quête:deep groove

A mixture of a few well-chosen percussion elements, a
steady groove and cleverly constructed harmonies creates
Eddi Shkiper's clean, hypnotic yet positive signature sound
ubiquitous in the vast array of tracks he has released,
especially over the course of the last year. With "Le Reveur
EP", the ambitious Siberian-based artist takes us into a world
of bright and spiritual dreams. Roger Gerressen (Yoyaku,
Sushitec Records, Irenic) enhances the EP with his dub
rework of “Le Reveur”. The four-tracker is the second release
of the new Salin Records sub-label Salin Deep. Each record
sleeve is hand-printed by Daria Salin (limited edition of 300).

A repress here of 2019's under the radar 'Box EP by The enigmatic British producer JS Zeiter, who executed more greyscale dub techno excursions of a typically high caliber on this one. After some spookily sensual ASMR action on intro 'The Code' he continues to build the suspense on the beatless Subarctic Soundscape of 'Darkness Falls' before dropping the power on the cavernous and glacial beats of 'On The Moor'. Flip over and take on more of the frozen seascape on the deeply hypnotic groove of "Empty" before one more emotional ambient outro in the form of 'Endgame'.

SlothBoogie Records welcomes Deep House maestro DJ Aakmael onto its roster this March with ‘The Hardbody Project’ EP, comprised of four original compositions from the Richmond, US-based artist.

Across the past decade and a half DJ Aakmael has unveiled an impressive back catalogue of soul-drenched, dynamic deep house via revered imprints such as Uzuri, Church, Scissor & Thread, Freerange and Second Hand Records amongst many more. Here we see his latest material perfectly interlace with SlothBoogie Records own impressive back catalogue of bumping house and raw deep cuts.

Leading the release is ‘Hardbody’, laid out across seven minutes with chopped brass samples, bright key sequences, modulating Moogesque resonant leads and shuffled drums before ‘Track 166’ shifts focus over to a deeper aesthetic via dubbed out chord swells, organic percussion and twinkling piano melodies.

The aptly named ‘Deepshyt’ opens the flip side, as the name would suggest employing an amalgamation of deep and entrancing synth work, crisp drums and spoken word vocal chants. ‘Strobe’ then rounds out the release with a more disco-tinged House feel, fusing together funk guitar licks, cinematic strings and a snaking bass groove atop Aakmael’s signature swinging rhythmic feel.

Legendary Italian musician Sergio Messina serves up his 13 track Sensual Musicology on Hell Yeah this March. It comes a couple of years after he first released on the label's Buena Onda compilation and takes in everything from demented waltz to grown-up jazz, groovy beach music to heart-aching melancholia with artwork by virtuoso Italian AD DeeMo.

Now based in Lombardy, Sergio was there at the birth of pirate radio in the mid-seventies and eventually produced Radio art for national broadcaster Rai. At the same time, his DJ career took off and he helped establish Hip hop in Rome before taking his own live show to the stage with a mix of PCs, samplers and tape recorders as early as 1989. Frank Zappa declared himself a fan and in the years since Sergio has done everything from radio art to producing Neapolitan reggae and hip hop band 99 Posse, producing his own solo albums and writing for monthly music magazine Rumore. On top of this, he has both written books about and delivered lectures on the digital porno revolution, as well as teaching History of Pop Culture at the Istituto Europeo di Design in Milan. All this makes him a truly original creative thinking who has long been immersed in many niche facets of popular culture.

Sensual Musicology took several years and four different locations to happen. Its release has been delayed by the pandemic, during which Sergio lost many friends and relatives close to him. As a result, the album is dedicated to all of them. It is a record that addresses many topics from economic migration to jazz piano, 60s blues motifs to corruption, pollution and racism via Michael Jackson covers, odes to West Coast guitar albums and spaced-out pieces of electronica.

Opening with the beautifully delicate Mingus melodies of 'Goodbye Porkpie Hat' the album roams through the bluesy Italo-American-Jamaican groove of 'Amara,' slow melancholy of 'Sometimes Remember' with classy vocals from chanteuse Valeria Rossi and 'The Way You Make Me Feel', an acoustic rebuild of Michael Jackson's hit song. Then comes the serenade that is 'Just Because You're Dead,' and ‘Sono Stufa di Tutto’ which is based around a protest speech recorded from the radio in the 1980s. Jon Hassell Beach Bar' is a musical hybridisation for dancing pleasure.

The second half of the album takes in 'Ouana Di lambo' which is the Four Twenties taking you to a cocktail bar in the tropics, 'Benjamino Placido' which is a melody for a man who inspired Sergio to start writing his columns, and 'Nowhere Special' which is a tribute to West Coast guitar albums. Closer ‘Switchblade Bolero' has a Zappaesque theme.

Sensual Musicology is a rich and diverse musical world that is as thought-provoking and deep as it is emotionally rewarding.


Early DJ Support:
Leo Mas, Phat Phil Cooper, Calm, Chris Coco, Andy (We are The Sunset), Severino (Horse Meat Disco)

Synth enchantress Poly Chain returns to Dom Trojga for a smashing full EP release! Hailing from Kiev, she first made a name for herself during the years she spent in Warsaw, releasing her debut LP and becoming a fixture on Poland's underground scene. After returning to Ukraine, she spread her wings further, with exciting releases and regular international appearances only briefly thwarted by the pan-demic. Her long-anticipated EP for Dom Trojga is a treat in her signature style - filled to the brim with incessant, psychedelic arpeggios racing over raw and direct beats. The opener "Kie?" is an unfor-giving electro tune with a huge snare (we like) and tight, unsettling synthwork. "Visa" offers some much-needed hypnotic comfort, and on the flipside, "Acid Regular" hits the floor again with a serious groove, while "Visa Reprise" closes off in a deep, echo-laden fashion. The cover is a drawing by the inimitable Bartosz Zaskórski - an illustrator, sculptor and sound artist, whose uncanny, twisted bio-mechanical visions have been haunting us for years. Take a bite of Dom Trojga!

We are thrilled to have DEMUIR on Selections once again, after his appearance on last year's 'Movement EP' This time he has dropped 'The Persistence Of Hope EP' - and it's exactly what you'd expect from his stellar output. Starting off on the A side is the title track 'The Persistence Of Hope' - a super deep slice of house music with a spoken word repeating "The System" and "Hopeless" over 90's style keys - then at around 3 minutes the punchy bassline drops. Starting out on the flip we get down chi town style with 'Life Is Simple' Shuffling high hats over a spoken word with a killer bassline. Rounding up we have 'Unto Thee' - another prime example of that DEMUIR groove.

Following up to their acclaimed "Hold" EP from last year, German duo Alma reemerge on Definition with their new transmission, "Mother". Through four cuts dropping anchor down the most remote nooks of our dance-friendly galaxy, Alma move the cursor from proper floor-focused 4x4 grooves to kosmische-informed pop excursions with dextrous style and seamless elegance. Crafting their own blend of emotionally whelming club music, it's material primed for extended use whether you are sitting on some high-rise, towering rooftops at sunrise or enjoying a freeze-dried cocktail on Alpha Centauri. Presented in both original version and remix form courtesy of label head Definition himself, title-track "Mother" is the epitome of a slo-burner, rolling at low speed but gaining tension, weight and impactfulness as it runs. Circuits sizzling and piano stabs blazing, Alma dish out a compelling sample of their cross-dimensional wares, sure to take any dancefloor in the zone without further ado. Definition's Remix revamp trades the original's steady swing for a further syncopated, newbeat-infected swagger, laying further emphasis on the synth leads and lashing drumwork as poetic, bleached-out pads keep painting the sky all shades of pastel. A more Italo-inflected affair at first, the tear-jerking "Lost In The Stars" has us gliding in a parallel universe of its own, where epic-sized synth combers and muscular bass onslaughts avalanche over brittle lines of soft-tongued vocals. As concretely submerging as it is designed to trigger off deep emotional response from the ravers, this one is tailored to weave instant communion between the jockey and his audience. Flinging in the breaks and cross-cutting delays, Kiel outfit Avidus shift the angle of approach towards harder, faster EBM firepower, binding their rowdy, FX-soaked chords with the chorus to create a wholly distinct dancing and listening experience.

This is Lost Soul Enterprises big 15th release on wax, a tidy compilation of off-kilter dance floor cuts and misfit synthpunk anthems.

Side A commences with the gothic, neon-soaked Miami bass of ALONZO's "Cruising with Pap," featuring sinister verses delivered by a shadowy syrupsipping secret guest vocalist. Up next is bucking bronco NICK KLEIN's slow-mo industrial headbanger "Posture Test. The sonic equivalent of a sweat-soaked concrete floor, it lurches along at its own mechanical pace amid the metallic hiss and howl. Lastly, wild synth lines and ethereal dubbed-out samples dart in and out over a tough, punchy rhythmic foundation in NAEEM's "TLX," an android's sci-fi electro vision gone haywire.

On the B side, HEIDI SABERTOOTH's "Was It You" launches us deep into chugging acidic territory, combining enigmatic spoken vocals and a psychedelic, slowly evolving SH-101 line over a persuasive groove. Like a slap in the face after that comes raucous synth-punk powerhouse SSPS with "Paradise Lozt," raw as fuck, chanting a litany of dystopian tales atop pumping drums and a wash of demented organ-like synth stabs. Finally we close with the short but powerful "New Vape City" by the nomadic DOUCE ANGOISSE - an absolute earworm, a doleful coldwave ballad whose lush production plays perfect counterpoint to the icy, deadpan sentiments within.

A core part of the Control Freak Recordings family, London based artist Keplrr has built a reputation as a deft & talented producer with unparalleled attention to detail. In the wake of the widespread support for his 2020 EP ‘Reconstructed Club’, we asked four producers we have long-admired to flip a track from the original release. The result is ‘Club Reconstructed’ - a collection of remixes which distill the spirit of Keplrr’s original record into new forms.

First up, Holding Hands boss Desert Sound Colony serves up one of his signature slammers, locking Convection into a thumping four to the floor groover. Berlin-based Konduku, who has carved some of the most kinetic, angular club tracks of recent years with releases on Nous’klaer Audio, Spazio Donsible and others, provides a second interpretation of Convection, time-stretching the original material into a slow-motion panic attack.

On the flip, Syz makes his return to the label after 2019’s highly acclaimed Bunzunkunzun EP, applying his organic touch to Esoteric Functions with a ‘refunction’, which blurs the line between techno and 140 - packing some serious low-end and a cheeky mid-way switch-up to send the dance wild. Rounding things off, Milan’s Piezo proves his reputation as one of the most inventive producers on the scene, repurposing Bod’s Realm into an aggy, warped & technoid ‘Doom Ragga Mix’.

Pressed by Deepgrooves - Europe’s leading ecologically-friendly plant for sustainable vinyl production, made using 100% green biomass energy

Max Dean and Prunk come together in superb fashion for a new EP on South. It features three new cuts from Max, with a Prunk remix making it another explosive package.

Up first is Loving Saturday, a driving house track with a nagging, soulful vocal that really tugs at the heart strings. The bass is warm and the drums kick hard, but this one really has some standout emotion to it. This Party is a more loose, fluid, ducking and diving groove, with rich percussion making it a perfect late night groove. More deft vocals add some human emotion as this one drives on.

This Party (Prunk Remix) is then a nice spaced out deep house cut that has real bite. The kicks and hi hats fuse together perfectly, while balmy pads encircle the groove to bring the vibes. Last of all, Sunshine Upon the 33 is another big hearted out track with an irresistible groove. The dynamic drums never let up, while the spaced out pads work and great vocal samples all elevate the track.

This is a fantastic four track package from this new one to watch label.

Spaced Repetitions is the brand-new label by veteran producer Manuel Tur. Following his most recent releases on Running Back and Lossless, the German digs deeper on the “Alphalpha EP”, fusing hints of sampled house grooves and bleepy techno synth work. With the lead track reminiscent of classic Parisian dark chemistry à la Motorbass, things get more driving on the B-side: the percussive “La Terre” leads us to the magnetic acid groove of “Immune Response”, rounding off this hypnotic three-track EP.

Hailing from Liege in Belgium, David Body has been put on our radar with releases on the fine Endless Music — but this EP for Exploited’s Black Jukebox series looks set to propel him to a new level.

‘I Bird You’ is a seriously charming affair, led by a colourful, sugary-sweet refrain that twinkles and sparkles in cute fashion. A warm deep house groove crafted through swirling Rhodes chords builds the vibe before the flowery melody explodes into life, pushing the track into an altogether more magical direction.

‘Jack Me Baby’ channels rubbery bass and a galloping house beat, with minor piano chords creating a dramatic feel as a classic vocal sample whoops away in delight. The enormous snare-rolled propelled build-up thrusts the track into overdrive, with a delightful, balmy synth line woven in to provide a mystical counterbalance.

‘The Talking Mouettes’ is a supremely feel-good slab of Balearic-tinged house, with choice piano chords cut up and cascading over a high-energy groove. Big squelchy melodic bass wiggles under the chords and shoulder-popping chime riff, with plenty of power and punch scattered throughout to keep the vibes rolling.

‘Endless Love’ is an absolute monster to close the EP, a soaring, triumphant electro beauty that overflows with euphoric melody and ecstatic, eyes-closed-and-rolling tingles. It just keeps building and building through layer upon layer of synth mastery to an explosive, epic climax.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.

With songs that run the gamut from heart-breaking to satirical and a host of unforgettable film scores, Randy Newman has used his many talents to create musical masterpieces widely recognized by generations of audiences. After starting his song writing career as a teenager, Newman launched into recording as a singer and pianist in 1968 with his self-titled album Randy Newman. Throughout the 1970s, 80s, and 90s he released several acclaimed albums: 12 Songs, Sail Away, Good Old Boys, Little Criminals, Born Again, Trouble in Paradise, Land of Dreams, and Bad Love.
Good Old Boys is the fourth studio album by Randy Newman, released September 10, 1974 on Reprise Records. It was Newman’s first album to obtain major commercial success, peaking at #36 on the Billboard 200. Good Old Boys was initially envisioned as a concept album about a character named Johnny Cutler, an everyman of the Deep South. Newman made a demo of these songs on February 1, 1973; they were released as the bonus disc for the 2002 CD reissue, titled Johnny Cutler’s Birthday and are now being included on vinyl for the first time in this Run Out Groove deluxe edition.
In addition to his solo recordings and regular international touring, Newman began composing and scoring for films in the 1980s. The list of movies he has worked on since then includes The Natural, Awakenings, Ragtime, all four Toy Story pictures, Monsters Inc. and Monsters University, Seabiscuit, James and the Giant Peach, A Bug’s Life, and Meyerowitz Stories. Randy Newman’s many honors include 7 Grammys,® 3 Emmys,® and 2 Oscars,® as well as a star on the Hollywood Walk of Fame. He was inducted into the Songwriters Hall of Fame in 2002 and the Rock and Roll Hall of Fame in 2013—the same year he was given an Ivor Novello PRS for Music Special International Award. Newman was presented with a PEN New England Song Lyrics of Literary Excellence Award in 2014.

Lorca joins the Shall Not Fade family with a debut LP consisting of 8 melodic tracks with richly-layered soundscapes made up of samples and field recordings taken from his hometown, Brighton.

His first full-length album as Lorca, the Saudade LP sees Sam Cassman return to a melancholic and experimental sound for which he originally made a name for himself since his first release in 2012. The album's title, written in Portuguese - the language native to his current residence, Madeira - translates to English as "a feeling of longing, melancholy, or nostalgia". With stripped-back percussion and plaintive
atmospherics, it's clear to see why. We are soothed into things with the soft melody of "Lullabies" before being transported to Brighton Beach via field recordings of seagulls and the whisper of pebbles on the second track. The driving pulse of deep house track "Are You Gonna Love Me" picks up the pace whilst maintaining a sense of minimalism before the shimmering lull of "Two Pianos" brings things right back with
formless sonic collages and drifting atmospherics.

Flip the record over and the rolling beats are back. "Colraine" and "uTube" see the return of clever use of sampling, the latter including mobile phone recordings of live piano playing by friends, sampled from social media. "Colraine" offers up pulsating jazz rhythms, oozing with groove, before the aptly-named "Polly" ushers in a change of course with a razor-sharp polyrhythmic melody and acid undertones which are more suited to the club. On "Rock Paper", it's sound design that takes centre stage. To close the LP, Lorca manipulates field recordings taken from inside his studio to incorporate abstract, sample-based percussion, making for a truly unique take on techno and synthesis.

Reissue of Oscar Peterson's 1969 album 'Motions & Emotions' pressed
on blue vinyl
On 'Motions & Emotions' Oscar Peterson presents jazz versions of popular pieces
from pop, easy listening and classic songwriters, as the quartet of long- time
companions are washed in rich orchestral colours. Arranged and conducted by a
magician of the guild, the great Claus Ogerman, who had previously worked for
Tom Jobim. The Brazilian is also represented with his standard "Wave", in which
the orchestra builds a luminous tropical backdrop for Peterson's fantastically
dragged phrasing. Peterson and Ogerman pay tribute to another great orchestra
leader, Henry Mancini, in "Sally's Tomato" with feather- light trilling brilliance.
Jimmy Webb's "By The Time I Get To Phoenix" experiences a metamorphosis
almost into the classical - Ogerman opens infinite sound spaces here with the
distantly indulging strings. Bobby Gentrys "Ode To Billy Joe" cleverly abducts
Countryfolk into Bigband Jazz by means of fiery keyboard playing.
Finally the hits: from soul comes Bobby Hebb's "Sunny", whose theme the pianist
here cleverly harmonises out to then decorate it bluesy in dialogue with the wind
instruments. Burt Bacharach's "This Guy's In Love With You" shines with a
leisurely late night mood and a pompous finale. Yesterday" is provided with a
sparkling bossa substructure, while the second Beatles homage "Eleanor Rigby"
oscillates between loose groove, deep melancholy and swing. Peterson plus
quartet plus orchestra: Enthusiastic detail work also in the popular sector.
"The question about favourite albums is basically not an easy one, except in my
case, because Motions & Emotions by Oscar Peterson is actually my absolute
favourite album. I think Motions & Emotions might even be the perfect
instrumental album." - Till Brönner (German Jazz trumpeter and professor)

Reissue of Oscar Peterson's 1969 album 'Motions & Emotions' pressed
on blue vinyl
On 'Motions & Emotions' Oscar Peterson presents jazz versions of popular pieces
from pop, easy listening and classic songwriters, as the quartet of long- time
companions are washed in rich orchestral colours. Arranged and conducted by a
magician of the guild, the great Claus Ogerman, who had previously worked for
Tom Jobim. The Brazilian is also represented with his standard "Wave", in which
the orchestra builds a luminous tropical backdrop for Peterson's fantastically
dragged phrasing. Peterson and Ogerman pay tribute to another great orchestra
leader, Henry Mancini, in "Sally's Tomato" with feather- light trilling brilliance.
Jimmy Webb's "By The Time I Get To Phoenix" experiences a metamorphosis
almost into the classical - Ogerman opens infinite sound spaces here with the
distantly indulging strings. Bobby Gentrys "Ode To Billy Joe" cleverly abducts
Countryfolk into Bigband Jazz by means of fiery keyboard playing.
Finally the hits: from soul comes Bobby Hebb's "Sunny", whose theme the pianist
here cleverly harmonises out to then decorate it bluesy in dialogue with the wind
instruments. Burt Bacharach's "This Guy's In Love With You" shines with a
leisurely late night mood and a pompous finale. Yesterday" is provided with a
sparkling bossa substructure, while the second Beatles homage "Eleanor Rigby"
oscillates between loose groove, deep melancholy and swing. Peterson plus
quartet plus orchestra: Enthusiastic detail work also in the popular sector.
"The question about favourite albums is basically not an easy one, except in my
case, because Motions & Emotions by Oscar Peterson is actually my absolute
favourite album. I think Motions & Emotions might even be the perfect
instrumental album." - Till Brönner (German Jazz trumpeter and professor)

Limited!
Gaïsha - Oriental Psychedelic Sounds and Funky Grooves

Gaïsha is a collaboration between the Belgian-Moroccan singer, Aicha Haskal, and Les Cerveaux Lents.

Aicha Haskal’s voice is smooth and warm voice and switches seamlessly between Arabic chants, parlando and even rap. The Arabic lyrics of the song ‘Ghalat’ were written by the Egyptian poet Abdelhamid Farag, who calls himself a ‘poète de l’ éloignement’. His lyrics are permeated with deep melancholy and romance. The song is a tribute to Abdelhamid, who passed away in 2020.

B-side ‘L’Amour Digital’ is based on ‘Sihtou Wajdan’, a traditional Muwashah. Muwashah is a poetic form that originated in Al- Andalus (Muslim Spain in the 11th century). Aicha adds to the poem a reply in French, giving the song a universal and interconnecting flair.

‘Ghalat’, een ode aan de Egyptische dichter Abdelhamid Farag, knalt uit je speakers met een geweldige levenslust”- Cutting Edge

Wie fan is van de muziek van Altin Gün, heeft met deze nieuwe single van het Gentse Gaïsha er een leuke ontdekking bij. - Indiestyle

"Het ritme, de synths en de groove lijken westers, maar verder ademt alles aan deze track een oosterse melancholie uit.” - Damusic

Genetic Funk and Mr V present The Believe EP, a deep, soulful, spoken word groover that gets a sublime make-over from the mighty Atjazz. Jazz injected, ethereal business that instantly dissipates any worries as you float on the hypnotic tones of this celestial track. On the flip a stripped back, tougher beats, bass and vocal led dub for the dancers.

Party starting outfit Spaghetti Club dive into 2022 with a hop, skip and a wobble as their third release sees the light of day this January. The four track VA maneuvers between dynamic moods for the dance floor, including sounds from label founder, Pierre Codarin, Harry Wills, Philipp Boss, and Jealous Lover.

Carrying the torch for the first track is UK producer, Harry Wills with “Longbags”, his animated sound fitting the ethos of the label entirely, cruising on a slinky arrangement, and sub heavy bass. Next up is Activo founder Philipp Boss, with a deeper and curious encounter, riding his synths around subtle house movements in “Serious Cat”.

Head chef Pierre Codarin provides a pacey and elasticated groove in “Smoke The Gap”, mechanical beeps and bleeps breathing life into the forward motion of the track. On a more mysterious trip is the last track of the EP from Jealous Lover. “Dresses For The Ride Not The Slide” is a hazy trip, crammed full of rippling shades of electro, calling in the shadows of the afters.

Jimpster’s lockdown LP was made throughout 2020 and finally sees the light of day at the end of February 2022 having been delayed around 6 months due to the ongoing vinyl pressing hold ups. Birdhouse is the revered producers seventh full length LP and can be considered a full circle as he takes a step away from the dance floor to revisit his early inspirations of jazz, 70’s fusion, library music, ambient and sample-based downtempo electronica. With its soulful touches, vocal and live musician features and trademark warm Jimpster production, we also think it could be his most accomplished and accessible yet.

The opening title track sets the tone for what’s to come with rustling percussion, widescreen choral samples, dub FX and drifting pads all coming together to create a sense of optimism. The first of six vocal features comes next. Ascension with UK vocalist Oliver Night (featured on IG Culture’s recent Earthbound LP) is a simple soul jam with live bass from Nick Cohen and Jimpster’s beloved Fender Rhodes joining the lo-fi drum groove.

Next up we’re treated to Voodoo featuring brilliant young NYC MC/poet/producer who first grabbed Jimpster’s attention with his mind-melting track Signs, released in 2020 on Youngbloods. Yoh’s sung (not sung) vocal flow adds a new dimension to the Jimpster sound and is hopefully the first of many more collaborations to come with this perfect pairing. Still Believe takes us on a tripped-out journey into slo-mo, lopsided MPC beats punctuated with otherworldly vocal samples, live bass and Rhodes making for an immersive late night mood.

The first of two tracks on the LP featuring London vocalist and songwriter Cairo drops next entitled Beautiful Day. Another incredibly talented young artist introduced to Jimpster through a mutual friend, Cairo adds a deep and uplifting vibe making for a track you’ll come back to time and time again. A slow-burning nu-soul groove which will draw you in with its warm glow. Lazarusman is a Johannesburg-native poet and vocalist known for his collaborations with Stimming, Joris Voorn and Booka Shade. Here he delivers a poem called Heavy, perfectly punctuating the haunting reverb-drenched horn, Detroit-esque chord stabs and filtered drums.

Future Paradise drops the BPM's further still for a slow-stepping synth ride mixing up rising arpeggios, dubby flugel horn FX and the lushest of strings. It’s been 15 years since Jimpster and Capitol A last joined forces on Left n Right from Jimpster’s Amour LP. Known for his work with Jazzanova, King Britt, Mark De Clive-Lowe and 2008 club anthem Serve It Up on Mantis, the San Francisco native MC delivers his inimitable flow to a blunted jazzy hip hop groove making for one of the LP highlights.

Up next, Rain is an intimate and understated slice of contemporary soul music which pushes another spellbinding Cairo vocal front and centre, underpinned by loose, crunchy beats, dusty keys and moogy flourishes. Picking up the pace, Doors Of Your Heart sees Jimpster get busy chopping up a funk groove whilst Nick Cohen lays down another killer live bass line. Lush keys, modular synths and some crazy FX processing take this into the stratosphere and call to mind some of his earliest productions in the late 90’s on his seminal LP Messages From The Hub.

Winding things down, Jimpster continues to revisit some of the sounds and flavours of his earliest work on Tell You, which goes seriously deep with touches of cinematic big band horns and a looped up vocal sample. Closing out the LP we have the aptly titled Full Circle complete with sublime Metheny/Mays-style pads, muted synth arps and subtle FX to drift away to.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that’s showing no signs of slowing down as we start the new year. Born out of a lifelong affair with the many shades of electronic rhythm and an obsession for collecting records that first started in 1988.

As a label owner, his mission couldn’t be clearer: releasing new music for heads - old and new. Fresh cuts aimed squarely at the dance floor, your front room or even just the headphones! Rather than staying too hung up on the past, he’s very much focused on serving up the best in new Acid, Electro, Techno, Deep House along with the odd slice of Downtempo goodness.

Sticking to the trusted format of 4 different producers, all serving up high grade electronic explorations, WGD 006 launches with another stellar line up. Headed up by the foreboding sounds of Versalife with “Omikron” on A1, spacious atmospherics and half-step beat usher in a gnarled bassline that simply won’t let go. As delicately placed melodic touches light up an otherwise pitch black soundscape and open up the spaces in between, it’s a superb reminder of the Dutchman’s majestic talent. Accompanied with an outing from Belgium’s rising talent Mariska Neerman, snappy percussion and machine pulses greet you from the off on A2 “Twin”, evolving into a fully emotive and uplifting ride. Leading with layered synths, Neerman demonstrates her sparkling knowhow for drenching you in heart warming pads and strings that harmoniously sing.

Written under his Analogue-1 alias, head to B1 for the legendary sounds of James Zeiter shimmering through on “Counterpoint”. A subtle and stripped back 4/4 trip into the lighter side of acid inspired grooves that shuffles out into the unknown: tweaking all the way as the intensity build. Powerful stuff at the right moment, do not underestimate the alchemy at work here. Last but not least, newcomer Morthen Kiang leaves us on a punchy 909 driven martian inspired work out, that fully summons the vibe of our Red Planet friends. A perfect ending note packed full of machine oscillations and cosmic waves.

Modern metallers DAGOBA are back! After putting their stamp on the metal scene with a unique blend of metal and neckbreaking grooves, relentlessly touring and sharing the stage with legendary acts like Metallica, Machine Head and In Flames, DAGOBA have signed with leading Austrian metal label Napalm Records and are prepared to hit the next level. The French four-piece returns with the band’s most ambitious material yet: punishing vocals, groove and modern metal infused guitars and hard-hitting production shows DAGOBA on top of their game, pushing boundaries and incorporating electronic elements seamlessly into a unique modern metal formula. Vocalist Shawter impresses with a high variety in his singing by covering a wide span from intense and deep growls, strong shouts and precise clean vocals. The album starts off with an electronic intro that bursts into the massive attack „The Hunt“, that has already been released in July 2021 as a standalone single and includes all the significant trademarks: melodic passages with clean vocals alter with intense breakdowns and all of this underlined with electronic elements. This mixture leads to a catchy sound as showcased on the dramatic „Bellflower Drive“ or the melodic „City Lights“. Furthermore the sound of DAGOBA stands out for dominant drumming that oscillates between double bass, blast beats and forward going up tempo drumming as it occurs on „The Last Crossing“ or „Sunfall“. Between all the action, there is also space for calmer parts such as the interlude „Break“ or the track „On the Run“ that begins with female vocals that gradually build up into another hymn lining up brilliantly with the other songs of the album. DAGOBA manages the balancing act between harsh breakdowns, dense soundwalls and grooving passages with ease. Even on its hardest passages, the album never gets too enigmatic - quite the opposite: One smashing track is followed by the next, the record just flies by and leaves no time to breathe. By Night is a beast of an album showcasing how far DAGOBA can take electronic influences on the upcoming material – a must-have for true fans of modern metal! alone!

Matthew Halsall unveils new band and announces 'Salute to the Sun'

his new album on Gondwana Records

Limited edition Double Clear vinyl, printed on reverse board with Gold foil artwork plus double printed reverse board inner sleeves including download code. Cover Artwork by Daniel Halsall with design and layout by Ian Anderson of The Designers Republic.

Comes packaged in a resealable, re-usable Polypropylene anti-static, acid-free, crystal clear sleeve for maximum protection.

Composer, trumpeter, producer, DJ and founder of Gondwana Records, Matthew Halsall has always worn many hats. But at the heart of everything that he does Halsall is first and foremost an artist and a musician. A trumpeter whose unflashy, soulful playing radiates a thoughtful beauty and a composer and band-leader who has created his own rich sound world. A sound that draws on the heritage of British jazz, the spiritual jazz of Alice Coltrane and Pharoah Sanders, as well as world music and electronica influences, and even modern art and architecture, to create something uniquely his own. A music that is rooted in Northern England but draws on global inspirations.

Salute to the Sun is his first album as a leader since Into Forever (2015) and marks the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians: Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Alan Taylor drums and Jack McCarthy percussion as well as long-time Halsall collaborator, bassist, Gavin Barras who has been at the heart of Halsall's bands for over a decade. For Matthew it was important to have a band based locally and able, pre-Covid, to meet and play each week, and who also performed a sold-out monthly basement session at Yes in Manchester. The album draws energy from these sessions and inspiration from themes and ideas that have inspired Halsall through the years (on albums such as Oneness, Fletcher Moss Park and When the World Was One) ideas of ecology, the environment and harmony with nature.

"I feel Salute to the Sun is a positive earthy album. I wanted to create something playful but also quite primitive, earthy and organic that connected to the sounds in nature. I was listening to lush ambient field recordings of tropical environments such as jungles and rainforests and found myself drawn to percussive atmospheric sounds which replicated what I was hearing (bells / shakers / chimes / rain sticks) and I started to experiment with more wooden percussive instruments such as kalimba and marimba".

Salute to the Sun features lush wholly improvised tunes inspired by ambient rainforest and jungle field recordings, deeply soulful tunes built around hypnotic harp and kalimba patterns, deep Strata-East inspired spiritual jazz grooves and some of Halsall's most beautiful playing and inspiring healing melodies yet recorded.

The album was recorded at the band's weekly sessions, using Halsall's own recording set-up, giving the recordings a relaxed vibe and unforced energy that really lets the music breath. The album is also very much a family affair as Halsall's brother Daniel Halsall, artistic director of Gondwana Records, was an important presence at the sessions and co-produced the album. It is also his memorable artwork that adorns the cover of Salute to the Sun, an album beautifully designed by legendary designer Ian Anderson of The Designers Republic, who also created the covers for the recent archival releases Oneness, Sending My Love and Colour Yes and is one of Halsall's favourite designers. Together Daniel Halsall and Ian Anderson have designed all of Matthew's seven albums to date, so it felt extra-special to bring them together for, Salute to the Sun, an album that Halsall was determined to present in the very best way possible. The album was mixed with another long-time collaborator, George Atkins at 80 Hertz in Manchester, who works tirelessly with Halsall to perfect the sound and was mastered by noted engineer Peter Beckmann who brings an added depth to the sound specially around the bass notes as well as Halsall's trumpet. The magnificent double vinyl was cut as a Half Speed master by Barry Grint at Alchemy Mastering for the best possible analogue experience.

The result is arguably Halsall's most beautiful and complete recording to date, playful, charming and imbued with the warmth of the sun and the energy of life.

As the tides change and the majesty of the moon once more begins to illuminate our forgotten domain, the hotly-tipped Incus has made the jump to hyperspace and determined that now is the time to unleash his neoteric creation into the macrocosm of music. At the behest of the sonic social masters, "INC.AUDIO" will be deemed a passion project, but in reality it will rip the very fabric of what it means to have a personal creative outlet, curtailing boundaries and expectations alike. Based on the creed of freedom of experimentation, the label will allow Incus and close friends within the industry to share their creative expressions within a familial and contemporary framework free from third-party limitation.

For now we start at the first chapter of the INC.AUDIO narrative, and the inaugural release which comes from the architect himself. His first solo EP contains 4 tracks conceived at home during lockdown, combining new sound design techniques developed through the mediums of trusty Korg Hardware and Ableton live. The end product is a consummate representation of the benefits of free time, reckless abandon and zero red tape.

Kicking off with "Design Your Mind", Incus draws on his longstanding influences collected via years of crate-digging and supporting underground idols in the UK and Ibiza. Shuffling percussion, jittering stabs and percolatin' chords wax and wane, submitting us to the will of its deep, minimal groove with a sultry sensibility. Next is "New Dog Old Tricks", the one with "that" bassline. No holding back from the get-go, the punching percussion is waylaid sporadically by erratic tones and steadied by placid, ambient chords. The charming breakdowns are peculiarized by a haunting saxophone sample, firmly establishing the clear-cut level of advancement and attention to detail achieved by the creator.

"Calm in the Chaos" steps back from straight-up grooving, inviting an equatorial temperature to come and play. Tantalising acid-inclined bass notes perforate the horizon, aiding the insistent percussion and creating a sunny, party-ready disposition infectious as they come. Feel like you're on a beach or in a rainforest? Snap. After the party we finish in the "Morning Haze". Alien-like frequencies and UFO bleepology steer the good ship Incus on this extra-terrestrial journey through the tech-house heavens to its final resting point. The seductive vocal cut adds a beautiful edge to the track, creating a minimal yet also expansive soundscape perfect for disembarkment. So, now you see what INC.AUDIO is all about, why wouldn't you stick around? Fight the bureaucracy and become who you need to be today, not tomorrow.

vinyl only

Revealing its debut vinyl issue, Distrakt Audio embarks on its maiden sonic voyage. Bringing together talented artists from across the globe to release their music on 12" format alongside label owner Ali Demir. First to feature is the uber talented Furz from Argentina, who cuts two hip swinging bassline grooves,on the A side. Whilst the Distrakt Audio frontman Ali Demir lays down two fluid and pad soaked slices of gold on the B side. As club cuts go, these four polished pieces will be a sure-fire winner in the bags of savvy selectors.

R&C Records boys are back with a new sampler of their "feels-good" sound, digging deeper into the 80's Italo Disco scene.
The logo side captures a Gaznevada inspired re-imagination, magically moved into a newElectro-SpaceDisco dream with a Balearic flavour; on the flip side a Firefly's classic disco anthem re-grooved to an Electro-Boogie 'desire', laid on spacey synths and balearic keys.
Limited. VINYL ONLY

First Word Records is very pleased to welcome back Quiet Dawn with a brand new EP entitled 'Movements'.

Parisian multi-instrumentalist Will Galland has been with First Word since late 2014, providing several releases for us over the years, from his acclaimed debut album 'The First Day' to his last EP release, the organic opus 'Human Being - The Short Story Of The Reed'. Collaborations have included Makaya McCraven, Oddisee, Miles Bonny and First Word crew such as Eric Lau, Bastien Keb and Sarah Williams White, who he teamed up with on his classic remix of the track 'Hum' and most recently on the track 'One By One' which appeared on the compilation EP 'A Family Affair' at the start of 2021.

For his latest project, 'Movements' sits firmly in the realms of broken beat, after being heavily inspired at First Word's infamous 14th birthday party at Total Refreshment Centre, where he played alongside label-mates such as Kaidi Tatham and Children of Zeus. This delectable six-track EP encompasses a series of deeply percussive grooves and squelchy synths. This is a predominantly instrumental affair, though does feature the supremely soulful vocals of Oliver Night on the track 'Change Must Come', following on from Oliver's work with the CoOp Presents crew amongst others.

Quiet Dawn says "after the birth of my son, I took the time to get back to making new music.

And when I started to work on new tracks, I wanted to compose something without concept, unlike my previous records, just because time is precious and I wanted to find pleasure again when I composeand not be fixed to a concept, or a story.



These new tracks are instinctive; made with my main instruments, rhodes & piano, synths, percussions, vocals, bass and guitars. They are naturally oriented towards my big musical crush, BRUK, along with different rhythms, vibes and grooves. For me, it's definitely a record for the dancers. For this reason, the new EP is called 'Movements'. Aside from the dancer's element, the title relates to everything that is happening in the world at the moment, working on this record over the pandemic. Affecting people in all countries, friendship, mutual aid, solidarity and movements in many instances are very important to me, my family and my musical family, First Word.'



The influences on this particular EP come largely from the West London music scene; DKD, Bugz, Neon Phusion, 2000Black, Domu, IG Culture, Jazztronik, MdCL, the First Word fam and many many more artists. There are also heavy vibes inspired by 70's jazz, funk, disco, latin & african music."

'Movements' by Quiet Dawn is released on First Word Records on vinyl & digital in late 2021.

C-L-A-S-S-I-C library breaks and beats set of heavy drums and louche funk.

One of two Be With forays into the archives of revered British library institution Conroy, we present one of our favourites on the label - the super in-demand Dramatic Tempi / Larry Robbins Background Rhythms, originally released in 1975. Rare and sought-after for many years now, this is one of those cult library LPs that rarely turns up on even the deepest dig.

As a single LP, Dramatic Tempi / Larry Robbins Background Rhythms is two distinctly different collections of music. The first side, Dramatic Tempi, is made up of four tracks each from Sammy Burdson and Klaus Weiss.

Sammy Burdson was one of the many, many aliases of the mighty Austrian composer, arranger and conductor, Gerhard Narholz. Founder of adored library label Sonoton in 1965, and a classically trained composer, his work runs from easy listening through pop, jazz and electronic, to avant-garde.

About as cult as it gets when it comes to library music legends (German or otherwise) Klaus Weiss produced essential records on German library labels Coloursound, Selected Sound and Sonoton, as well as making two essential entries in the Conroy catalogue. Having started his career at the age of 16 as a jazz drummer, the Klaus Weiss trademark electronic sound is unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums.

The second side is both titled and also credited to Larry Robbins Background Rhythms. We have to admit to being stumped as to who Larry was, but we don’t think it’s too much of a stretch to assume it might well be yet another incarnation of Gerhard Narholz’s.

First up from Dramatic Tempi are the phased, gargantuan hip-hop beats of Sammy Burdson’s impeccable “Pop Waves”. This is otherworldly funk on a whole new level. Hearing is believing. The magnificently titled “Cyclodrom” is up next, a beast of booming bass and wah wah guitars over frenetic funk drums. “Devils Drive” is dramatic, blaxploitation street funk with rolling, pounding drums. “Crime Ways” is an acid-squelch, slow-pace neck-snapper.

Klaus Weiss starts by askings us “Is It Hip” and we can only answer “yes it is!” to the clean, skipping drums, booming bass and proto-hip-hop bells, layered beneath laconic and melodic guitar shredding. This is just horizontal soul perfection. “The Camp”, propelled by jazzy guitar à la Joe Pass over fast drum and conga breaks, gives way to the dark guitars and cymbal crashes of “Tomorrow”. It sounds like an early New Order jam session. Closing out a pretty startling side of library greatness, “Rhythm Trip” presents early stuttering funk before easin' on in to a jazzy, soulful groove; all breezy guitar and warm keys. Lush.

Larry Robbins Background Rhythms is a lighter, poppier affair, but it’s not without its drum-heavy bangers. “Vox Pop” and “Pop Phase” each have clean, open-ish drum breaks, ripe for sampling or more daring DJ sets. “Pop Twang” is a short and sweet beat-heavy number that gives way to the fantastically out-there “Canned Pop”. We‘d love to know if this was ever actually licensed for something! The final seven tracks are a set of 1-to-2 minute “Percussion Takes”. All compelling, and all equally useful for any number of production needs. Get sampling.

The British library label with those instantly recognisable “orangey-red” sleeves, Conroy began releasing production music in 1965. A sub-label of Berry Music Co, its catalogue typified the library industry’s strange mixture of tradition and experimentation from the start. Conroy’s early releases included work by big band stalwarts like Eddie Warner as well as early electronic recordings by the likes of Belgian experimental pioneer Arséne Souffriau. With Berry Music Co working as a distribution partner to the German library label Sonoton, it was through the Conroy that a great deal of German library music found its way into the UK market.

Conroy stopped putting out new music in the 1980s, but its history and its catalogue offer an excellent window into the trends and eccentricities of a highly unique industry at the height of its international appeal.

This re-issue of Dramatic Tempi / Larry Robbins Background Rhythms has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the iconic, hypnotic original Conroy sleeve. Essential.

The second Be With foray into the archives of revered German library institution Selected Sound is one of our favourites, Sound Inventions from Klaus Weiss Rhythm And Sounds, originally released in 1979.

From the notoriously strong mind of Niagara drummer / library-funk overlord Klaus Weiss, Sound Inventions is loaded with tripped out studio funk-freakery, mad samples and swaggering abstract funk grooves. From dramatic deep disco with dark Italo/Moroder leanings to heavy German funk breaks, this is absolutely sensational. Absolute synth-and-string-drenched magic.

Born in 1942 in Gevelsberg, Germany, Klaus Weiss began his career as a jazz drummer at sixteen (with a group called the Jazzopators) before working with the internationally successful 60s groups the Klaus Doldinger Quartet and the Erwin Lehn Big Band. In 1965 he formed his own trio, the first of many groups to bear his name, and as his renown as a bandleader grew over the next decade it naturally lead to working in production music.

About as cult as it gets when it comes to library music legends (German or otherwise), he produced essential records on German library labels Coloursound, Selected Sound and Sonoton, as well as making two essential entries in the Conroy catalogue. Collections of music in the trademark Klaus Weiss sound of electronics unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums.

Sound Inventions is one of those library records with a hefty track list, 22 in total, but they’re all pretty stunning. That’s not something you can often say and picking out the highlights is almost impossible. If pushed, we’d steer you towards the tough teutonic funk of “Drumcrazy”, the by turns juddering and sweeping majesty of the title track “Sound Inventions”, the aquatic serenity of “Glide”, the elegant strut of “Greenwich Street”, the muted, eerie cosmic-funk of “Air Space”, the squelchy acid-clavs of “Rhythm Function”, the calming, melodic “Waves”, the stuttering proto-Timbaland sensation that is “Rainbows” and the percussive funk-fuelled workout of “A Few Cuts”. Phew. Heavy indeed!

Founded in the late 60s by German composer and musician Klaus Netzle, Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

This re-issue of Sound Inventions has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.

Mirko Deep’s new single ‘Feel It’ is a real house gem! An up to date yet classic sounding vocal house standard that will surely stand the test of time.

The release come with a hot new Michael Gray Remix. Michael’s mix oozes quality house vibes. His tight percussive beat leads you onto the dancefloor with a melodic piano hook and gorgeous female vocal before a funky bassline grooves all the way to Philly and back. Oh yes!

Italian producer Mirko Deep has immersed him self in all things house over the last few years. Key influences include Frankie Knuckles, Masters at Work, Kerry Chandler and Tony Humphries to name but a few and after listening to his new productions it’s clear to see why.

Vinyl Only

Undefined #12 comes from the hand of Dan Piu. Since 1992, Dan has been keeping it versatile by blending different styles of music throughout his career. We are very happy to welcome him to the Undefined family.

His 'Fantasy Juxtaposition' EP resembles exactly what Undefined stands for; versatile and timeless.

On the A side we have a straight up DJ track with a certain techno and bleep flava combined with deep luscious vocals. Aa. gives us an old nu groove kinda beat with naughty 80ies jazz and old school bleepy acid house.

The B side starts with a real old recorded 90ies track, one of Dan's first tracks ever made. A dull love romance evolves from a harmony of batteling synthesizers layered on a break beat groove and fueled with a portion of soul. A mindbending trip. The Bb rounds it off! A track that Dan created back in 1998 together with his friend Gary Rich, Take a walk to a mysterious forest with this uplifting vibe. Gary Rich was a mysterious producer himself - people may know him from his Nightstalker moniker which he was in together with Dan.

Soul singer Betty Harris – mainly known for her Jubilee and Sansu recordings – was born in 1939 in Orlando, Florida. As a teenager she worked as a mate for Big Maybelle who encouraged her to start singing. First recording was released in 1962, her major hit was a cover of Solomon Burke’s “Cry To Me” in 1963. Taken at a slower pace, Harris’ rendition turned the song into a Billboard Hot 100 number 23 hit and soon became a deep soul classic. A total of three further singles including a reissue of “Cry to Me” were released on Jubilee with “His Kiss”, which was released on January 4, 1964, another deep soul ballad, reaching the lower part of the Billboard Pop and R&B charts. In 1964, Betty Harris switched record labels to Sansu, a New Orleans label, where she was produced by Allen Toussaint. Her recordings with Sansu produced ten singles and Toussaint raw yet sophisticated Southern soul arrangements behind Harris’ rich, distinctive vocal, are considered prime specimens of the classic soul era. Soul Perfection, originally licensed on UK label Action in 1969 , was in fact a collection of her previous works on Sansu, a rare groove affair rapidly in demand between a crowd of obsessive fans all over the world. Harris retired from performing in 1970 to raise a family and made an occasional return in 2007 with the album Intuition.

2023 Repress

Life At Robert Johnson is a natural home for Superpitcher, and this two tracker shows his sense of belonging.

Lush Life featuring vocals by Fantastic Twins was inspired by Corsican polyphony, an epiphany after a church concert though as ever with Superpitcher, simplicity is multi-layered: the track itself could be a trip back to the golden (rave) days of deep electronic US house à la François K, dubby yet peacefully driving the ecstasy home. No religious gospel euphoria though, the lyrics are a pagan hymn to Eventide presets. You can’t take the geek out of the schatzi.

Diario stretches its 10 minutes in a misleading laidback groove: Sueno Latino languid clichés are blown away by a smoothly unforgiving acid line. This is a trip, not a journey, a trip dedicated to the young raver in all of us and to a friend too soon departed. As Pasolini said in the poem of the same name: “That’s why I've never abandoned happiness, that’s why in the anxiety of my sins I’ve never been touched by real remorse. Equal, always equal, to the inexpressible at the very source of what I am”

In other words, kids, keep faith out there.

Interstate debuts on Tilman’s imprint 'Pleasant Systems' for its third installment 'Autumn Loves EP'. Starting off with a balearic, yet uplifting summer house groove on A1 featuring Flying Solo on keys, 'Find Your Power' comes in with beautiful simplicity in every part. Followed up by 'Caught Slippin'' on A2, a groovy, old school-rooted garage house cut completes the A side. 'Ghetto of My mind' featuring RR introduces the B side with a §oor-¦lling, groovily slamming and deeply organ ¦lled 4-to-the-§oor club roller, while 'Revue' ¦nishes up the record with a heavily jazz infused, tripledtuned swing to get down to

WPH label boss Red D has always considered Adham Zahran to be the Moodymann/Theo Parrish of Egypt, so it is only fitting that for his second release on the label Adham joins the WPH U.S. Series ranks. His deep dusty house sound oozes soul and groove and this release is no exception.

Opening track ‘Flowing Green’ kicks off the E.P. with shining chords that will go down like a treat on any house dancefloor in the hands of the right DJ. ‘No Sorrow’ takes things more heady, but make no mistake, it kicks like the proverbial mule if you let it roam free. On the B-side we first have Detroit’s mainstay Brian Kage on remix duties for the final track ‘Picture Of The Tree’, providing that extra motor city funk we all love. The original finishes the proceedings in – dare we say it – deepest fashion to round off another quality outing from the WPH camp.

"The core of confusion and upheaval that drove some of the band's most fiery earlier work, however, is replaced by a more stabilized undercurrent, a mentality that's reflected in songs not afraid to try new things and honestly explore uncomfortable feelings. When combined with exciting production and songwriting choices, that mindset helps make Feels So Good // Feels So Bad one of the Shivas' best albums.” - AllMusic "Portland, Oregon-hailing psych-surf band The Shivas accomplish another time-traveling, reverb-ridden sound that refuses to get boring. Jared Molyneux’s guitar work knows when to be bright or bashful at the right times, breaking into guitar solos that possess a late-’60s groove… The Shivas seem to blissfully flourish” - Paste "a consistent treat for the ears” - The Vinyl District "Though the psych-tinged guitar riff that drives 'Feels So Bad' was written while The Shivas were still on the road, its lyrics didn’t fall into place until the band was well into lockdown, unsure of when they’d be able to return to their most imperative true love: Live shows... Accordingly, 'Feels So Bad' permeates with a sense of urgent desperation, building off a chugging prog-rock instrumental.” - Consequence (on “Feels So Bad”) "They hooked the audience with their throwback rock sounds. The guitar strums and rhythmic drum beats were layered atop smooth and hallucinogenic vocals. The eyes can tell the take at times and there was a sparkle there that said that the band members just love doing live performances." - California Rocker "This single layers on the fuzz but keeps it dreamy, with an especially sticky guitar riff sure to lodge itself in your brain with minimal effort." - Portland Monthly (on “If I Could Choose”) “'My Baby Don’t' translates the genuine vibrant joy


of the live experience into the studio, bringing the band’s ‘60s garage rock roots, sharp pop vocal harmonies, and fervent performances along for the ride." - Under The Radar "Perfectly straddling the line between a solid-head bopping track and an introspective deep cut, The Shivas’ 'Undone' is a rock & roll gem. The track sounds straight out of the late 60s and fits seamlessly in the Portland band’s electrifying catalog." - The Luna Collective "The first time I clicked play on this track, I knew it was a yes for me." - Ear To The Ground Music (on “If I Could Choose”) "The harmonies would make the “Happy Together” Turtles blush, but the unsettling guitar doesn’t shy away from the woollier implications of the ’60s." - Willamette Week (on “If I Could Choose”) "'Undone' is just the perfect song for the good days and the bad ones." - GlamGlare "another hit" - Austin Town Hall (on “Undone”) "one of the best forthcoming albums of the year" - Austin Town Hall RADIO: #3 Most Added @ NACC - 50 official adds BIO Every working musician has had their life turned upside down by Covid-19. For The Shivas, who had recently released a new LP and normally keep a rigorous touring schedule, it was a particularly screeching halt. “We were about to go to SXSW, the following weekend was Treefort in Boise, and then we were going to open for our friends’ band on tour in the US before going to Europe,” Jared Molyneux remembers. Then everything just stopped. They were faced with a dilemma. “It forced us to adapt or just quit,” Molyneux says. “The reality is that shows are our job.” In truth, live shows aren’t just The Shivas job: they are the band’s greatest love. Shivas shows are bombastic, explosive and thoroughly communal live rock and roll experiences where barriers between the performers and their audience seem to dissolve into the sweat and sound. The stage—or the basement, or the living room—that’s The Shivas’ true element. It’s their raison d’etre. It’s their religion. The band’s live urgency may have been born in 2006, when the band’s young members—who began booking West Coast tours while still in high school—waited without fanfare on sidewalks or in parking lots, before being rushed onstage for their sets at 21-and-up clubs. Maybe it developed a little later, as The Shivas blasted their way through Portland’s storied and unsanctioned mid-aughts house show scene. Whatever the origin of their famously kinetic live experience, it’s the show that keeps them coming back after over 1,000 performances spread over 25 countries in 15 years. In those 15 years, The Shivas have grown tight-knit as a group. Guitarist/singer Jared Molyneux, bassist Eric Shanafelt and drummer/singer Kristin Leonard have all been with the band since its earliest days; guitarist Jeff City, another high school friend, joined in 2017. Together they’ve learned to thread a seemingly impossible needle: They’ve honed and tightened their performances without sacrificing the element of surprise that makes each show special. And despite touring and recording for most of their lives, they speak about their project with humility, in the DIY vernacular of their Pacific Northwest upbringing. They talk up their own favorite bands, play all-ages shows as much as possible, and bring a sort of blue-collar humanism to the live performances they relish so much. “We just want to make people feel good,” Molyneux says. “We want them to forget they have to work tomorrow.” Kristin Leonard elaborates, “The live show is all about that feeling of catharsis—in ourselves and in everyone who comes out. We’re creating this safe space where we can all let go. Where we can exhale. And it feels really good when we are able to facilitate that.” So when Covid hit, the band knew it was time for transformation. After a settling realization that live music would be grounded for the foreseeable future, The Shivas booked significant studio time with Cameron Spies, who also produced the 2019 Dark Thoughts LP. They also transformed their lives: three of the band’s four members found work with a local nonprofit serving unhoused Portland residents. They became engaged in protests and fundraisers for social justice. They spent a whole summer actually living in Portland, settling into the city they had always called home, but that sometimes felt like a temporary stop between tours. “We got into a more community-minded headspace,” Leonard says. “And that did give us some purpose. It felt cool to see everybody come together to stick up for what they believe in. It feels like an incredibly formative last twelve months.” The album that emerged from this new moment finds The Shivas reborn as a band that seems seasoned and perfectly at home with itself. There is a calm, even a hopefulness, to Feels So Good // Feels So Bad that sounds new. The Shivas didn’t write or record the album with a particular theme in mind, but one seems to have emerged: where Dark Thoughts was about confronting your demons with fearless self-examination, much of Feels So Good // Feels So Bad is about what happens once you find that peace: how being honest with yourself changes your relationships and your priorities. “I do think it’s about acceptance,” Leonard says. “There’s a weird relaxation that comes with being at peace with things you can’t control or have regrets about.” Maybe that’s why the squealing, riff-laden break-up song opener, “Feels So Bad,” is such a shock to the system. But it’s more of an exorcism than a melodrama: more a song about not being able to do the thing you love (in


this case, playing live shows) than splitting with a partner. “It’s like part of you goes to sleep,” Leonard says. As bandmates who are also in a long-term relationship, Molyneux and Leonard know that their songs might be seen as glimpses into their personal lives, but their songwriting is rarely autobiography. Leonard compares their process to something more akin to screenwriting. “There’s bound to be some autobiographical material in there,” she says. “But the common denominator is the exploration of universal feelings: ones that everyone experiences or can relate to.” The goal is to use the music to drill down into something genuine and sincere, beyond genre or stylistic affectation. That’s where The Shivas have arrived. Whatever growth led the band to Feels So Good // Feels So Bad, plenty of their fascinations remain. They’re still turning love songs into psychedelic, transcendent epics. “Tell Me That You Love Me” subverts doo-wop extravagance and dabbles in Flamenco rhythms. “Rock Me Baby” is a bubblegum anthem soaked in so much reverb that we might just be hearing it from the stadium nosebleeds. “Sometimes” is almost impossibly huge, like a witchy outtake from the Brill Building era. Those songs feel like logical expansions from a band that has always excelled at a timeless sort of rock and roll that tinkers with and explodes elements from every era. But on the towering and mournful “You Wanna Be My Man,” a slow-burning six-minute shoegaze prayer for a higher sort of love, there is a level of emotional nuance that feels like something altogether revolutionary. It’s there again in the stripped-down vulnerability of the album-closing elegy “Please Don’t Go.” Yes, Feels So Good // Feels So Bad is an album about acceptance. Sometimes that acceptance feels enlightened and sometimes it feels like the end result of a lot of kicking and screaming. The Shivas have adapted in both of those ways. With new tours scheduled and a new album on the way, they’re still hoping--like all of us--for a new era of vibrant, cathartic live music. The lessons they learned from having their normal upended, though, have only helped them grow

Modern metallers DAGOBA are back! After putting their stamp on the metal scene with a unique blend of metal and neckbreaking grooves, relentlessly touring and sharing the stage with legendary acts like Metallica, Machine Head and In Flames, DAGOBA have signed with leading Austrian metal label Napalm Records and are prepared to hit the next level. The French four-piece returns with the band’s most ambitious material yet: punishing vocals, groove and modern metal infused guitars and hard-hitting production shows DAGOBA on top of their game, pushing boundaries and incorporating electronic elements seamlessly into a unique modern metal formula. Vocalist Shawter impresses with a high variety in his singing by covering a wide span from intense and deep growls, strong shouts and precise clean vocals. The album starts off with an electronic intro that bursts into the massive attack „The Hunt“, that has already been released in July 2021 as a standalone single and includes all the significant trademarks: melodic passages with clean vocals alter with intense breakdowns and all of this underlined with electronic elements. This mixture leads to a catchy sound as showcased on the dramatic „Bellflower Drive“ or the melodic „City Lights“. Furthermore the sound of DAGOBA stands out for dominant drumming that oscillates between double bass, blast beats and forward going up tempo drumming as it occurs on „The Last Crossing“ or „Sunfall“. Between all the action, there is also space for calmer parts such as the interlude „Break“ or the track „On the Run“ that begins with female vocals that gradually build up into another hymn lining up brilliantly with the other songs of the album. DAGOBA manages the balancing act between harsh breakdowns, dense soundwalls and grooving passages with ease. Even on its hardest passages, the album never gets too enigmatic - quite the opposite: One smashing track is followed by the next, the record just flies by and leaves no time to breathe. By Night is a beast of an album showcasing how far DAGOBA can take electronic influences on the upcoming material – a must-have for true fans of modern metal! alone!

"It’s a voice that soars –pure, clear and true —above bass and synths, traditional percussion and infectious Mande guitar grooves. A stop-you-in-your-tracks voice instantly familiar to anyone in Mali, West Africa: Rokia Koné, aka the Rose of Bamako. On her debut international release, she’s teamed with Irish-born, California-based rock producer Jacknife Lee —and reimagined the Malian sound in ways leftfield and ground breaking.
BAMANAN is a collaboration that connects the great ancient kingdoms of Mali and the bustling modern street life of its capital, Bamako to a remote recording studio nestled within California’s Topanga Canyon. That bridges deep tradition and forward-facing innovation. One of Mali’s most beloved and dynamic artists, Rokia Koné is a force to be reckoned with. Her captivating performances in the city’s local maquis clubs very often last for hours, as Koné runs the gamut of emotion from joy to despair, fury to tenderness, wielding that astounding voice with grace and power. In 2016, she joined feminist supergroup Les Amazones d’Afrique and made her debut on an international stage alongside the likes of Oumou Sangaré, Angélique Kidjo and Kandia Kouyaté. Jacknife Lee is the acclaimed producer of bands including U2, R.E.M and The Killers, and has a Grammy for his work on Taylor Swift’s multi-million selling Red. Stadium-sized soundscapes are his speciality. Yet BAMANAN finds Lee upholding the stark beauty of Rokia’s voice with subtlety and sensitivity. Every nuance and breath is heard, each inflection and melismatic improvisation carefully preserved on this exciting debut."

Castor recordings is a Belgian record label that brings you a varied offer of Progressive House - Techno - Trance Music.

EQ-Noxx - Secrets
First release from this Belgian talented producer, Secrets has a deep driving bassline with a strong "saxophone anthem" and catchy bells, floorfiller with summer Ibiza vibes.

Pollux - Trigger
First one on his own Castor label, Trigger has catchy bassline and great melodic tune, this track represents "the style" Castor Recordings is in to.

Pollux - feat Alain Faber - Tam Unanimem
Collaboration between the 2 founders of the label. This one's got a great vibe, deep groove and a Massive lead tune. FAT !

Pollux - Gemini
Progressive trance track from Pollux, some nice arpeggiators melodies floating on a deep pumping bassline, pushing you on to the dancefloor.