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For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London’s dance scene, from where it has ricocheted around the world.

Having conducted the first and set of major interviews with David Mancuso of the New York City Loft, Lawrence started to host Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In February 2004 he published the first of three published three pioneering histories that have excavated and championed the previously overlooked foundations of contemporary party culture: Love Saves the Day: A History of American Dance Music (1970-79), Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene (1973-92), and Life and Death on the New York Dance Floor (1980-83). Since 2018 Lawrence has hosted and DJed at the community audiophile party "All Our Friends. Paper Magazine describes him as the “reigning authority on the history of dance music in New York”.

With knowledge to share, and a readership as well as a dance floor to feed, Lawrence released Life and Death on the New York Dance Floor as the debut imprint on Reappearing Records. A year in the making, a compilation featuring rare and iconic tracks that appear in his much-loved and heavily-thumbed classic Love Saves the Day amounts to the follow-up. The collection features several tracks selected regularly by Mancuso, the party host who exerted a prophetic and unparalleled influence on New York City party culture, as charted by Lawrence. It also includes choice picks from groundbreaking DJs such as Michael Cappello, Steve D’Acquisto, Francis Grasso, Richie Kaczor, Larry Levan and Nicky Siano, whose expressive contributions are faithfully recorded in Love Saves the Day. The compilation traces how disco grew out of the record collections and intuitive sensibility of these and other DJs, offering a unique survey of the era’s expansive sonic palette.

Marion formed in Manchester in 1994, releasing their debut single on Rough Trade. Signed to London Records, the band found themselves bundled in with the ‘Britpop’ scene, and made their national TV debut
by performing ‘Sleep’ on Channel 4’s cult TV show ‘The Word’ in February 1995. The band gigged throughout 1995, building up a fan base, and supported Morrissey on his ‘Boxers’ tour. This World And Body was released in February 1996 and entered the top ten of the UK album chart. Demon Records is proud to present a new edition of This World And Body, pressed on 180g heavyweight translucent gold vinyl. This exclusive version includes a print of the album artwork, hand signed by Jaime Harding and is strictly limited to 500 copies worldwide.

Fantastic first album of Tunisian producer Azu Tiwaline, melting psychedelic dub, industrial and hypnotic techno deeply rooted in her berber culture, supported by Lena Willikens, Nicola Cruz, Toma Kami and Violet, to name a few!

Azu Tiwaline is a new name for a new spirit: one of a producer inspired by the need to explore her origins, rooted in the Tunisian Sahara. The Call to a different sound, organic and raw, vibrating in the great spaces of the African desert where trance music resonates... Ecstatic ritual.

Her first album, Draw Me A Silence, conceived as a diptych, reveals the multiple facets of her identity. Uniting the bonds that connect Berber music, dub culture and techno hypnosis, Azu Tiwaline invites us to refocus on our senses and our Nature. She knows how to use contrasts between light and the invisible, exploring the complexity of our emotions and the mystery that emanates from them, in a polyrhythmic chiaroscuro that runs through each one of her tracks, and of which we discover, as we go along, all the outlines.

Draw Me A Silence Part. I (to be released in February 2020), delivers the most hypnotic variant of her music, centered on dark percussive rhythms and a skillful use of repetition; each of the 5 tracks ineluctably carrying the listener into a trance. Two major tunes particularly illustrate the artist's imagination: "Itrik" and "Berbeka", perfectly synthesizing the heritage of Berber trance music and her techniques derived from minimalist and repetitive electronic music.

The continuation, Draw Me A Silence Part. II (to be released in April 2020), gives prominence to a deep heritage drawn from the dub culture and its numerous bass music filiations. This second part thus gives a new breath in the use of sound space, exploited in a much broader way, leaving all their space to complex syncopated percussive lines, supported by massive basslines dedicated to the best sound-systems. Omok, the first of the five tracks of this Part II is the perfect demonstration of this, playing here the essential role of a bridge to the darker waters of this album's end.

Each of these two parts exist as an Entity, and it is only when they are united that they will reveal their full meaning. Thus, in May, Draw Me A Silence will find its final form in a double-vinyl unifying them. Listening to this album in its entirety offers us a wide panorama of the sound landscapes visited by Azu Tiwaline, who seems to breathe primitive sounds of a faraway desert into a music with modern tones - and vice versa. A resolutely hybrid sound and a singular experience, playing with contrasts and nuances to catch the listener in vast and so far unexplored territories.

The collaboration between Gino Pavan and Guido Frezzato began in 1995, with the creation of the soundtrack of Giancarlo Marinelli's movie "Scano Boa - Dannazione".

Gino Pavan recorded and produced, in his own "Noi Studio", the music of Frezzato, then given to an ensemble of 15 musicians, among them a strings quintet, and the folk ensemble Marmaja, along with the ethnic suggestions of the percussions by African Brothers. In the following two years, their collaboration would lead to the production of two albums for African Brothers: "N'der Tangana" and "Voodoo".

Followed by the soundtrack of "Alla ricerca dell’uno” (Searching for the One) with the musicians of the Compagnia dei Popoli, and the music for the dance-theatre performance of Belgian dancer Thierry Parmentier. Also worth mentioning, the album by Luca Xodo & Frezzato "Didjeridu", later to be used as a soundtrack for the movie "Case" (Homes) by Rodolfo Bisatti (Ipotesi Cinema). After twenty years spent piling up autonomous musical experiences, Pavan offered Frezzato to try their hands at a musical project that sees them, for the first time, composing music together.

The result is the "NOT LINEAR" project, a musical dialogue between electronics (Pavan) and acoustic instruments (Frezzato), using an "online" form of composition.

Recorded in separate locations, between December 2017 and February 2018 and subsequently mixed at "New Frontiers” studio by Ugo Bolzoni, "NOT LINEAR" collects, within these first 6 tracks, the fruit of this artistic collaboration.

"NOT LINEAR" is enriched by the collaboration of Pavan and Frezzato with two internationally-acknowledged, exceptional artists such as Giulio Aldinucci and Eraldo Bernocchi, each one interpreting a track of their choice out of all those initially selected out of the studio sessions, in a furrow of continuity of the "non-linear" concept that inspires this work. NOT LINEAR design has been curated by renowned visual artist Petulia Mattioli.

Sepultura’s acclaimed 1989 album, Beneath The Remains, marks the band’s major label debut on Roadrunner. Widely regarded today as a thrash-metal classic, the album perfectly distilled the Brazilian band’s potent mix of piercing melodies and pummelling rhythms.

In December 1988, brothers Max (guitar/vocals) and Igor Cavalera (drums), Paulo Jr. (bass) and Andreas Kisser (guitar) recorded Beneath the Remains in Rio de Janeiro, Brazil with producer Scott Burns. Soon after it's release in April 1989, the album was hailed by fans and critics alike for standout songs like “Inner Self,” “Primitive Future” and the title track. The album has been remastered especially for this collection.

The Deluxe 2CD Edition also features nine unreleased “mixdown” recordings taken from the Beneath the Remains sessions at Nas Nuvens Studios in Rio de Janeiro. Highlights include versions of “Lobotomy” and “Mass Hypnosis,” as well as instrumental versions “Slaves Of Pain” and “Sarcastic Existence.”

The studio tracks are complemented by unreleased recordings of the band performing live on September 22, 1989 at the Zeppelinhalle, West Germany. The concert features songs from Beneath the Remains (“Primitive Future” and “Inner Self”) and the band’s previous albums (“Troops Of Doom” and “Escape To The Void”), along with covers of Black Sabbath’s “Symptom Of the Universe” and the Dead Kennedys “Holiday In Cambodia.”

Founded by the Cavalera brothers in 1984, the group recorded two full-length albums – Morbid Visions (1986) and Schizophrenia (1987) – before signing with Roadrunner Records in 1988. Since then, Sepultura’s dynamic studio recordings and intense live performances have earned it fans everywhere.

The current version of Sepultura (Derrick Green, Paulo Jr., Andreas Kisser, Eloy Casagrande) released a new album, Quadra, on February 7 and will tour the U.S. this spring. Former members Max and Igor Cavalera – who perform together in the band Cavalera Conspiracy recently completed a sold-out European tour in December 2019.












k 2) Inner Self (Mixdown) Instrumental
[l] 3) Stronger Than Hate (Mixdown) [Instrumental]


[o] 1) Sarcastic Existence (Mixdown) [Instrumental]
[p] 2) Slaves Of Pain (Mixdown) [Instrumental]

[r] 4) Hungry (Mixdown) [Instrumental]

In 2016 Patrick Doyle relocated from London to LA, midway through writing his new album – the follow up to his recent acclaimed release as Boys Forever. The self-titled Boys Forever album was Patrick’s debut as a solo artist after years of playing in well-loved indie bands including Veronica Falls, The Royal We and Sexy Kids.

On moving to LA he continued working on the songs for his next record – emailing them to Helen Skinner (who toured as a member of the Boys Forever three-piece live band, and now plays in Barry) who added a bass line to the songs and sent them back to Patrick. They continued to finish writing the record via email and in February 2017 Helen joined Patrick in LA to record Keeping Up Appearances. They recorded the album over four days in February 2017 at LA’s Golden Beat Studios – with Patrick once again teaming up with Andrew Schubert who produced Boys Forever.

"Annual Flowers in Color" is an absolutely gorgeous, perfectly weathered, subtly strange record. It's exactly the thing you're thinking of when you think "I want to hear really killer polysynths and tape delay" but it's also much more, glistening with distended reflections of Steve Roach and Stapleton, ringing with simultaneous sublimated echoes of the dorkiest and most expensive French mellotron prog and the most incandescent cheap heat from the $2 exotica bin, and dripping with the "as above, so below" that characterizes synthesizer records at their best. It's both a welcoming point of entry for the uninitiated and a sticky, seductive cut deep enough to envelop any heads seeking a way station on the search for the apocryphal second volume of Cosmos Farm Sessions.

Chris Madak Philadelphia, February 2020

Originally released in the UK on 15th February, 1980 ‘ALABAMA SONG’ was initially written as a poem by Bertolt Brecht in 1925 and was put to music by Kurt Weill for the 1927 play Little Mahogany.

David Bowie was a longstanding Brecht fan and included the song in the setlist for his 1978 Isolar II tour. The studio version of ‘ALABAMA SONG’ on the A-side of this release was recorded on July 2nd 1978, the day after the final show of the European leg of the tour, at Tony Visconti’s Good Earth Studios in Soho, London.

The AA-Side features two previously unreleased tracks; A rendition of “Heroes” track ‘JOE THE LION’ recorded at the soundcheck of the tour’s final Earls Court show on the 1st July 1978. Though rehearsed for the Isolar II tour ‘JOE THE LION’ would not make its live debut until the Serious Moonlight tour of 1983.

The second track on the AA-side is a live version of ‘ALABAMA SONG’ also recorded July 1st 1978—a different performance than the one featured on the live album Welcome To The Blackout.

"QUINZE" -"fifteen" in Catalan- is the title of the new release from Barcelona’s Lapsus Records. Lapsus celebrates its fifteenth anniversary with the launch of a new compilation comprised of today’s most compelling, experimental and ground-breaking electronic music. Fifteen unreleased songs from artists that best define the Lapsus sound: Attraktta, Chevel, Gábor Lázár, Gacha Bakradze, Johanna Knutsson, Karen Gwyer, Leif, Machine Woman, Patricia, Pye Corner Audio, RRUCCULLA, Steve Hauschildt, Telefon Tel Aviv, The Belgium and Ylia. "QUINZE" will be released in late February and two different versions will be available: A standard double LP edition; and a collector's edition LP packaged inside a bespoke cement case of which only fifteen units will be manufactured.

Following the release of his highly praised debut album ‘Into Clouds’ at the start of 2019, prolific San Franciscan producer Luttrell returns with his second studio LP ‘Lucky Ones’; forthcoming on acclaimed UK imprint Anjunadeep, February 2020. Luttrell embarks on a North American tour in April 2020 with global dates to be announced.

Theo Kottis continues his impressive run of form with the sublime ‘Nothing To Lose’ EP, released on his own Beautiful Strangers label on March 13th.

Following an Annie Mac’s ‘Hottest Record in the World’ accolade for ‘Turning Around’, a brace of Mixmag’s Big Tunes and 10/10 reviews in 2019, plus support from many leading tastemakers and DJs, Theo Kottis shows why he is one of the UK’s most exciting producers and regarded as ‘one to watch’ for 2020.

The three-track ‘Nothing To Lose’ EP includes everything from club focused sounds to smooth, soulful melodies. Carefully crafted, the title track ‘Nothing To Lose’ is ready for the dance-floor and described by Midland as “sounds like Floating Points making a record for Afterlife!”. '12 Months' mixes arpeggiated synths with pads and breakbeats to create a perfect peak-time moment. The more chilled sounds of 'Loyal’ showcases Theo Kottis’s impressive range, offering up another stellar groove.

With a forthcoming date at Berlin’s iconic Panorama Bar (22 February) and a Gerd Janson remix of ‘Turning Around’, 2020 is off to an excellent start for Theo Kottis.

First single from Monophonics' new album "It's Only Us".
This is the first new material from the group since their 2015 album "Sound Of Sinning" and they're picking up right where they left off, blending authentic soul with hints and leans of psychedelic elements as well. And on the heels of Kelly Finnigan's debut solo record, the group just continues to get stronger and stronger with regard to production and songwriting. This 45 of "Chances" hits stores on February, 21th and their new album will be out on March, 13th.

Features the extraordinary 1967 Smothers Brothers TV show version of My Generation.

The Distillers are excited to announce that the physical version of their 2018 single "Man vs. Magnet" b/w "Blood In Gutters" will be released on February 14, 2019 via Third Man Records. This vinyl 7', pressed at Third Man Pressing in Detroit, is the first chance to own new music from The Distillers in over 15 years.
To call The Distillers simply a punk band doesn't do justice to either the band or the word "punk'. Guitarist, lyricist, and vocalist Brody Dalle, uses her medium as a platform for a higher plane of visceral lyricism and independence. Few modern day punk icons have not only embodied the genre so truthfully but also transformed the depth of what it can mean so thoroughly. Originally formed in 1998 in Los Angeles, the energetic band, with Dalle at the helm, released a string of damaged and powerful albums, EPs and singles with California punk labels Epitaph and Hellcat, then released their third masterpiece of an album, Coral Fang, on Sire before going on an untimely hiatus and ultimately splitting in 2006. After breaking a 12-year silence on social media late last year, these two new tracks from the group are a triumphant return for their rabid and devoted fanbase.
'Man vs. Magnet' kicks off with crashing drums, thumping bass and melodious guitar, before transforming into a rough-and-ready punk anthem. The b-side 'Blood in Gutters' is full of a wistful, wild energy from start to finish, with Dalle's raw vocals gleaming as the chorus hits. Third Man is honored to be a part of The Distillers' continuing legacy by releasing the physical version of this single.

Now available in February with a big price reduction. Split Coloured Vinyl (Clear & “Schoolly D Yellow”). Olly was a musician, drum-programming wizard and force of nature, and he would go on to shock the world with his in-your-face approach to making music – as bombastic lyrically as he was musically. He simply gave no f*cks, and listeners were drawn into his street-influenced vortex of “b-boy rhyme and riddle.” As noted in the liner notes to this special release:
“The demand for “P.S.K.” was so large that nationwide bootlegging was a major distribution avenue, albeit an unpaid one. ‘Those bootleggers made me big because, when it came down to it, I didn’t have the money to get the records out there,’ Schoolly says.

‘The person who helped me figure that sh*t out was Luke Luther Campbell of 2 Live Crew and Luke Skyywalker Records. He took me all over Miami and showed me all the different bootlegged versions of my own records. It was crazy.’” On the flipside of “P.S.K.,” Schoolly gave the world another classic: “Gucci Time.” Flexing brutal brag muscles, it was another gangsta masterpiece, furthering his legend and bringing even more 909 boom to the still expanding rap world. The opening lines are still quoted by scholars of the game today: “Lookin’ at my Gucci/It’s about that time.”

Get On Down presents this classic for the first time in deluxe form, which is also fully Schoolly-approved: a custom 12-inch sleeve adorned with Schoolly-D’s famed artwork; unique split clear & yellow vinyl; a liner notes insert featuring Schoolly’s own look back on the year 1985 as told to author Brian Coleman; and a unique sticker sheet with 8 images taken from the artwork on this 12-inch cover (which was first seen on his early 12-inches, as well as his 1985 Schoolly-D EP and 1986’s Saturday Night: The Album).

"Me Against the World" is the third studio album by 2 Pac, released on 14th March, 1995 by Out Da Gutta/Interscope Records. Drawing lyrical inspiration from his impending prison sentence, troubles with the police, and poverty, the album is described as being 2 Pac’s most introspective album

Released while 2 pac was imprisoned, the album made an immediate impact on the charts, debuting at number one on the US Billboard 200. “Dear Mama” was released as the album’s first single in February 1995 and would be the album’s most successful single, topping the Hot Rap Singles chart, and peaking at the ninth spot on the Billboard Hot 100.

"Me Against the World" won best rap album at the 1996 Soul Train Music Awards. In 1996, at the 38th Grammy Awards, Me Against the World was nominated for Best Rap Album and the single “Dear Mama” was nominated for Best Rap Solo Performance.

Touted as “confessional,” “reflective,” and “soul-baring,” Me Against the World was as one of 2pac’s most positively reviewed albums,
with many calling it the magnum opus of his career.

The work is considered one of the greatest and most influential hip hop albums of all time. In 2008, the National Association of Recording Merchandisers, in conjunction with the Rock and Roll Hall of Fame, recognized 'Me Against the World' as one of the “most influential and popular albums,” ranking it number 170 on a list of 200 other albums by artists of various musical genres.

We are proud to welcome Fear-E for his Dark Entries debut ‘Grey Skies In A Dear Green Place’ out February 28th. Fear-E is the moniker of Scott McKay a Glasgow based DJ and producer. Scott has already made a name for himself as one of Glasgow’s most technically-gifted and diverse selectors over the past decade. Then a slew of releases on the home-grown Dixon Avenue Basement Jams and Super Rhythm Trax introduced Fear-E, equally skilled studio operator, to the world.

‘Grey Skies In A Dear Green Place’ contains six club-ready tracks to “smash sound systems and illuminate sweaty warehouses.” The title is a reference to a nickname that Glasgow has, coming from Cumbric, means 'green hollow' or (dear) 'green place'. Layering cut-up vocals with warm thumping beats, Scott creates a stripped-back yet deeply jackin’ vibe. Call these tracks what you will, “acid attacks”, “club destroyers”, “pickle ticklers?!” All songs have been mastered by George Horn at Fantasy Studios. For the cover, Scott commissioned legendary Detroit illustrator Alan Oldham, who’s artwork has graced established an identity for Transmat and DJAX-UP-BEATS, to create a futuristic portrait of Glasgow in black & white and with green kryptonite flourishes by Eloise Leigh.d

'A product of living in an age where texture can make you dance, and popular music innovates for an audience with ears wide open' NPR
Nearly two years have passed since Niklas Paschburg presented his critically acclaimed debut album 'Oceanic' in February 2018. Niklas' musical ideas have crystalized and become cogent through a combination of extensive live performance - playing over 100 shows in the last two years - and experimentation in his Berlin Studio.
Written between 2018 - 19, his second album 'Svalbard' will be released in February 2020 via 7K!.
Niklas' use of the piano; electronics (synth and computer) and his Grandfather's piano accordion allow him to communicate via a number of musical traditions and languages. This versatility has allowed him to work on a variety of projects ranging from an inspired reinterpretation of Bach's Preludes in C Minor ("Blooming"), to well received remixes for pop artists such as RY X and Asgeir.

States of Fugue SF02 is the adventurous & uncompromising new record from Zoë Mc Pherson. It follows the success of her critically acclaimed 2018 album String Figures SF01, an audiovisual project that earned her invitations to perform around the world.

States of Fugue SF02 also inaugurates her new hybrid label SFX, a collaborative project with fellow multimedia artist Alessandra Leone. The label presents an opportunity for the pair to fully embody their creative vision whilst building bridges between, and for practitioners working at the intersection of different creative fields.

Zoë Mc Pherson's recent recorded work includes collaborations with Rupert Clervaux and Christina Vantzou, and a remix for Contagious, which was released on Rabih Beaini's Morphine imprint. SoF features collaborations with Elvin Brandi and dutch free improv scene singer Greetje Bijma, a cast which reveals Zoë's punkish & deviant taste and who's vocal work provides moments of both ballistic & mystic power.

Brandi features on Learn Ur Language with a rabid diatribe, somehow flowing through Zoë's staccato barricades. On album closer Bug, Greetje's alien annunciations are neatly vaporised into the year 3000.

The album relentlessly toys with typical dance music meter, creating complex organic structures that activate forgotten muscles in those exposed at sufficient volume, puppeteering the obedient dancer into new patterns of movement. Tenace is the prime example, where wormhole rhythms pull you in with the gravity of an unknown planet.

The album within it's singular feeling for electro-naturalism is rich in humanity and personality, aided throughout by the diverse terrain of Zoë's voice - a tool she uses for full spectrum expression, from whispers to screams. With the launch of SFX and a clutch of multimedia collaborations alongside, we are witnessing her evolve in all directions.

SFX is a new hybrid label from Zoë Mc Pherson and Alessandra Leone. After collaborating for three years on their multimedia String Figures project, the label will build on this foundation, continuing to develop and release objects and experiences across various mediums.

The labels first release will be Zoë Mc Pherson's sophomore LP
States of Fugue, released February 20th 2020.

WE JAZZ RECORDS presents ' Pu: ', the boundary-breaking solo debut of bass player Ville Herrala, to be released on 21 February 2020. Utilising only the double bass but looking at the instrument from various different perspectives. The end result is an inspired set of 14 miniatures, each pushing the concept forward in a highly personal way.

The first single "Pu: 12" presents a rhythmic approach with echoes of from the world of minimal classical music and electronic music. Bowed tracks such as "Pu: 2" offer another perspective, as does the second single "Pu: 10", going back to the essence of the instrument and opening new doors while doing so. Each of the tracks is a compact musical adventure unto it's own.

Ville Herrala (b. 1979) is one of the most higly-regarded bass players working in the Finnish scene. He's known from the ranks of such top ensembles as PLOP, Jukka Perko Jazztet, U-Street All Stars, Jukka Eskola Orquesta Bossa and UMO Helsinki Jazz Orchestra, to name but a few.

AFU-RA comes back with the project "Urban Chemistry" mixing Hip-Hop, Reggae and Soul, produced by Digital Cut, to be released in February 2020 on X-Ray Production. On this new album, AFU-RA has invited one or more guests on each of the 18 tracks such as Sizzla, Jah Mason, Keny Arkana, Lord Kossity, Big Shug or Mann... Thanks to an exclusive collaboration with the brand Canna, all songs have been filmed in 15 cities in 8 different countries.

Hailing from the New-York underground Hip-Hop scene, AFU-RA has sold more than 700,000 copies of its first 4 albums. Through these projects, he has collaborated with many artists such as Guru and DJ Premier but also Wu-Tang's RZA and GZA, Ky-Mani Marley, Saian Supa Crew ... to name a few. Over the years, the former member of the Gang Starr Foundation has created a style of his own: striking flows on militant and conscious lyrics and a visual universe inspired by martial arts.

London-based folk-psych-country band The Hanging Stars return with their eclectic third studio album, A New Kind Of Sky, due out on 21 February 2019. Carrying on their exploration of transatlantic psychedelic folk and cosmic country, the new album blends twelve-string, harmony-laden lullabies with soft rock anthems to create a guilded box of bucolic folk-rock. As well as the band’s signature wistful pastoral escapism, there are lyrical concerns about the recent past; the systematic division of people, values, facts and humanity in The West in general - and the UK in particular. The band weave the same thread they have always woven but this time with a more unified vision, creating a kaleidoscopic poncho for these times.

The Hanging Stars comprise songwriter, singer and guitarist Richard Olson, Sam Ferman on bass, Paulie Cobra on drums, Patrick Ralla on guitars, keys and vocals, and renowned pedal steel player Joe Harvey-Whyte. Returning guest Collin Hegna from Brian Jonestown Massacre plays an instrument called a Marxophone on “Choir of Criers”. They also welcome Sean Read of The Rockingbirds and Dexy's Midnight Runners, who adds horns to “Three Rolling Hills” and “I Was A Stone”.

The main bulk of the recording for the new album was done live in the studio at Echozoo in Eastbourne with Dave Lynch. For the first time, the band decided to dive straight in to the recording studio following their German tour in 2018. Having lived in each other’s pockets and playing their new songs every night, the band were as tight and primed as they could possibly be. There ensued a few, very long, days of recording, capturing the essence of the band in their element.

The songwriting process was even more collaborative for this album, with the usual co-writes between Richard Olson, Sam Ferman and Patrick Ralla enhanced by Joe Harvey-White’s arrangements and Paulie Cobra’s harmonies. The biggest difference is that Sam Ferman sings lead on the first single “‘(I’ve Seen) The Summer in Her Eyes”, a song about lost love and self doubt channeled through two and a half minutes of garage pastoralism.

The album’s title track “A New Kind of Sky” tells a story from the point of view of somebody who idealises a past that never existed. The band go glam-rock on the stand-out track “I Will Please You”, a tale of a cult leader/world leader and his irresistible (for some) charm from the point-of-view of his most recent victim and “Heavy Blue” is a country music tale of drunken debauchery seen through the eyes of an inexperienced young man. The triumphant trumpet-driven song “These Rolling Hills” is a minor-key tale of a journey into the hills of Marin County, California undertaken by Paulie and Richard to visit friends Asteroid No. 4, with a most interesting outcome.

The Hanging Stars released their debut album Over the Silvery Lake in 2016, which received plaudits from broadsheets such as The Times, who described it as; "An album with enough of a hazy, sun-dappled charm to make the capital's dreariest weather bearable”, as well as The Guardian, who said; “Mersey-laced harmonies and just a whiff of the Gun Club.” They picked up a good amount of support at 6 Music and “The House on the Hill” scored a much-coveted 10/10 by John Robb on Steve Lamacq’s Roundtable.

Their second album Songs For Somewhere Else in 2017 received critical acclaim from the likes of Uncut (Revelations article), Shindig (several features and 4* review) as well as The Quietus and The Line Of Best Fit, plus radio support from Gideon Coe and Bob Harris (they performed an Under the Apple Tree Session for Bob Harris in January 2019).

Whilst playing their own successful sold-out headline dates, the band were invited to share the stage with Teenage Fanclub, The Clientele, Wolf People, The Long Ryders and GospelbeacH, as well as playing festivals such as Liverpool’s International Festival of Psychedelia, Red Rooster, Ramblin' Roots, UK Americana Festival and The Long Road.

Bram De Looze is a Belgian pianist and composer whose distinct musical vision has found its way through both solo projects and collaborations. His unique technical skill and musical maturity have earned him considerable critical acclaim back home as his work spotlights his far-ranging interests - from traditional classical piano music, to solo improvisations that have often been compared to Keith Jarrett and Jason Moran. On the 21st February 2020, Sdban Ultra will release his highly anticipated new solo album, 'Colour Talk'.

De Looze made his entrance onto the national jazz scene with LABtrio, formed in 2007 with Anneleen Boehme and Lander Gyselinck, and he immediately impressed, flirting with urban jazz, electronics and hip hop.

After a period of studying abroad at the New School for Jazz and Contemporary Music in New York, where he studied with Uri Caine and Marc Copland, in 2014, De Looze launched the international septet, Septych, that once again stressed his affinity for jazz, classical music and improvisation. With diverse and astounding improvisors like Daniel Levin, Lester St-Louis, Robin Verheyen, Gebhard Ullman, Bo Van Der Werf and Flin Van Hemmen, it was the start of an explorative musical journey.

Over the past few years, De Looze could frequently be heard with kindred spirits like Stephane Galland, Dre Hocevar and Antoine Pierre but it was a visit to the historical collection of pianofortes of Chris Maene that inspired De Looze to release his first solo album 'Piano e Forte' (2017), and it received critical acclaim for its creativity, spontaneity and passion. He would later garner further acclaim working alongside fellow Belgian Robin Verheyen and American rhythm painter Joey Baron with whom he recorded 'MixMonk' (2019), a tribute to the legendary jazz pianist Thelonius Monk.

Bram De Looze's solo career took off in an unexpected way with 'Piano e Forte', a project for which he approached historical instruments from a contemporary perspective. The switch to the Chris Maene Straight Strung Grand Piano for 'Switch The Stream' (2018) indicated a renewed search for movement, evolution and introspection. His latest solo project 'Colour Talk', continues this trajectory with another revolutionary piano model, designed by lauded architect Rafael Vinoly, and a continued attempt to renew from within.

On 'Colour Talk', what you hear is a musician who has freed himself from stylistic constraints and limitations. While still rooted in jazz, classical music and free improvisation have found a new balance, a coexistence that enables the pianist to express himself with a new vigour. Switching between shorter pieces that feel like curious, unresolved puzzles and more extended explorations, 'Colour Talk' is once again an ode to (re)invention in the grey zone were the classical idiom and improvisatory urges meet, with the 13-minute tour-de-force of 'Hypnosis' as one of several undisputed highlights.

If you asked De Looze about his current position as an artist, he would probably tell you that it's all about forward movement and the need to keep evolving, about a trajectory as work-in-progress. However, if you consider 'Colour Talk' as a freeze frame of where De Looze is at, it is hard not to consider it a highlight in a career that should have some more surprises in store.

Succeeding last year’s collaborative single ‘Feel My Butterfly’ which saw Chicago house DJ/producer Parris Mitchell and Siberian producer-singer-songwriter Nina Kraviz go head to head via Riva Starr’s Snatch! Raw and Dance Mania, February 21st sees the two labels combine once more for a special, two-sided remix package of the stellar ghetto house track featuring reworks from the likes of Jamie Jones, Dance System, DJ Deeon, Radio Slave and DJ Slugo.

‘Feel My Butterfly’ stemmed from Nina Kraviz’s trip to Chicago where she met with Dance Mania’s label crew including their influential selector, Parris Mitchell. The track was birthed from a bout of rare collaborative studio sessions and is their first official release together - their only previous encounter being in 2014 when Kraviz remixed Mitchell’s ‘The Track Stars’, on Berlin-based label Deep Moves.

Assembling a handful of some of the most prominent names in modern dance music, Snatch! Raw teams up with Dance Mania once again to now present a comprehensive remix package of the duo’s acid-laden, dancefloor-ready masterpiece. Providing a touching tribute to the late influential American house artist and Wallshaker Music founder, Aaron Carl, the illustrious Welsh house DJ/producer Jamie Jones kicks things off by inflaming the track’s heavy bass and percussion by adding his own laser-style synths and atmospherics.

Reinforcing ‘Feel My Butterfly’ with helpings of meatier, old school house rhythm, the second remix sees London’s Dance System team up with Chicago house pioneer DJ Deeon to provide the track with some well-placed elevated pace and precision. On side B, the British-born Berlin-based DJ, Radio Slave takes more a of stripped back approach by opting to just few vocal snippets from the original and setting them to a tougher techno-infused aesthetic, whilst on the final rework, Chicago’s ghetto house spinner DJ Slugo redefines Kraviz’s hypnotic vocal lead.

Tim Digby-Bell, Peter Kriek and Ariaan Olieroock are Cubicolor. In 2016 they released their debut album ‘Brainsugar’ via acclaimed independent label Anjunadeep. Accumulating over 40 million streams, the album won praise from Mixmag, Resident Advisor, Consequence of Sound and DJ Mag, who described it as “a startlingly accomplished debut” in their 9/10 review.

Originally an electronic duo comprised of Dutch producers Ariaan and Peter, Cubicolor became a three-piece band with the arrival of British singer-songwriter Tim in 2015, after collaborating on breakthrough single ‘Falling’.

A published poet and playwright, Tim’s musical upbringing was rooted in playing guitar and listening to Nick Drake. Combined with Ariaan’s encyclopedic knowledge of electronic music and Peter’s love of late romantic classical, created what Clash described as “a beautiful, haunting fusion of ideas.” In 2018 the band delivered, and then shelved, their second album…

“It had twelve tracks, a different name, all the artwork was done and a date was set for it to be released. We got home and listened to it, then called each other and decided to drop the whole thing. The next week we went back into the studio and started again.

We loved the record we made but for some reason, it didn't feel right, so we didn't keep anything, we shut ourselves on the boat in Amsterdam where we work and didn't stop until we'd written a new album.” A year after going back to the drawing board, the trio now presents ‘Hardly A Day, Hardly A Night’.

Inspired by the cycles of time, and the cyclical movements of the planets, the new 12 track record weaves together themes of loss, hope, and acceptance. “There were a lot of moments when we weren't sure we'd ever find what it was we were looking for. On the way, we lost friends, lost loves, battled health issues, lost an album, lost each other and came back together again.

It feels like a lifetime has passed but the world keeps spinning and I guess we knew we would eventually find our strength and make the album we wanted to make.” Showcasing their remarkable production techniques and textured sound design throughout the album, Cubicolor continues their unconventional rise to the upper ranks of the electronic music world.

The band will celebrate the album release with a listening event in London in February 2020, before taking their live show to festivals around the world in the summer.

Their 2016 debut album ‘Brainsugar’ picked up wide spread support including backing from BBC Radio 1's Annie Mac, Pete Tong and Phil Taggart, BBC 6 Music's Nemone and Tom Ravenscroft, Joris Voorn, and Kölsch and accumulated over 40M streams. 'Brainsugar' - Press pickup included Mixmag, RA, Thump, Consequence of Sound and the album was given a 9/10 review in DJ Mag.

Cubicolor are Amsterdam based producers Ariaan Olieroock and Peter Kriek, and British singer-songwriter Tim Digby-Bell. They made the album on Peter’s studio boat in Amsterdam. Ariaan built the custom modular synths, mixing desks and speakers that the band use in their studio - every Cubicolor sound is created from scratch.
They also DJ and release music as 16BL on Anjunadeep. one of the labels most loved and legendary acts, responsible for some of the biggest releases in the label's back catalogue.

Justin Strauss and Max Pask have joined up to form the new project Each Other, who will release their self-titled debut EP ‘Be Nice To Each Other’ on February 7th, 2020 via Soulwax/2manydjs label DEEWEE. While Strauss and Pask have DJ’d together on numerous occasions, this is the first time that they’ve collaborated on a production project.

The EP finds Each Other creating an eclectic range of sounds in the space of just three tracks. The opener ‘Same As It Never Was’ is the most immediate of the set, becoming more hypnotic as the minimalist topline buries itself into your subconscious. The downtempo ‘Burn It Down’ then darkens the mood, feeling closer to a dystopian sci-fi soundtrack than an underground club classic, before the playful and progressive ‘Six Weeks’ up the energy with jittering beats, sparkling synths and a cooly understated vocal.

“What we were trying to do and what we’ve hopefully achieved was to merge our influences with a nod to what many consider to be the ‘golden age’ of New York,” explains Justin Strauss. “You don’t realise that these periods were becoming important markers in history when we were living through them. It only comes later with the added benefit of time. I hope that in years to come, history will find a place for what we’re doing now” - Each Other.

As with all DEEWEE releases, ‘Be Nice To Each Other’ was recorded produced and mixed at DEEWEE.

To mark the tenth anniversary of the release of "I’m New Here" - the thirteenth, and last studio album from the legendary US musician, poet, - and author 'Gil Scott-Heron'. XL-Recordings will release a unique reinterpretation of the album by acclaimed US jazz musician Makaya McCraven.

Titled "We’re New Again", the album will be released on 7th of February 2020; exactly a decade after the release of Scott-Heron’s original Richard Russell-produced recording.

It’s set to follow in the footsteps of Jamie xx’s highly acclaimed 2011 remix album We’re New Here and will be McCraven’s first release of 2020, following the huge global acclaim heaped upon his 2018 album Universal Beings.

One of the most vital new voices in modern jazz, McCraven is described by the New York Times as a "Chicago-based drummer, producer and beat maker, who has quietly become one of the best arguments for jazz’s vitality".

Singer-songwriter, multi-instrumentalist and collaborator; the mighty Ásgeir returns with highly anticipated third album ‘Sátt (The Icelandic version of ‘Bury The Moon’).

The Icelandic artist returns to his folk roots for lead single ‘Youth’ written in collaboration with his admired poet father, the song documents his childhood growing up in his small Icelandic town, unburdened by worry and full of unbridled joy.

The stunning new track swells with horns and hushed acoustic guitars, Ásgeir’s unmistakable honey-soaked vocal soaring across weaving instrumental melodies, culminating in a anthemic peak that exudes nostalgia. ‘Sátt’ will be available via One Little Indian 7th February 2020.

Singer-songwriter, multi-instrumentalist and collaborator; the mighty Ásgeir returns with highly anticipated third album ‘Bury The Moon’.

The Icelandic artist returns to his folk roots for lead single ‘Youth’ written in collaboration with his admired poet father, the song documents his childhood growing up in his small Icelandic town, unburdened by worry and full of unbridled joy.

The stunning new track swells with horns and hushed acoustic guitars, Ásgeir’s unmistakable honey-soaked vocal soaring across weaving instrumental melodies, culminating in a anthemic peak that exudes nostalgia. ‘Bury The Moon’ will be available via One Little Indian 7th February 2020.

To mark the tenth anniversary of the release of I’m New Here , the thirteenth - and last - studio album from the legendary US musician, poet and author Gil Scott-Heron, XL Recordings will release a unique reinterpretation of the album by acclaimed US jazz musician Makaya McCraven. Titled We’re New Again , the album will be released on 7th February 2020; exactly a decade after the release of Scott-Heron’s original Richard Russell-produced recording. It’s set to follow in the footsteps of Jamie xx’s highly acclaimed 2011 remix album We’re New Here and will be McCraven’s first release of 2020, following the huge global acclaim heaped upon his 2018 album Universal Beings . One of the most vital new voices in modern jazz, McCraven is described by the New York Times as a "Chicago-based drummer, producer and beat maker, who has quietly become one of the best arguments for jazz’s vitality".

“We seem to be caught! Trapped, somehow…”
Published for the first time on audio, Demon Records presents a narrated full-cast TV soundtrack, starring William Hartnell as the Doctor in one of his most weird and wonderful adventures!
In this vintage 6-part adventure, first shown on BBC TV in February and March 1965, a strange magnetic force pulls the TARDIS down to the craterous surface of Vortis. The Doctor and his friends learn that the planet has been invaded, and the parasitic Animus is slowly enveloping it in a web-like domain. The giant ant-like Zarbi are under its control, whilst the butterfly-like Menoptra are battling to reclaim their planet.
Presented across 3 x heavyweight 180g pieces of pink vinyl, this narrated TV soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. The alien ambience of Vortis, the insistent chirruping of the Zarbi, and the supernatural voice of the Animus are all accompanied by the eerie sonics of Ron Grainer & Delia Derbyshire’s theme tune.
Written by Bill Strutton, this was the Doctor’s most exotic and lavish adventure yet. Linking narration is provided by Maureen O’Brien (Vicki) and the cast includes William Russell as Ian, Jacqueline Hill as Barbara, Martin Jarvis as Hilio and Roslyn de Winter as Vrestin. Accompanying the pink vinyl LPs are full episode billings, cast and credits, and eight illustrated
panels form a superb artwork montage. This is a first-time audio release for this very special
adventure. Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

Following a string of releases via his own bbbbbb recors, along with bodies of work on трип Recordings, February 2019 saw Bjarki debut on !K7 Records with the ‘Happy Earthday’ album.

With the album considered to be the Icelandic producers first full debut LP, ‘Happy Earthday’ offered a conceptual collection of music which Bjarki thought he would never release. Influenced by his home country of Iceland as well as the planet’s environmental issues, the album received support across the board from the likes of The Quietus, DJ Mag, Pitchfork, XLR8R, FACT and CLASH Music, along with being crowned Mixmag’s ‘Album of The Month’.

As part of the limited edition 200 copy box set version of ‘Happy Earthday’, a secret album of original music was available to hear unbeknown to listeners. Now receiving a full release this December on double vinyl and digital platforms, Bjarki will release his second full album of the year via !K7 Records. ‘Psychotic_Window’ is a further extension of the experimental artists creative vision whilst continuing to address environmental themes and nature.

Combining influences from techno, breakbeat, IDM, electronica and more across all of his studio output, ‘Psychotic_Window’ is Bjarki’s final signoff for 2019. The new 14-track album follows in line with one of his most significant years to date, highlighted by performances at major events including Dekmantel and DGTL Festival, along with pioneering eclectic new sounds via his bbbbbb recors label.

“After ‘Happy Earthday’, people have been asking me about the secret tracks and it made me feel that they deserve a proper release. Each track means a lot to me as I made them during a depressing phase in my life; I was pretty broke, working many shit jobs and also just being super lazy, uninterested in leaving my apartment.

Before I started touring, I had these periods where I could write so much music without thinking, pouring my heart out to comfort my thoughts and feelings without trying. I doubt that this kind of window will come back to me anytime soon, my way of music making has changed a lot after going on tour. At that time, I was listening to a lot of Coil, Chris Carter and Cosey Fanni Tutti. I think every struggling artist goes through these phases of being sleep deprived, staying up and making music all night. This was my psychotic window.” -
Bjarki

Having returned from a 4-year break in August with its latest release from GW & Henry, A&R Edits follows up with a debut for Moplen.
With a recent remix of Frankie Knuckles ft. Jamie Principle and a Salsoul Reworks EP, Luca Moplen has been gaining new traction of late, so it felt fitting to release two of his evergreen edits on vinyl for the first time. Moplen’s edit of Tavares’ classic disco stomper ‘It Only Takes A Minute’ coupled with Greg Wilson’s edit of Moplen’s edit of Larry Levan’s mix of David Joseph’s ‘You Can’t Hide (Your Love From Me)’, if you can follow all that!

An all brother group hailing from Providence, Rhode Island, Tavares were a band that evolved with the disco sound, hitting their peak in 1976 when both ‘Heaven Must Be Missing An Angel’ and ‘Don’t Take Away The Music’ became huge club favourites. They scored their first R&B #1 in ‘1974 with a cover of Hall & Oates ‘She’s Gone’ and in 1975 they returned to the top of the R&B chart whilst going top 10 pop and scoring a #2 Disco hit with ‘It Only Takes A Minute’.

In 1992 a cover by boy band Take That would gift them their first top 10 entry, many people unaware that this track had first been recorded 17 years earlier. Rising to prominence in Brit-funk band Hi-Tension, David Joseph soon found his footing as a solo artist after they’d split, with his first release being ‘You Can’t Hide (Your Love From Me)’ in February 1983.

That same month, Greg Wilson appeared on The Tube, mixing between two copies of this very record – the first time mixing had been demonstrated on British TV. It would subsequently enter the UK chart, climbing into the top 20. The track would then be remixed by legendary Paradise Garage DJ Larry Levan, resulting in a #2 placing on the Billboard Dance chart.

Upon hearing Moplen’s extended dub edit, Greg worked further into it reintroducing the song – given his history with the track it was unthinkable that he’d play it without the vocal. The result is a unique version where Moplen’s dub sets the vibe during the first half of the edit before the song is finally introduced.

“Requiem” is the name of the new Cold Beats Records release. The reference number 14 of the catalan label is written by L´Avenir, the cold synth side project of veteran electronic musician and sound artist Jason Sloan. Known throughout the space and ambient music scenes for his contemplative electronic soundscape work for close to two decades; Sloan founded L’Avenir in 2012 to explore his long time love of synthnpop and dark minimal wave music created purely from analog and vintage equipment. While still retaining the atmosphere of his solo records, the music of L’Avenir is rooted in the tradition of the minimal, analog, synthesizer music of the late 70′s and 80′s ( Fad Gadget, Depeche, Click Click, Chicago’s Wax Trax Records scene etc…). Growing up through the original scene while it was happening, it’s no suprise that Sloan’s music would eventually move in this direction. While releasing over a dozen solo albums and E.P.’s under his own name, Sloan has played live all over the US, Canada and Europe including the influential Live Constructions radio program at Columbia University, STEIM in Amsterdam and Philadelphia’s The Gatherings concert series, one of the country’s oldest continuing ambient and electronic music series. Sloan is a Professor teaching full-time in the Interactive Arts department along with being the founder and program coordinator for the Sound Art concentration at the Maryland Institute College of Art in Baltimore, Maryland. L’Avenir returns with Requiem, the fourth, full-length album for Barcelona’s Cold Beats Records. Requiem finds L’Avenir visiting themes of postmodernity, alienation and spiritualism while expanding the sonic palette far beyond his minimal synth beginnings. The music of L’Avenir has, at times, been compared to 4AD era Clan of Xymox or mid-period Depeche Mode. But while echoes of the former can be heard, L’Avenir brings a uniquely fresh perspective unheard in other bands of the genre. Requiem features eight new songs and is available on limited edition blood red vinyl. Requiem is L’Avenir’s sixth release was written and recorded between February 2018 and January 2019 in a Minimal Space, (Baltimore). Limited edition of 300 copies lacquered pressed on 140 gr. high quality red vinyl and digital album.

audioMER. is honoured to announce the release of a new LP; Make Visible the Ghosts with music by Aki Onda (US/JP) and artwork by Paul Clipson (US). This album is the follow-up of Aki Onda’s Cinemage project Lost City—with Loren Connors and Alan Licht—released on audioMER. in 2015.

On Make Visible the Ghosts, New York-based musician Aki Onda composed the soundtrack for the images of the San Francisco experimental filmmaker Paul Clipson, who suddenly passed away on February 3, 2018.

In 2009, Clipson and Onda met at the Amsterdam Schiphol Airport for the first time and shared a ride to the International Film Festival Rotterdam, where they presented audio-visual works in the same bill. Since then, the two artists – known for their highly personal approach with Super 8, 16mm, cassette Walkman and radio – maintained a close friendship over the next nine years. Their works deal with memory, time, space, and those reflections, and they had a lot to share.

Onda and Clipson completed their collaboration work Make Visible The Ghosts—a combination of vinyl LP of Onda’s music and large-size collage artwork by Clipson—a few months before Clipson’s departure from life. The work is composed of the materials they used for their performance in New York in 2012 and developed over the three years from 2015 to 2017. Onda notes:

“The loss of Paul has left a huge hole in our mind including his friends and collaborators. Paul is no longer here, and this is a chance to remember him and his images that extended and expanded our perception of how the world can be seen and heard.”

TThe melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux, released on double vinyl on September 13th. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon and Wayne Linsey.

Taylor Graves came into Leon’s musical family in 2002 when he, his brother Cameron and the Bruner brothers Ronald Jr and Stephen (Thundercat) were playing along with their schoolmate Kamasi at an L.A. jazz club. Taylor, Cameron, Ronald and Stephen became Leon’s band for his debut shows in Japan in 2002 and Taylor continued to work with Leon as his mentor and collaborator over the next 15 years.

“Leon was ALWAYS writing something or developing his musical palette” his wife Carol Ware tells us, so it’s impossible to pinpoint any single moment of Rainbow Deux’s genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon’s tasteful licks and Wayne Linsey’s piano vibes. The rest of the material comes from Leon’s sessions with Taylor.

Describing Leon’s and his process, here’s Taylor: “We’d start by having some great homemade food! Then a glass of wine ‘to slow down time’. After we’d have our fill and smoked our joints we’d go into his studio room to listen and create.”

The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK.

Leon worked on Rainbow Deux with life’s greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful and sensual.

The album opens with the hypnotic throb of “For The Rainbow”, coming on like a percussive, slow-mo house shuffle. Gilles Peterson is a fan. The exotic “Let Love In” follows, with its gradual-build Island Funk, intricate guitar picks and sassy female vocals. It explodes when it hits its stride. “Sigh” is the stylish slow jam close-out to side A. Serene guitars and polished drums create neck snapping funk, with a swaggering finger-snap strut.

Side B opens with the easy-burning broken-beaty “The Darkest Night”, the centrepiece of the album. Kamasi Washington’s lurking sax, restrained and beautiful, unfurls into the dank, sticky atmosphere of Thundercat’s signature creeping bass laid over his brother’s in-the-pocket drums. Leon’s vocals are perfect, a masterclass in seductive sax-soul.

“Surrender Now” conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums and bubbling synth-bass stabs. It’s got the trademark Leon layers. “Summer Is Her Name” has Kamasi’s effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms.

“Are You Ready” is a total highlight (and we’ve been playing it out for ages). It’s a nimble groove of piano and synth rolling around Theo Croker’s sensual trumpet playing. Digi-soul at its finest. With lush G-Funk sensibilities “Streets (Keep Me Runnin’)” sounds like a lost Dam-Funk produced gem. All tough kicks and snares and street sounds. Leon’s hood pass will be forever intact.

“Samba Dreams” is the first of two tracks that bring a little Rio magic to Rainbow Deux. Leon created a whole body of work in partnership with Brazilian legend Marcos Valle that includes “Rockin’ You Eternally” - a hit for Leon - and “Estrelar” – a hit for Marcos. Leon channels his obvious love of Brazilian music here through more of Croker’s sumptuous trumpet, played over loose percussion. “Let’s Go Deep” is next up. A dreamy between-the-sheets quiet storm anthem and a real showcase for Leon’s vocals.

The dripping, honeyed harp-funk of “We Should Be Laughin’” marks the star turn of the brilliant Kimbra. Leon first met her on-stage to do an impromptu duet of “Inside My Love” during an open-air celebration of Minnie Riperton in July of 2014. Kimbra was working with Taylor on her music and he brought her to Leon’s house to do some writing. This was the result.

Warm synths radiate shuffling samba soul on “Wishful Thinking” as those Brazilian rhythms return to bring Rainbow Deux to a close.

During an apartment move Leon and Carol rediscovered some watercolours Leon had done years ago. One of these paintings had been dubbed “Deux Hearts” and Leon decided it should be on the cover of Rainbow Deux, getting as far as approving a draft concept for the artwork.

Carol has overseen developing that draft into the final gatefold sleeve. It brings together quotes, photographs and tributes in what is a reflection on the music, relationships and philosophy of the sensual minister.

Gerry “the gov” Brown, Leon’s long-time sound engineer, was by his side throughout the project, recording and mixing. The album was mastered by Toni Economides and Simon Francis’ additional sensitive work makes sure this double LP sounds like it should on vinyl.

Be With’s first ever release was Leon’s eponymous LP. Re-issuing that album planted the seed of a relationship that has grown to grant us the privilege of presenting his crowning achievement. We know that Leon’s fans all over the Earth will love Rainbow Deux. But we also hope that this album, the final entry in a phenomenal body of work, will reach new fans and find fresh conduits for the spirit of this oft-unsung hero of Soul.

Leon always said “they will get it when I'm gone.”

He also said that “the spirit never dies”…

Mekanik Kommando was a post punk / New Wave band from Nijmegen, the Netherlands founded in 1979 by Peter van Vliet and Laszlo Panyigay. The duo became a quartet with the addition of Simon van Vliet and Mirjam van Hout. The name Mekanik Kommando comes from the album ?Mekan?k Destrukt?w Kommand?h? by the French progressive rock band Magma. Inspired by a DIY ethos, Kraftwerk and Magma, the band began recording songs at home using two tape recorders. Their demo cassette was discovered by Wally van Middendorp of Minny Pops and owner of Plurex Records, who booked them for a gig at Paradiso in Amsterdam. In 1981 they were asked to contribute music on a flexidisc for the first issue of newly established magazine Vinyl. In the summer of that year the band recorded their debut album ?It Would Be Quiet In The Woods If Only A Few Birds Sing? released on Torso. In February 1982 the band secured five days of studio time at Salisbury Sound in Dordrecht. The end result was the mini-album ?Dancing Elephants? released on Torso later that year. Musically, the five songs are a mix between cold wave, experimental electronic and industrial pop. The band utilized two bass guitars plus a Korg 770, KR-55 drum machine, violin, effects, metals and plastics. Lyrics explore themes of decay and morality, hypnotically spoken on top of playfully metallic sounds. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each EP is housed in a replica of the original jacket, which features artwork by the group members, and includes a 4-page booklet with lyrics and notes designed by Eloise Leigh.

In February 2016 5 people from the Bass Agenda family met in person for the first time at Whip It! - an Electro night hosted by Dave Clarke and held at The Melkweg, Amsterdam. w1b0, RXmode, TFHats and Slaves of Sinus have all released on Bass Agenda before, all received regular support from Dave Clarke both on and off his infamous White Noise show (w1b0 on The Barons's Fabric mix CD, Slaves of Sinus shaking up the demolition panel at ADE, RXmode dropped twice on Dave's Beatport live session and TFHats on White Noise what seems like every other week this year!)
Inspired by the meeting, the friendship, the music and the experience of the night they set out to make the 50th release on Bass Agenda Recordings - 'Transhumanism.' Dance floor focussed Electro with an edge.
As a compilation of Dutch Electro from the deep underground the vinyl is a deep orange pressing and strictly limited to 200 copies.
Supported by UMEK, Dave Clarke, Elektrodos, Darkfloor and many more.