two-sided one. Back To Haus is their second outing for Running Back after Reality 2 in 2020. And on top of that, it does what it says on the tin. Based on the roots of house, which was the sound that Ismail Tuefekci and Jens Moelle started their DJ careers with, their modern day interpretation of it is far from nostalgic, boring or conservative.

Take the title track for instance. Now a track-id favorite, it was meant to be a sound test. It’s recipe is as simple as it is infectious. Mix some Roland drum machines with a few piano chords and expertly arrange the rest with a marathon intro and a corresponding break down. Voilá! Patience might be bitter, but its fruits are sweet.

Chicagostrasse is not only an existing street in the warehouse district of Hamburg’s harbor, but also a nod to all-time heroes Johnny D and Nicky P of Henry Street fame and their samplers-and-beats approach. Heavy hypno house.

4TH Floor sees the duo sampling themselves (again) for a fast paced and open-airy party jam the references one of their favorite New York labels, when they met at Hamburg’s late house music record store institution Underground Solution beginning of this millennium. Happiness is just a state of mind.

Closing it all off, but not winding it down is Warehaus and its convoying beat tool Empty Warehaus. Like Todd Terry visiting a Summer of Love rave in the UK. Descriptive and positively destructive. All in all, a worthy double, a DJ’s delight and a dancer’s delight.

Gear up, get down & flip shit! IT’S PARTY TIME!!! San Diego, California’s Peak Geeks brings it in the form of real-deal west coast BREAKS, like actual f’n BREAKS!!! - for all the ladies, homies & heads far & wide, from street 2 shore!

VINYL ONLY !! NO REPRESSES!! Snooze = lose & cry the blues. Get the goods at One Eye Witness.. NOW!!!

„2014 Forest Hills Drive“ erschien als drittes Studioalbum des amerikanischen Rappers J. Cole am 9. Dezember 2014. Es wurde von ByStorm Entertainment, Columbia Records, Dreamville Records und Roc Nation veröffentlicht.

Während die Aufnahmesessions ein ganzes Jahr in Anspruch nahmen, war J. Cole im Wesentlichen selbst für die Produktion zuständig. Beteiligt waren unter anderen Produzenten wie Illmind, Vinylz, Phonix Beats und Willie B. Das Album wurde mit wenig Promotion drei Wochen vor seiner Veröffentlichung angekündigt
und lediglich durch die vier Singles ”Apparently”, ”Wet Dreamz”, ”No Role Modelz” und ”Love Yourz” unterstützt.

„2014 Forest Hills Drive“ wurde als Top Rap Album bei den Billboard Music Awards sowie gleichermaßen als Album des Jahres bei den BET Hip Hop Awards 2015 ausgezeichnet.
Das Album erscheint Ende April als 1CD und 2LP.

2023 Repress

Often called one of Chicago's talented hidden gems, singer/songwriter/DJ/producer Tai Davis means House in almost every sense. He's dropped vocals for established producers such as Paul Johnson, Stacy Kidd, and also Galactik Knights, Nate Caswell and Yakka. Preferring to use vintage analog gear, his classic house sound consistently packs dance floors worldwide!
Track Review: A1) ""Cosmic Groove"" This piece sends you on a trippy journey with a 'spacey' bassline accompanied with groovy drums, but the lush pads and lead synth puts this jam over the top- guaranteed to make the floor burn!
A2) ""Floating"" This is truly vintage-sounding acid with 2 overlapping powerful TB-303 patterns with NO distortion, haunting strings, and a beating drum track for extra thump!
B1) ""Falling Forever"" The mellow but depressing synth pads will definitely grab you, but the repetitive, hypnotizing bassline will keep you. Add a minimal, pounding 808 and it makes this track one to play over and over...and OVER. B2) ""Strobe Light"" A minimalist track with a basic but adequate house piano riff and a freaky synth lead. But the 'popping' claps over the pulsating 909 bass drum paired with an abnormal, repeating bassline makes this one sound like pure 90's house! A definite classic.

First ever repress since 2017!

The second release from MIC comes from Ladies As Pimps - LAPS for short - an anarchic Glasgow duo formed by Lady Two Collars of Golden Teacher and Sue Zuki from Organs Of Love.

Their duets take centre stage on Who Me: the vocal performances range from the stretched, soulful projections of Ode To Daughter to the lawless, clipped, sweet & sour, spat-not-spoken word of Edges.

Spirited percussion scatters in all directions and bass is smothered in tape delay, as the duo beat their way through dub, r'n'b, house, and way beyond, circling around acts like Madam X, The Bug, Stuart Argabright and Francois K, mashing absurdity with dread.

Recorded at Green Door studios in Glasgow (where the two met) and layered with the analogue production techniques learned on the first youth unemployment programme there, the energy and charisma of these recordings promise a pretty unique live show when they support Princess Nokia later this year.

Supported by Ben UFO, DJ Moxie, Pitchfork.

Following their much loved NTS radio shows and parties of the same name, the highly rated DJ/producers re:ni and Laksa have announced a brand new label, also called RE:LAX.

On ‘Body Score’ Laksa continues to traverse the same 150bpm territory as his releases for Hessle Audio and Timedance, but here we also find influences from his job as a social worker.

Chiseling bass weight, swung beats/loops and FX into new shapes with confident hands, ‘Body Score’ conjures mental images that’re equal parts wild humid rainforest and dystopian industrial complex.

‘Soulz’ sets the agenda from the outset; Featuring pumelling gut-punch bass and frenetic percussion, this tightly-wound ball of energy takes you deep into a dank cerebral vortex.

Acknowledging the darkside of life – 'Bodies' samples the psychiatrist Bessel van der Kolk.

Like an ancient ritual, ‘Mind’ evokes scenes of drummers whipping dancers up into a frenzied higher spiritual state, and with its huge snare adding head-cracking accents, the unstoppable momentum thunders along ‘til the very last bar.

Early support from the likes of Pearson Sound, Zenker Brothers, Darwin and Om Unit.

First up on side A we have that man again Stefano De Santis with Broken Fusion, a typically wonderful track pushing all the right buttons, a much darker affair than his previous three tracks for us. Following on from there we have Melchior Sultana who rounds off side A in style, where Malta meets Detroit, a peak time track for the dancefloor.

This is Melchiors third appearance on one of our Best Of Various compilations and all three are superb pieces of music. Onto side AA and Jose Rico with two tracks both superb deep journies into Detroit musical territory. Jose is joined on both by Ruben Valero, both Silence Sentences and Minimalism are must have tracks for anyone who is a fan and follows Jose’s music. Finally Caruso serve up some Latin inspired music and beats for a heavy workout.

DJML & Jerod S. Rivera debut Later Version project with ‘Swim Domain’ EP on Third Place

Later Version is made up of Oakland-based artists Dan Letson and Jerod S. Rivera, whose debut EP lands on London-based Third Place this April.

Across the 12”, the duo’s natural flair for hi-res IDM-tinged electronica is on full display, with four colourful and playful originals accompanied by a stellar (digital only) remix from Jacktone co-owner, Dark Entries and Tartelet Records affiliate, and Beats Unlimited member Doc Sleep.

Over the course of a 19-year career, Marshall Watson has released all manner of musical treats for a similarly wide array of labels, yet it’s the effortless beauty of his downtempo works – and particularly his ambient and Balearic excursions – that have often left a lasting impression.

It certainly caught the attention of NuNorthern Soul founder Phil Cooper, who brought the West Coast producer to the label in the summer of 2021. That EP, Sunsets on Larkin Parts 1 & 2, was undeniably special. The same can be said about his belated return to the label, Foothills, an EP packed to the rafters with slow-burn melodies, sustained chords, becalmed textures and gently unwinding grooves.

Watson’s distinctive take on Balearic naturally comes to the fore on EP opener ‘High Desert’, a soft-focus delight where languid electric guitars, starry electric piano lines, echoing chords and gently pulsing electronics stretch out across a shuffling groove. While tailor-made for watching the sun set off his beloved Pacific Coast – and over the Mediterranean Sea – ‘High Desert’ offers a dose of hazy sonic sunshine that can brighten up even the greyest of days.

Fittingly, the accompanying remix comes from long-time friends of the label Seahawks, whose textured, layered and atmospheric productions similarly blur boundaries between Balearic, ambient, pitched-down dancefloor grooves and glassy-eyed psychedelia. Employing opaque, shape-shifting pads, effects-laden guitars, subtle spoken word snippets and yearning, almost melancholic chords – all atop a crunchy, head-nodding beat and toasty bassline – the duo deliver a remix that’s as emotive and sonically stunning as Watson’s original mix.

The EP’s three other tracks amply demonstrate the subtle variety within Watson’s downtempo output. Vocalist Julie Childe makes her mark on ‘Sweet Sounds’, a brilliant blend of warming deep house and laidback Balearic nu-disco that sports subtle hints to his work as one half of synthwave duo Causeway, while ‘Open Sky’ brilliantly wraps undulating TB-303 acid lines and echoing Spanish guitars around a hypnotic, locked-in dancefloor groove.

Then there’s ‘The Landscape’, a deliciously saucer-eyed slab of breakbeat-powered, TB-303-sporting genius that evokes the immersive, early morning waviness of the ambient house era, the beach party psychedelia of San Francisco’s free party movement, and the bleeping wonder of turn-of-the-90s UK dance music. Like the rest of the EP, it’s an enveloping, head-soothing and mind-expanding treat.





e B2 High Desert Seahawks High Sky Remix

Fred und Luna hatten schon immer eine Vorliebe fürs Symmetrische. Das zeigt sich an den Motiven ihrer Albumcover und auf dem aktuellen Album nun auch an der Länge der Musikstücke, die sich allesamt an der Fünfminutengrenze bewegen.
„Im Fünfminutentakt“, so der entsprechende Name ihrer neuen Schöpfung, ist „Fred und Lunas“ vierter Longplayer, eine erlesene Auswahl zeitgemäßer Instrumental- und Gesangsstücke mit einem sensiblen Gespür für repetitive Rhythmen, bezaubernde Melodien und hypnotisierende Klänge.
Besonders hervorzuheben sind das in drei Sprachen gesungene Stück „Es ist so schön“ ? mit seinem sensiblen Gespür für die Freude, seine Liebsten nach Monaten der pandemiebedingten Einsamkeit endlich wiederzusehen ? und das dancefloororientierte „Tanz mit mir“, das erahnen lässt, wie sehr selbst computerhafte Stimmen Sehnsüchte und Träume erwecken können.

Wer sind Fred und Luna?
Fred und Luna wohnen in einem Modehaus in Karlsruhe. Die beiden Mannequins sind die Musen des Musikers, Poeten und Foto- und Filmemachers Rainer Buchmüller.
Von seinen Mannequinfreunden und der Liebe zu deutscher elektronischer Musik der letzten Jahrzehnte inspiriert, produziert Rainer Buchmüller unter dem Namen „Fred und Luna“ moderne musikalische Abenteuerreisen mit einer Kombination aus sich wiederholenden Beats, elektronischen Klanglandschaften und Elementen der Krautrock-Ära. Oder wie er es wahlweise nennt: Elektrokraut beziehungsweise Krautelektro.

Unterwegs mit Fred und Luna (Das Luna-Prinzip)
Weil die beiden Mannequins Fred und Luna ihr Modehaus nie verlassen, übernimmt Rainer Buchmüller unter dem Pseudonym Sugar Ray Buckmiller bei Liveshows die Rolle von FRED.
LUNA hingegen erfindet sich von Konzert zu Konzert neu und wird von einem oder mehreren kurzfristig ausgewählten, wechselnden Musikern vertreten. So wird jeder Auftritt zu einem überraschenden und einmaligen Ereignis für das Publikum und die Musiker selbst.
Achtung: Die nächste Luna könntest du sein!

Limited Vinyl

Polly Records, the new Hamburg based music imprint kicks of with a 2 Track 7'' record added by 3 digital jams called "Bumpers". On this release, producer Speckman captures a part of his 2020 outlet, which includes a heavy UK influence, driven sound-textures as well as fast and shaking beats. At some point it might feel like you would touch the power supply with wet fingers. The producer and Golden Pudel Club resident Speckman also happens to be a member and co-founder of the Polly Records Crew. Accompanied by his fellows and partners Natalie Andruszkiewicz and Malte von der Lancken, who both are heavily involved in the Hamburg club and art scene, they built the group behind the promissing new label. Andruszkiewicz, graphic-designer and artist, known for her exquisite and unique style in colors, forms and typography evolved in a surrounding of bands and musicians, her talent and high demand led into works such as Booklets, Party-Flyers and Album-Covers for bands like Aroma or Pool. Malte von der Lancken, does bookings for the highly reputed club Uebel & Gefährlich and is responsible for tons of great parties that clearly pushed the landscape of electronic dance music around the city of Hamburg since years.

With forced powers the trio is now setting up Polly Records, a label that is willing to push boundaries and provide a platform to artists that really try to outbreak specific genres or styles, visually and audio vise. Aware of a long-lasting tradition of great hamburg based institutions such as Smallville Records, Dial or the Golden Pudel Club, Polly will certainly continue that road but perhaps in another vehicle for example a sportscar with butterfly doors.

After Speckman's "Bumpers" EP which is going to be released in late summer, the label wants to introduce another hamburg based talent, that been kept hidden for too long. Stay tuned.

RSD 2023

The duo WILDES from the south of Germany, consisting of Jana Pantha and Jenny Tulipa, presents a musical mix of electro-synth-pop, post-punk and dark disco influences. After the release of their first EP “RAWWR” in 2021, their debut album entitled “KLISCHEE” will be released on 3 February 2023. Released via the Kommando 84 label, the album features 11 songs and a musical re-interpretation of German-language Neue Deutsche Welle sounds. The songs combine spoken word passages in which the singers combine a certain irony with word-playful rhymes. In addition to world-political, social issues, the songs revolve around the complexity of the new romance in love - between cosmos and stereo. The strong and experimentally avant-garde lyrics accompany the danceable pulse of the drum computer, melodic synth waves and the shimmering solos of the lead guitar.

The album “Klischee” begins with an electro-pop track that combines consistent grooves with atmo- spheric sound arrangements and a lead guitar that accompanies our journey to the moon. With the chorus’ high-pitched words, „Konsum - leg mich auf den Moon“ (“Consumption - put me on the Moon”), WILDES dryly yet humorously allude to a society that couldn’t fly “higher”.

The following cheeky song Leger in Schwarz combines impeccable post punk with influences from the NNDW scene. A short love story led by the electronic beat of the synthesizer makes the hearts of the night beat faster. With casual reduction, a guitar riff leads through the song. The guitar solo finally rounds off the plea about the longing for a good flirt.

Italo disco shimmers and pulsates on the driving song Capri. With lyrics like “Pack the boats - Vai a bordo”, Capri is a homage to the tried and tested Italo feeling with a cappucino on the terrazza, or indeed on the yacht with a view of the rocky walls of the island. An electric charge of sequencers and synth tracks acts here as a lightness of being in contrast to the porosity of the rock.

An electrifying electric guitar solo kicks off the fourth track with a mysterious invitation to Steig ein translated, get in. Hypnotised by the lights of the road, dazzled in the side mirror, a clearly repeating rhythm leads into the chorus and through the coming verses. English spoken-word lyrics add to the stoicism of the German language. The song’s great power ends with the line Lost in the dark, holding open the finale of the “Night Drive” encounter.

Digital and stereo on all channels, the distinctly tight and robust rhythm sounds in the song Apparat. A clear and simple synth melody is heard as a contrast and the electric bass gives the balance of the machine at points. Hiddenly, WILDES points here to the superior power that can control human action beyond all limits. A piece as a laudation to all the science fiction novels that play with the switching of the individual parts.

Side One of the vinyl is finalised by a song called La Grande Bellezza that motivates to dance and sing along. The punky pop craft lives through the recurring beat of the rhythm guitar. Here the focus is on the woman in all her facets. The great beauty, una donna, who can do everything as well as wanting everything and nothing...a strong woman who, however, also staggers and wants to jump off the cliff. Clearly and distinctly, the musical accompaniment of the drum machine and the accompanying synth melody reflect hidden parallel worlds and the ambiguity of character - of life? We get a desire for more and turn the round record.

The B side starts with a powerful guitar riff, complemented by a catchy and strong bassline that runs through the song. In this work, WILDES provocatively describes the West’s lust for the much-cov- eted Schwarzes Gold black gold. The song is reminiscent of the works of the band D.A.F. and thus ties in with the electronic punk sound spate.

The driving guitar riff joins in with the reduced synth bass sequence - the electro-pop song with the title Hitze (Heat) came onto the digital music market as the first single from the LP in the summer of 2022. Pulsatingly, the drum computer lets the beats vibrate to the rhythm of heated air. The duo po- etically describes heat with supercooled voices, a clarity in the sky that makes everything flow, that makes the breath dry. The work ends with a melodic synth solo.

Ich lad dich ein, I invite you - we have all said or heard this sentence before. A chance meeting of two people later leads to the altar in love. A far-reaching question that more or less arises in many love relationships at some point “Do you dare?” positions itself in lyrical contrast to the simple ques- tion in the refrain “Do you need sugar?”. WILDES plays with laconic poetry and, full of irony, makes the listeners think about living together. Krautrock contours are skilfully used in this piece. Reduced to the essentials, the chorus immediately sticks in the ear. A cheerful mix of steel drums and infec- tious solo.

Toccami - touch me! We sit on padded leather chairs - “you’re a rocket! Peng Puff Peng” - this song by the band WILDES joins experimental art-punk-pop, electronically with flowing synth waves we take off immediately. Melodically sung, lyrical layers of lyrics dance loosely light and gracefully in the ears of the viewer. The rhythmic beat visualises the feeling of floating in a spaceship. It’s love in the universe - “I love you, my darling” sounds tipsy in the beat-heavy disco refrain.

Hypnotically, WILDES launches into the final song of the entire LP. The title Zone takes us on a journey through time. Inspired by the film Stalker, we find ourselves in a science fiction setting that couldn’t be more present in today’s European events. The musicality of the electric guitar riffs ac- companied by simple new wave drums drives the listener into unknown realms.

Repetition and electronic synth sounds play a compositional role alongside rocking guitar riffs like their forerunners in the NDW scene. Lyrically, each song varies between pop-romantic and politically critical passages. Listeners start pondering about hedonistic life and its consequences. Sometimes it feels like listening to a Tarantino soundtrack in German, other times it feels like listening to an 80s track by a James Bond. Science fiction fantasies and reality add up in dadaistic theatricality to spir- ited synthpunk of the New German Wave from the South. Discoid beats and driving drums in digital are included.

Cosmic Elements' first ever vinyl release is a 10 track album of chillhop, LoFi, old school and funky hip hop beats from Thylacinus & Da Funksta entitled 'A New Beginning'.

For fans of chilled downtempo beats in the style of Pete Rock, MF Doom’s Special Herbs series, Mushroom Jazz and LTJ Bukem’s Cookin Records imprint ‘A New Beginning’ was greatly influenced by these legendary artists and imprints, with none other than Mark Farina, the main man behind Mushroom Jazz, providing the artwork for the record sleeve and centre labels.

From the lush sunshine vibes of 'A New Beginning' with it's dreamy strings and infectious guitar lick, to the thought provoking keys of 'The Times We Had' through to the funky RnB influenced bass heavy 'Ready For The New Day', the album is a journey through all things chill.

Both prolific producers and label owners in their own right under various aliases, expect to see much more from Thylacinus & Da Funksta both individually and as a duo.

Through the 24 pieces, rare and unpublished, carefully selected for this double LP, BEATITUDE agnès b. MUSIQUE and Kwaidan Records offer a retro-futuristic sound journey through this musical period so rich, so diverse and so innovative. And, in order to properly celebrate the launch of this long-awaited volume 3, the 1st DES YOUNG GENS MÖDERNES festival will be organized in November 2020 at La Station - Gare des mines, with an intergenerational line up highlighting the musical lineage and the influence that this cold wave scene continues to exert on many emerging artists.

• 180 GRAM AUDIOPHILE VINYL
• SECOND ALBUM FROM BROTHERS MICHAEL, JACKIE, TITO, MARLON AND JERMAINE
• INCLUDES THE BILLBOARD HOT 100 #1 SINGLES “ABC”, “ONE MORE CHANCE”, “THE LOVE YOU HAVE” A.O.

The brothers Joe, Jackie, Tito, Jermaine, Marlon and Michael Jackson formed the pop band the Jackson 5 in 1964. In 1968 they signed with Motown Records and became the first group to debut with four consecutive number one hits on the Billboard Hot 100, including “ABC”. This single is featured on the same-titled album which was released in 1970. Other hit single “The Love You Save” is also included on the album. Both singles went directly to the number one position across the board, even knocking The Beatles off their number one spot. ABC peaked at #4 on the Billboard Pop Albums Chart and at #1 on the Billboard Black Albums Chart in the U.S. It remains one of the most popular efforts by the Jackson 5, selling over 5.7 million copies worldwide.

Abstract Sounds, in partnership with Bianchi, present the second instalment of their special collaborative series. This latest immersive minimal house/deep tech project has sought out the creative intellect of artists ChrisOdt, Máté Si, and Nerve Maze, alongside the label head himself, Staniz. Each producer has an instantly recognisable taste in sound, yet they still manage to harmoniously glide together, moulding into a grouping of tracks set to fly.

Staniz is the primary figure behind two of Italy’s most exciting musical projects to emerge over the past few years, Bianchi and Abstract Sounds. The brands support rising Italian talent, whilst stressing the importance of upholding the intrinsic value of art and music, through a preference for physical merchandising, resulting in the flourishing of musician and fan communities alike.

ASBV002 takes us on a comprehensive and fluid journey through aerial chords, scintillating keys, raw, tech-permeated beats, and enthralling, rough textures. This star line-up shows total control and confidence over each composition, letting all the individual sonic elements chosen to shine in their own right with their discerning individuality and signature tonalities. In combination, the works harness an aesthetic full of instrumental flavour, unlikely to be forgotten with time.

An onslaught of determined rhythms interlace in a glorious cacophony for the dance floor on Kim Dürbeck's latest. The Norwegian/Vietnamese artist unleashes a formidable din of percussion across six new pieces for Lek records.

A club record that takes furtive glances at the experimental, Lek003 is hardly an exercise in restraint as it carves its way through jungle and drum n bass to find its place on today's impetuous DJ booth where a new youthful energy has seen tempos reach heady heights.

As ever Dürbeck's Vietnamese heritage is strong as he weaves esoteric textures through the tapestry of monstrous kick drums and snares. The record eschews the conformity of a four to the floor, for something more assertive. From the familiar Amen constructions of a track like "Phu Yen Flow" to the more extreme outer edges of IDM with a track like "Wipeout", each track utilises the break beat in different adaptations throughout.

At the other end of the spectrum, Patås tames of "Nuoc Mam is my holy water" for a more tempered version and lets our head up for air, before Dürbeck brings the ruckus with his army of irreverent drum machines. There is no quarter given with perfunctory designs on the dance floor and the club context.

Swing Family's Music Force is dramatic mid-80s synth-funk. From the maverick mind of Sauveur Mallia, it's a thrilling and uniquely brilliant album from start to finish. It's undoubtedly known and revered for its unbelievable standout track, "Mission Africa". Those that know, know. And if you don't know, get to know. It's the reason this record has been hugely sought-after for the best part of two decades. Originally released on Tele Music in France in 1985 but now tear-inducingly rare, this is the definition of "a welcome reissue."

Swing Family is basically a supergroup of French Funk royalty. Led by French disco lord and Arpadys maestro Sauveur Mallia, they were augmented by trombonist Alex Perdigon from legendary French funk rock collective Godchild, trumpeter Kako Bessot from funky fusion group Synthesis and saxophonist Pierre Holassian, a member of Giant, Janko Nilovic's French jazz orchestra. So, about as heavyweight as it gets for funky French goodness. Mallia handles, of course, bass duties throughout, as well as utilising his arsenal of synths including his E-mu, Yamaha Dx7, Roland MSQ 700, Mini Moog and Oberheimm.

The maximalist disco fusion of "Exorcistor" is perhaps a bit too 80s French cheese for most tastes, so either linger on its singular style or head straight to the soundtracky typo-funk of "Greewich Boulevard". A deep, swaggering powerhouse, it comes on like mid-80s Chic jamming on the set of Beverly Hills Cop with Kashif. Yes, *that* good. It's followed by the vital "Music Force", a synthy, sleazy instrumental full of sax and flute and those 80s drum fills. Just the right side of acceptable.

OR! You can even choose to forget all the rest and just stick "Mission Africa" straight on. A rumbling, strutting, afro-cosmic low-profile banger. The slick drums hit hard, the synth strings warm things up, overlapping horns add swagger whilst electric guitar flourishes and a chanted refrain sit in the mix quite perfectly. A track that's almost impossible to describe and do justice to. You just need to hear it. Preferably as you saunter into your favourite after-hours club, after spotting all your friends at once, as you cut a swathe to the bubbling dance floor. A track quite like no other, it makes you sit up within its first bars and, to us at least, sound like something you'd have heard on a Print Thomas mix from the mid 00s. Basically, it's cosmo-galactic.

The B Side opens with "Musical Stars", an oh-so-80s funk-lite track which, at times, sounds like something Daft Punk may have left on the cutting room floor during their Discovery sessions. Another unimpeachable favourite of ours is the druggy brilliance of "Gentleman & Musician". You can almost hear the white powder through the speakers, as soaring, acidy synths, slick, heavy beats and the irresistible interplay of the primo horn players create a real sleazy wonder. "Film Action" follows, a galloping horn-heavy synth romp with moments of extreme bass breakdown brilliance before the drama-synths of "Episode Double" take things up another notch as it oscillates between gorgeous funky horns and urgent bleepy magic. Super tense, super funky and super stylish. Just ace. The elctro-tinged horn workout "Fatal Lady" closes things out majestically.

The audio for Music Force has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve - complete with perky Liberty Belle - has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Spatial & Co is a synth-drizzled, spaced-out bass-heavy discoid-funk masterpiece from French disco lord and Arpadys maestro Sauveur Mallia. Recorded for French library label Tele Music, in 1979, it's by turns cosmic funk and creeping crime funk, bursting with low slung, k-i-l-l-e-r basslines, loping drum breaks and sparkling percussion. It's so funky it hurts.

Confidently swaggering out the gate is "Future Vision", with its loping yet dextrous bassline across strutting beats setting the scene. "Cosmic News", with its live crowd noises over killer bass work is reminiscent of Bernard & Nile's "Chic Cheer". The bass vs synth workout "Baby Bass" increases the propulsion whilst the dark and mysterious vibes of "Star Odyssey" serve as cosmic respite from being overpowered by funk. The temperature and tempo are raised with the bouncing sophisticated funk of "Meteor One", a slinky interstellar instrumental of the highest order before the sultry, melodic "Bass For Love" offers some attractive slow-mo sleaze to close out the first side.

Opening up Side B, the menacing, beatless "Space Alert" sounds like all those sci-fi theme tunes from your childhood, synthesised into one glorious (black) whole. "Galaxy Wars" is next, another majestic cosmic gem, sans drums. The ultra-percussive flex of "All The Bass" sees the return of the frenetic funky bass and neck-snapping drums. The stretched out funk of "O.V.N.I. Telex" is irresistible and cavernous in scope whilst the swirling, dramatic "Galactics" is an ominous yet melodic wonder. The throwaway funk-lite "Animals Bass" is a bit of a daft way to close out this otherwise flawless set but, hey, flirting with perfection is probably always more fun than actually achieving it.

Sauveur Mallia is a crucial figure in the history of electronic and dance music and a hugely underrated French library bass player and composer from the Arpadys / Voyage crew. This is just the beginning of Be With's Mallia - Tele Music reissue campaign!

The audio for Spatial & Co Vol. 1 has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Spatial & Co Vol. 2 may well be the best album in the Spatial & Co series. It's absolutely flawless. Again created by French disco lord and Arpadys maestro Sauveur Mallia for French library label Tele Music in 1979, it leans far more into the space disco sound than the clean cosmic funk of its predecessor. And it's all the more thrilling for it.

Wide-eyed opener "Discomax" is starts as pure piano-disco brilliance with a bassline to die for before heading off into wigged out territory, all acidic squelches and jaw-dropping percussive breakdowns. Perfection. "Space People" follows, an eerie, half-beatless sci-fi synth workout played out against a hauntingly metronomic pulse for the first half - proper slow-mo space disco business - before the beat kicks in, the electric guitar solo wails beautifully and the bassline that emerges at its conclusion rides in on some other shit.

Closing out the A-Side, the six minute long "Bass Power" is, unsurprisingly, a deep, low-end roller with head-nod drums, whizzing synths, blissed out ambient vibes and Mallia's otherworldly bass playing super high in the mix. It's white hot funk, make no mistake, and it sounds like a re-geared library version of Roxy Music. Yes, *that* good.

Side B is laced firstly by "Holidays Morning", an emotional disco-pop groover, all electric guitars, skipping drums and synthy bleeps with more than a few moments of pure driving funk.
One for the deep heads, longtime favourite "Electric Maneges" follows, a bleepy, haunted dancehall gem, uncut tropical balearic-funk from another dimension. The sophisticated digi-soul of "Loving Discovery" comes on like a weird, interplanetary Sade instrumental, all swelling synths, warm keys and syrupy guitar rhythms. Hearing is believing.

Arguably saving the best til last, the fierce, proto-techno of "Exotic Guide" closes out this extraordinary set. The intro genuinely sounds like Detroit would a good few years later - just wild - before it glides into a driving percussive funk break complete with both stabbing, insistent synths and those of a more winding, laconic variety. The one complaint? It's over far too soon. Remarkable.

Sauveur Mallia is a crucial figure in the history of electronic and dance music and a hugely underrated French library bass player and composer from the Arpadys / Voyage crew. This is just the beginning of Be With's Mallia - Tele Music reissue campaign!

The audio for Spatial & Co Vol. 2 has been remastered by Be With regular Simon Francis, ensuring the punch of Sauveur's bass and those sick drums come through to the fullest. Pete Norman’s expert skills has made sure nothing is lost in the cut whilst the original and iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Presence Reverts to Absence is the 6th album from dutch ambient-beats duo Tangent.
The album finds Rob- bert Kok and Ralph van Reijendam expanding the Tangent pallet with additions of more poignantly propulsive beatwork and integral modular synth flourishes, which raises their deeply contrasting ethos to new heights.
There has always been something rather unworldly about Tangent's music, and Presence Reverts to Absence might be their most celestial album to date by leaning lightly into sci-fi territory with its sound bed of ghostly beacon transmissions and dusty swelling synth tones.

It’s been 43 years since the release of The Selecter’s seminal debut album Too Much Pressure and while it still inspires and resonates today, their new studio album Human Algebra keeps the fire burning with a stellar collection of hard-hitting tracks in the band’s own inimitable style. Human Algebra, released April 21st, is a word from the wise – from questioning ‘fake news’ (“Big Little Lies”), to pointing the finger at keyboard warriors (“Armchair Guevara”), and the scourge of knife crime (“Human Algebra”). Human relationships are also touched upon (“Boxing Clever”), along with a touching tribute to the late great Ranking Roger from The Beat (“Parade The Crown”).
As ever, The Selecter are led by their iconic frontwoman Pauline Black OBE and co-fronted by original member Arthur ‘Gaps’ Hendrickson with original drummer Charley ‘Aitch’ Bembridge. Human Algebra is produced by Neil Pyzer, who also contributes Sax, Guitar and keyboards. The rest of the band feature John Robertson on Guitar, Lee Horsley on organ and Andy Pearson on bass duties.

The group was formed by three members of Descendents (Bill Stevenson, Karl Alvarez, and Stephen Egerton). Mass Nerder brings you sixteen searing cuts that never dip below 210 beats
per minute. Produced by the band’s own Bill and Stephen at Bill’s Blasting Room studio in Fort Collins, CO, and featuring Descendents’ vocalist Milo Aukerman on backing vocals, Mass Nerder is the house blend for dweebs and cool guys alike and is not available in decaf. Reissued on vinyl for the first time ever in Europe to celebrate the 25th anniversary of the release!

Im vergangenen Frühjahr wurde Thomas Adès' Dante - eine dreiteilige Ballettkomposition nach Dante Alighieris La Divina Commedia - vom Los Angeles Philharmonic unter Leitung von Gustavo Dudamel aufgeführt und mitgeschnitten. Seine Uraufführung erlebte Dante am
Royal Opera House in London als Teil von Wayne McGregors The Dante Project fürs Royal Ballet, mit dem Orchester des Royal Opera House und in der Ausstattung der bildenden Künstlerin Tacita Dean . Diese CD-Edition besteht besteht aus Artwork von Dean und Fotos von der Aufführung des Royal Ballet.
Das Werk besteht aus drei Teilen: "Inferno", "Purgatorio" und "Paradiso". Adès selbst bezeichnet "Inferno" als "eine dankbare Hommage an Franz Liszt, den Komponisten der Hölle und der dämonischen Musik ". McGregor und Adès erwecken die mittelalterlich-christliche Fantasie zum Leben, deren erzählerischer Faden an einer jungen Frau namens Beatrice hängt: die Verkörperung eines Versprechens von Liebe und Hoffnung .

Das Debütalbum des Electro-Punk Musikerkollektivs aus Teesside im Nordosten Englands um Frontmann Kingsley Hall.
Gegründet 2019, schloß sich die Band - bestehend aus Hall (Gesang und Gitarre), Robbie Major (Synthesizer), Hugh Major (Bass und Sequenzer) und Jonny Snowball (Schlagzeug) - aus "einem kollektiven Misstrauen gegenüber den politischen Entwicklungen" heraus zusammen. Nails ist ein wütendes, an Dringlichkeit kaum zu übertreffendes Statement, brutal und minimalistisch, in dem Hall über Beats, Drone Noises und Gitarrenfeedback mit seinem unverkennbaren Sprechgesang gesellschaftliche Mißstände lauthals anprangert. "a shit-hot artist" (NME). Darüber sind sich auch Anhänger der Band wie Sleaford Mods, Black Francis (Pixies), Steve Albini und Modeselektor einig.

Für Fans von Idles, Sleaford Mods, Divide And Dissolve, Bob Vylan und Billy Nomates!

“Indicut” is the debut 7” single from the Mexican-based duo, Apócrifo featuring the talents of LA’s own hip-hop, soul/jazz virtuoso, Georgia Anne Muldrow. Comprised of producer Kefren Rivera and percussionist, Carlos Huitrón, Apócrifo have a sound that blends elements of Jazz Fusion, hip-hop, and Electroacoustic music with a live performance to create a sound all of their own. Under the premise that “nothing is original,” the name Apócrifo refers to unauthorized copying, which allows a great diversity of musical and cultural elements to be taken as an influence.

For Apócrifo, “Indicut” represents the love, dedication, passion and strength they possess to make music, regardless of borders, languages, time and space. Coupled with Georgia’s soulful melodies, “Indicut” makes for a welcomed vinyl debut from Apócrifo. This limited 7” release is available on tangerine-colored vinyl via SomeOtha Ship in partnership with Fat Beats.

There’s writing on the wall that speaks of time immemorial, where symbols exist on the edge of language and abstraction.

It’s upon this precipice that Dominic James Marshall makes his mark, at the helm and on the keys of Cave Art - a slate of scintillating digital sounds, spontaneously arranged, etched in wax. The project is a thoughtful and inventive response to a long tradition of musical sampling.

Familiarity is a vessel through which Marshall channels a fierce artistry and selection is at the heart of what moves it. The trio build upon what makes beat music burrow into us so deeply, maxing out their offerings of giant synths, splintering chords and impactful beats to soul-shifting degrees.

Marshall plunges into the uncanny valley and frolics in it, inventing a fresh path for the genre with irreverent wit and divine grace.

Matt Duncan is one of the biggest artists you have not heard of yet. This particular album, "Soft Times" has almost 20 MILLION STREAMS on Spotify alone. You might not know Matt Duncan, but you have definitely heard his music. His music has been on "The Vampire Diaries," "Private Practice," and HBO's "Bored To Death." Most recently Matt was a featured performer in the Tony Award winning Broadway musical, "Hedwig and The Angry Inch." The album art was created by Robert Beatty, who has recently done art for Tame Impala, Flaming Lips, and more! Matt Duncan creates music that would have fit in perfectly on your Dad's AM Radio in the 1970's. Touches of Blue Eyed Soul await you on this LP. This album showcases the strength of Matt's arranging. Strings, horns, layered vocals all make this perfect mix of Motown and Bacharach. There is a track for any ear on this LP.

Also available from Matt Duncan: Beacon LP. Album has 20M Streams on Spotify. Artist was part of Tony Award Winning Cast of Hedwig & The Angry Inch. Artist has tracks featured on HBO, Showtime, ABC, and MTV networks.

Ritual Cloak take a more introspective and meditative direction with new EP, Vanished in Transition, venturing into new musical territories that draw influence from ambient, jazz, doom metal and George Harrison’s indian explorations. Leaning into down-tempo rhythms, drums have been exchanged for heart-beats, as if this EP is the duo breathing deep in readiness to face the next chapter.


Featuring Rob Smith of Wonderbrass and Wylderness bandmate, Harri Rees (Vanished in Transition) and Karl Griffiths of Morning Arcade (Half of My Life), Vanished in Transition showcases Ritual Cloak’s continued love of collaboration.


Recorded at home and their own studio in Cardiff, Vanished in Transition’s theme plays with the fascination of disappearing, although the duo have no such plans of vanishing any time soon.