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2 x LP Red & Blue (Half & Half Effect) Vinyl in Gatefold Sleeve

The Bloods and Crips’ debut Bangin’ on Wax (1993) — which we reissued in 2023 to an incredible reception — inspired us to dig even deeper into this iconic catalogue. The follow-up, The Saga Continues, originally dropped only on CD in 1994. Now, for the first time ever, we’re proud to bring it to wax — pressed on solid Blue and Red vinyl, of course. This concept was a pivotal moment in West Coast gangsta rap, uniting members of L.A.’s two most infamous sets. Crips from Compton, Watts, and Long Beach, and Bloods from Inglewood and Los Angeles auditioned for the project, with the sharpest MCs selected for the final lineup. All proceeds from the original Bangin’ on Wax album went toward improving local schools and parks for the community’s children. Over 30 years later, the lone CD pressing regularly fetches £50+ on the secondary market — and now the album finally arrives on vinyl. Sleeker in production and delivery, this record carries that true G-Funk swagger, tipping its hat to Warren G, Snoop, DJ Quik, and even Dr. Dre.

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

Jolene Cuts delivers a stunning 5-track vinyl-only release that reinvents the spirit of 90s French Touch for today’s dancefloors. No edits here—these are 100% original productions crafted by Danny & Mike, masters of filtered house grooves. From the funk-drenched “Without,” a Kool & The Gang-inspired house monster, to “Fall,” a euphoric blast reminiscent of the best Daft Punk moments, every cut is designed for maximum floor impact. “Mon ami Julien” dives deeper with a warm and hypnotic Scott Grooves vibe, while “Ready for Love” feels like Cerrone remixed by early Bob Sinclar at his peak—pure disco magic reimagined. The record closes with “Burning,” a banging, feel-good anthem built to ignite any set. This is a true celebration of filtered house, disco energy, and feel-good music—strictly vinyl, strictly limited, and packed with five undeniable club weapons. Perfect for DJs who want to tear the club apart, vinyl purists, and anyone who knows that real French Touch doesn’t need gimmicks—just groove, soul, and timeless dancefloor power. Once it’s gone, it’s gone.

Since opening the shop, we’ve become good friends with the Club Glow gang, so much so - it seemed silly not to ask for some demos to form a collective EP. This record is the result, you can thank us later!
If you’ve not checked out any of this lot’s music yet, you need your head examined...

Four tasty bangers, exploring the realms of UK Breakbeat, Dub, Jungle and beyond..bel and bought the wax, we’ve got plenty more in the works.

Continuing where Oddkut and Abstrakt Sonance’s FKOFv007 left off, our 8th record is a collaborative affair – three artists, four tunes and a whole lot of weight. 11th Hour is one of our long-standing collaborators, having appeared on our second ever EP back in 2013, and Substrada is quickly following in Jason’s footsteps with his latest outing with us. And, as you’d suspect, we’re delighted to welcome Charles back after his epic (collab) FKOFd046 in 2020. Last, but definitely not least, we welcome Kusmo to the FKOF family – an artist we’ve super excited about.

“FKOFv008’s been doing the rounds for most of 2022, with two solo outings for Substrada and two collaborative efforts. We’ve had some epic DJ support from the likes of Mala, but it’s hard to choose a favourite from across this record. ‘Coolin’ With The Gang’ is signature Substrada; all spooky atmospheres, suffocating sub pressure and a few vocal samples that have upset a few radio stations over the last 12 months. It’s a banger. The second A- side is the meditative ‘Predator Flow’ – eyes down power and our favourite beats, bass and space recipe. Watch for this one! The third inclusion, the Kusmo collab entitled ‘Wump’, does what you’d expect. It is, as it proudly exclaims, “the shit”. We’re excited to see where these two take their efforts (separately and together)! The record closes with the absolute scenes ‘Colossus’ has inspired across the dance floors this year, with Substrada and 11th Hour joining forces to create one of our tunes of the year. It is relentless.

“FKOF Records celebrates its tenth birthday in 2023 and we’ve got some epic physical releases coming to celebrate our decade of 140bpm. Substrada’s FKOFv008 gives you some idea of what we’ve got coming, and we hope you enjoy these four tunes (from three of our favourite producers!) as we close out 2022. Thank you for all your support this year, and we’ll see you on the flipside.

A new lick of paint for the House of Disco, serving you slick, sophisticated and just as stylish. Taking the keys for the thirtieth release, Dutch dynamo Cleanfield, who lays down a four track EP dripping in summer sun.

The A side opens with ‘Sunshy’ a disco house banger, complete with bumping bass, sun-kissed toplines and warped Kool & The Gang synth warbles, before ‘Oregano’, takes you on a Mediterranean flavoured, supercharged dream house journey spliced with tripped out arppegiated wanderings.

On the flip, ‘Krispy’ a tropical, synth-heavy party starter with sandy beaches and crystal-clear oceans in mind and ‘Caught In The Act’ an underwater sea sensation, drenched in drunken arps and a cocktail of chants, guitar licks and good vibes.

2026 Repress

DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. As Quik explains, “the name Rhythm-Al-Ism alone tells you what I was doing. I was mixing up rhythms. I was meshing R&B with hip-hop and jazz. And a little bit of comedy”. It’s absolutely sensational and as with a lot of mid-90s albums those original vinyl copies are now rare so here’s the Be With re-issue.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. “You’z A Ganxta” and “Hand in Hand” made radio waves across the country and the less radio-friendly tracks like “Medley For A ‘V’” were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Music for gliding, for skating, for time with your people and your poison. Sunshine. No cares. BBQs. Heavy smoke in the air. Dripping with wit and good humour. A real swing to the vibe.

The album opens with Quik setting out his mission statement with “Rhythm-Al-Ism (Intro)”, telling us what this is all about before the self-explanatory “We Still Party” rocks the spot. It’s definitely all about the party here, complete with Quik’s signature head-nod/body-moving beat. Next up, the undeniable laidback funk and dripping swing of groove-laden “So Many Wayz”. This positively slaps.

Then we get to the three huge singles. The R&B-tinged radio-friendly minor-hit “Hand In Hand” closes the first side only for the flip to get straight into the rolling and scratching of bleepy computer-funk banger “Down, Down, Down” (featuring a particularly nice use of Howard Johnson’s epochal “So Fine”). The effortlessly smooth, flute and guitar-laced “You’z A Ganxta” completes the trio. Next up the fast-paced, vocoder-enhanced, woulda-beena-global-hit “I Useta Know Her”. This coulda (shoulda) been a single too. Head-nod funk workout “No Doubt”, with its ace sample of Prince's “Sexy Dancer”, closes out the second side.

“Speed” races out the gate on the second disc, sampling Edwin Birdsong’s “Rapper Dapper Snapper” in a harder, better, faster, stronger way than those daft Parisian punks. Amphetamine-swift raps over soaring, string-drenched b-boy beats. A total anthem. Up next, the staggering, near 8-minute laconic, lounge-y sax-rap of “Whateva U Do” cools things down and smooths things out with its flute wrapping around a sample of Smokey Robinson’s “So In Love” and some oh-so-classy lounge-piano tinkling. And speaking of smooth, things don’t get much smoother than the blissfully melodic glider-anthem “Thinkin’ ’Bout U” riding that ace flip of SWV’s “Use Your Heart”. Exceptional.

The exquisite funky-flute-slapper “Medley for a ‘V’ (The P***Y Medley)” opens the fourth and final side, with star turns from Snoop Dogg and a typically suave Nate Dogg. It’s followed by the supremely skanked-out “Bombudd II”, a beautifully sweet reggae-fuelled ode to the herb. “Get 2Getha Again” is slick funk. Stunning.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Rhythm-Al-Ism was originally pressed as a double and we’ve reproduced the original LA vibe picture sleeve and insert to match.

As that original front cover says, this is “over 70 minutes of commercial free music” and it’s absolutely perfect from start to finish. There are no stand-out tracks here. It’s all gold.
: Rhythm-al-ism (2LP)

At last, after fifty years, the first ever vinyl album by British 60s band The
Montanas!Despite having "turntable hits" such as 'Ciao Baby', 'You've Got To
Be Loved' and 'Let's Get A Little Sentimental', they never had a UK hit
'You've Got To Be Loved', a Tony Hatch & Jackie Trent song, made the US Top 100, but
no album followed.
Includes the US-only 45s 'Heaven Help You' and 'I'm Gonna Change'.
Digitally remastered and released on 180 gram vinyl / 300 gsm board.
Also available on BGO Records: BGOCD1438 The Complete Studio Sessions.
Other vinyl releases available on BGO Records: BGOLP2005 Bang (The James Gang);
(The Searchers) BGOLP2007 A and B Sides 1963-67, BGOLP2009 Meet The Searchers,
BGOLP2010 Sugar & Spice, BGOLP2011 It's The Searchers, BGOLP2012 Sounds Like
Searchers, BGOLP2013 Take Me For What I'm Worth; and BGOLP2015 In Town (Rockin
Berries).

Since 2006, listeners have been curious about the origin of the label name Italians Do It Better. Some say it's an homage to Italo Disco, others guess it's related to ancestry, but in fact it's a nod to the iconic T-shirt Madonna wears in the "Papa Don't Preach" video circa 1986.
Fast forward to a world pandemic... To encourage creativity & lift spirits, Italians Do It Better President, Megan Louise asked every artist “If you could cover your favourite Madonna song…What would it be?”

As a tribute to their label muse & the impact Madonna’s music has had on the world around us, Italians Do It Better are sharing a compilation of covers simply titled “Italians Do It Better”. One of the tracks (“Lucky Star” by Club Intl) is even produced by Max Kamins, the son of Mark Kamins, the New York DJ who helped break Madonna in the early 1980's. From the experience he says “Dance music was the soundtrack of my early childhood. Working on "Lucky Star" reconnected me not only to my father, but also reminded me that a good song is timeless".

Executive produced by Johnny Jewel, the compilation is a passport to 20 covers from the bedrooms of 19 artists across 10 different countries.

Left field gangster synth jazz with a deep house nu boogie banger on the flip. BYRON THE AQUARIUS made their STAR CREATURE debut with a few remixes on Belgrade's IGOR JADRANIN's "CONTEMPORARY MOVEMENT" EP earlier this year. The A Side hits that squelchy synth bouncey stank face that’s heavy in the bass but light on the feet. The B Side collabs with STEVEN KLAVIER on vocals which one may recognize from his disco-forward collabs with KENNY DOPE, SOUL CLAP, KON, ELI ESCOBAR, and more.

New week, new Instinct, new weapons. Burnski's unstoppable label continues to offer up the most fun and functional garage and house fusions out there right now. For this one, Prozak steps up with screw-face basslines and throwback organ stabs on 'Yush,' then 'Dash' rides on a pumping deep house groove that's underpinned by slamming bass. Benson steps up for collab cut 'Gangster' complete with gunshots, rude vocals and ridiculously naughty reversed bass stabs. 'Bounce' is a final fist pumping garage house banger to close an effective 12".

He's the original (and maybe only self-proclaimed?) house gangster and he is back in 2025 and sounding as good as ever. Puerto Rico by way of Chicago's DJ Sneak makes beats as raw as the meat he likes to chuck on his BBQ grill and UK house legend Nail must be a fan cause it's his label he lands on now. This is a solid four-tracker that ticks all the boxes with its killer grooves and smart loops. 'All I Need In Life' is a playful opener, 'Das Gud!' gets more intense and trippy with its bleepy melodic refrains and 'Help Me Somebody' then sinks back into loose and dusty, disco-tinged drums with classic cowbell hits. 'What You Expecting From Me' is a sweaty and gritty warehouse banger to close with aplomb.

2024 was a big year for Regulate Recordings and their sister club night “Shake Your Rump”. DJ Deviant’s “The Rhythm” & “Make Em Bounce” burned up dance floors in spring, “Summer Jam” saw Atomphunk & Deviant team up with Seattle MCs Mugs and Pockets to devastating effect. “Summer Jam” lit up the second half of the year with support from the Allergies, Boca45 and 6 Music and was included in Craig Charles’s “Funkiest Tracks of 2024”.

Regulate move into the new year by setting off two certified bangers. Master of the decks DJ Deviant is back on production duties; lead track “Get On The Floor” sees him once again collaborating with Swamburger (Mugs and Pockets) for a full force party starter. The production pulls influences from the earliest days when hip hop and disco were joined at the hip, with nods to The Sugar Hill Gang and The Furious Five, as well as the Golden Age and artists like Chubb Rock and Big Daddy Kane. Swamburger’s machine gun delivery and Deviant’s sharp cuts pull the track right into 2025 for maximum impact.

Flip side “Where’s The Party Clap” is a big trunk of cut and paste funk with a popping bass line, horns, claps, cuts and a groove that just doesn’t quit.

2025 Repress

Only Cuts return with an EP from the jackin' house legend DJ Sneak.

4 bangers from the 'House Gangster' himself!

The ‘20 Years Of Shogun Audio’ LP consists of 10 remixes of Shogun’s most legendary tracks and 10 groundbreaking new cuts from a selection of drum and bass’ most exciting talent. Featuring new music from Friction, DJ Marky, Break, Pola & Bryson, Monrroe, Emily Makis, Technimatic, Icicle, S.P.Y, Lens, GLXY, Sustance, Duskee, Javeon, Flowdan, SP:MC, Document One, Deadline, GEST, Watch The Ride, Total Science, Lenzman, Particle, Levela, Emperor, Subwave, Dynamite MC, IYAMAH, Note and many more, this is the ultimate collector's piece for any drum and bass fan. 

For any Shogun Audio fan, this is the ultimate collector's piece, featuring our ‘20 Years Of Shogun Audio’ LP across 4LP vinyl, as well as our ‘20 Years Of Shogun Audio’ coffee table book beautifully housed in a bespoke presentation box embossed with gold foil and a magnetic clasp.

The perfect-bound 80-page coffee table book delves into our two decades of history through in-depth interviews with our founders Friction & K-Tee, as well as a range of artists past and present. Accompanied by beautiful full-colour photography from the archives throughout, this book is an essential for Shogun fans and D&B enthusiasts worldwide.

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

It's been nearly a decade since Montreal's PYPY (pronounced like 'π π'...with a long 'i' rather than long 'e', thank you very much) landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger "She's Gone" carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent's 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial "next level."

Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes' (Duchess Says) signature howl and vocal acrobatics are present but so is a tendency towards beautiful melodies. Bassist Philippe Clement's (Duchess Says) brings a nastier bottom end that locks onto Simon Besré's drumming with a death grip for the entire affair. And guitarist/co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that's like hornets caught in yr hair.

"Lonely Striped Sock" grooves along like "Earthbeat"-era Slits/ESG until the chorus transforms PYPY into something else entirely. Something huge. Something with monster riffs and wah wah that pins you to the back wall. So there is clearly a brilliance with dynamics here, and it proves to be a not-so-secret-weapon that repays the "ear-vestment" in dividends throughout. "Ear-vestment"? Yikes. Then it's time for "She's Back," a sort of part 2/continuation (maybe a trilogy is in the works?) of Pagan Day's best-known gem (the aforementioned "She's Gone"). This one packs a hook that'll make your brain take out a restraining order. Looking for lost keys? Jury duty? Underwater welding? Negotiating a hostage situation? It doesn't matter...nothing will stop it from invading your thoughts. They say the only way to get a song unstuck from the noodle is to listen to it from start to finish, but you'll be doing that anyway. A lot. "Erase" is a (synth) noise-punk nugget; revealing a need for Brainiac-meets-Blondie we didn't know we had...deceptively kicking off with a no-fi drum machine that is immediately lost in the massive pop din that seemingly includes everything within reach. "Poodle Escape" is two minutes of perfect (and perfectly distorted) synth-punk and "I Am A Simulation" – with lead vox from Vucino – is yet another hit that deviates from the noise a bit and pays homage to both Devo and classic late-70's (big) power-pop (ex: the first Cars LP), but with a manic nature that is 150% circa right now. "15 Sec" (actually 3:38 in duration, thankfully) serves up a stanky-brown bass line, Deschênes' gorgeous vocals, wonderfully combative white hot, pin-the-meters Oh Sees/early Comets on Fire guitar rips, and a stunning coda that seems to utilize everything great about this band over its final minute. The album's title track is a love letter to Hawkwind in the musical language already established here. "Vanishing Blinds" is like being chased through the rain-soaked streets in an unknown dystopian nightmare from 40+ years ago. The album closes with the brooding if not playful menace of "Poodle Escape,” which, like its predecessors, is completely unlike every track before it.

Wortgewandt wie ein junger Debattierclubchampion verfasst der Sohn eines kanadischen Vaters und einer deutschen Mutter intelligente deutschsprachige Raptexte, denen es weder an sprachlicher Raffinesse noch an technischen Details mangelt und knackt damit im Vorbeigehen Verkaufsrekorde. Dabei beherrscht Kollegah seine mitunter augenzwinkernde Inszenierung wie kein Zweiter und bedient sich dabei einer Selbstironie, die dem deutschen Rap lange abging und konträr zum stumpfen, lange vorherrschenden Gangstergetue steht. Anlässlich des 10. Geburtstags erscheint die limitierte Anniversary Edition von "KING" auf goldenem Doppel-Vinyl; nur solange der Vorrat reicht!

Moon Diagrams – the solo project of Deerhunter co-founder and drummer Moses Archuleta – returns with a second album, Cemetery Classics, on June 21. The 12-track album is a co-release between Sonic Cathedral (in the UK and Europe) and Angus Andrew from Liars’ new label No Gold (in the US and the ROW) and was mixed by James Ford. It features guests including Anastasia Coope, Patrick Flegel (Cindy Lee) and Josh Diamond (Gang Gang Dance). It’s Moses’ first new music since 2019’s Trappy Bats mini-album and the follow-up to 2017’s acclaimed debut Lifetime of Love and everything seems a bit more extreme – from the Basinski-esque degradation of ‘Neptune’ to the Faustian industrial noise of ‘Listen To Me’ via Art of Noise-style postmodern pop (the first single ‘Very Much My Promise to You’), Daft Punk bangers (‘Fifteen Shows at One Time’), trip-hop, shoegaze, Jan Hammer, Depeche Mode, late Leonard Cohen and more. “It’s about finding out your arms are too short to box with god,” says Moses of the emotional force that courses through Cemetery Classics. “It’s the inverse of a desert island disc – a graveyard disc. Songs to take into the afterlife.”

From weaving thought-provoking poetics to channeling the spirit of vintage West Coast gangsta rap, acclaimed Los Angeles emcee Blu is a dynamic musical presence, forever evolving and defying expectations. Supremely talented producer and musician Shafiq Husayn has a similarly diverse skill set, with a storied history as a member of Sa-Ra Creative Partners and solo production credits for top artists across the musical spectrum, from Erykah Badu to Ice-T to Anderson .Paak to Jurassic 5 and many more. After linking up for the mixtape The Blueprint back in 2018, Blu and Shafiq Husayn are reuniting for the new album Out Of The Blue, elevating their collaboration to a new level. “The Blueprint was just me rhyming over some of Shafiq's beats that I found online,” Blu explains. “This time we were actually in the studio together. We’ve been working together since 2008, but this is our first official album.” Awash in Shafiq’s dense sonic architecture, Out Of The Blue showcases the intricacy of Blu’s spiritual street talk while simultaneously delivering a series of bass-heavy L.A. anthems. Entirely produced by Shafiq Husayn, the collection features guest appearances by MED, Exile, Chuuwee, Thurz, Speed Walton, Jimetta Rose, and Freestyle Fellowship members Myka 9 and Self Jupiter. “Out Of The Blue is my G-Funk album,” Blu explains. “Big brother Shafiq gave us a master class in production. We just in here being funky and having fun.”

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

DJ Drama said about the album: I don't want to dramatize it too much – no pun intended, But the album is just bangers, something that can rock from beginning to end.
Guest appearances on the album include T.I., Young Dro, Sean P, Lonnie Mac, Ludacris, Willie the Kid, Trey Songz, Gucci Mane, LA Da Darkman, Yung Joc, Bun B, Flo Rida, Mike Jones, Rick Ross, Trick Daddy, Ray J, Akon, Fabolous, Yo Gotti, OJ da Juiceman, Nas, Scarface, Marsha Ambrosius, The-Dream, Too Short, Styles P, Jovan Dais, Snoop Dogg, B.G., Juvenile, and Soulja Slim. The producers on the album include Drumma Boy, Tricky Stewart, Cordale "Lil C" Quinn, and DJ Khalil, among others.

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

Prolific producer Stu Bangas is back with a new collection of hard-hitting collaborations on Death Wish (Part II), the much anticipated sequel to the 2021 original. The project finds the Boston beatsmith rocking with some of his favorite emcees of all time as well as familiar names who always seem to bring their best work to his instrumentals.

For Stu, it’s an honor to work with the likes of Ras Kass and Psycho Les (of the Beatnuts). He made the connections while creating the phenomenal Empires LP with Eric Bobo (of Cypress Hill), and it led to the bangers you hear on Death Wish (Part II). The track with Ras, “Sus,” is an equally hilarious and hardcore takedown of weak-willed phonies, while Psycho Les teams with Celph Titled for the gangster-but-lighthearted “Y’all Clowns.”

“I grew up on all the Beatnuts albums, my whole group of friends loved them,” Stu says. “And Soul on Ice by Ras Kass? That’s a certified classic for any hip-hop head.”

Discover the history of Hip-Hop with this brand-new 3-vinyl box set! The Gems Of Hip-Hop Culture - FEAT. - THE PHARCYDE - AFRIKA BAMBAATAA - MOS DEF - GRAND MASTER FLASH - RZA - CAPONE-N-NOREAGA - MONIE LOVE - DIZZEE RASCAL - GRAND PUBA - BRAND NUBIAN - BIG L - 2PAC...

Cypress Hill’s self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren’t usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice.


From the opening notes of the group’s first single, “The Phuncky Feel One,” to deeper album cuts like “Stoned Is The Way Of The Walk” and “Tres Equis,” it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete. MC Sen Dog always had B-Real’s back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable.


When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group’s relationship in the reissue’s liner notes (which is included only in limited edition Skull) saying, “By the late ‘80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter’s deep wrangle, the former’s inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop’s most formidable young producer, while straddling the bi-coastal gap.”

Cypress Hill’s debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of “The Phuncky One” and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group’s live set to this day.

hilly Gonzales veröffentlicht am 15. September sein neues Album 'French Kiss' über sein eigenes Label Gentle Threat - das erste Album von Chilly Gonzales, das in der Sprache von Molière und Bangalter geschrieben und aufgeführt wird.

Chilly Gonzales ist für seine intime Annäherung an das Klavier durch seine Solo Piano Album-Trilogie ebenso bekannt wie für seine unbestreitbaren Talente als Performer, der seine Showman-Energie in den Philharmonien Europas versprüht. Er hat mit international bekannten Künstlern wie Feist, Drake, Jarvis Cocker und Daft Punk zusammengearbeitet, und die hymnische Kraft seines Tracks Smothered Mate (aus IVORY TOWER) wurde zum Soundtrack des WM Sieges der französischen Fußballnationalmannschaft 2018.

Seitdem ist der unberechenbare Pianist Frankreich immer näher gekommen, bis er schließlich nach Paris zurückkehrte, um im Herzen der Ile Saint-Louis zu leben, von wo aus er die Einweihung von Notre-Dame mit einer Träne im Auge und einem Joint auf den Lippen beobachtete. Nach mehreren Jahren intensiver Vorbereitung, die darin bestand, sich ausschließlich von Camembert und französischer Literatur zu ernähren, und während er darauf wartete, in die berühmte Académie Française gewählt zu werden, veröffentlicht er nun am 15. September das Album 'French Kiss'.

A crackling fire is burning under the bridge. BANG! the brow hits against the steel drum, Hey! I only bowed down! BOING! The elbow jabs into the door of an abandoned ragtop, To lash the laces! CRACK! the knee strikes the rusty trash can, Of my brand new black sneakers! RASP! YAWP! SCREEECH! The gang rabbles on the dancefloor. Metallic sounds blaze out of the speakers. A rustle, a chatter, a rattle, a flapper. Cops troop in gazing in wonder while converting into liquid coppers. A warm kicking bass sets in. A voice from down below. Though, right next to your ear. The floor is demanding a sacrifice. Jog your head, swing your hip. Wave your hands, and shake a leg: Tighten up, and then let go, for this Dance aboulic! Producer and DJ Dave DK with his new »Chicama« EP on Pampa. Three kicking, bumping tracks for all day and all of the night. Euphoric percussive floorkillers with a hint towards an alluring gloominess.

MD Pallavi & Andi Otto first crossed paths on a theatre stage in India ten years ago. They started collaborating instantly and in 2016 MD Pallavi's mesmerizing vocals for the downtempo raga Bangalore Whispers warmed hearts and ears. Their musical relationship flourished with artistic residencies in Bangalore and Hamburg, their respective hometowns, and a concert tour in Japan. The collaborative track Six made ears turn again on Andi’s album Bow Wave (Multi Culti 2019). And now, years later, the fruits of this artistic endeavour are fully formed here on Songs for Broken Ships - the debut album of the duo.

The album presents an interwoven pop-aesthetic vision of the two artists with their contrasting musical backgrounds. It ranges from organically woven folktronica to cut-up disco tracks and acoustic ballads. Reminiscent of, but not akin to Nicola Cruz, Beach House or Four Tet’s early productions the music is experimental but focused on the listener and their experience.

MD Pallavi is a singer, actress, filmmaker and performer from Bangalore, South-India, where she trained in Hindustani music and poetry since childhood. On Songs for Broken Ships, poems in her native tongue Kannada*, one of India's many languages, are performed over Andi’s alluring production, translating the stories into musical narratives. The poems address topics that are as timeless as the music itself. Social equality is touched upon in Bayalu (written by Bontadevi in the 12th century). Artistic struggles - communicated on An Unwritten Word (Gangadhar Chittala, 1865) - are almost prophetic and the surreal, dreamlike scenario of Clockshop (KS Narasimhaswamy,1958) brings you further inside the sonic journey.

Andi Otto is a composer, cellist and DJ based in Hamburg, Germany, He is known for his idiosyncratic and unconventional dance music productions on labels such as Multi Culti, Shika Shika and Pingipung (which he co-runs and curates). For this collaborative experience his dubbed out basslines gently interlock with the 7/4 and 5/4 beats to create a backbone for the instrumentation and expressive vocal timbres of MD Pallavi. His sound design combines graceful acoustic recordings, juxtaposed against modern drum machines, computer generated noise and vintage synthesizers.

*The LP comes with a text sheet containing all Kannada lyrics - which have their own vocabulary and script - together with the phonetic transcription and English translation.

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

After an interminable wait due to the vinyl manufacture crisis, Mercury 200 is back stronger than ever, supplying some homegrown material that is conceivably as potent as GOTG001. This time they teamed up with 2 legendary OG's, Apoc Krysis & MCR-T, to spice up your musical experience and bring you the best of the two worlds. Dealing at the intersection of breakbeat, Ghetto tech and trance, this record will definitely catch your attention. Parental Advisory Explicit Content. Legally available only on prescription.

For the first track of the vinyl, they teamed up with the Atlanta based rapper Apoc Krysis to blend two opposite genres in a Memphis rap infused techno banger. This unique collaboration put on the table whats the both side has the best to offer: powerful and lethal flow. This track is here to pick you up and put you back on your feet after a breakup. When nobody's there for you, this track is.

Full of fast and filthy grooves "Caramelo" is the track that will make you sweat. A heavy stomping beat with devilish vocals ready to make your ghetto inner self dance. Heavy grooves and a powerful bassline this track will slap you into consciousness. 100% Floor impact guaranteed.

On the flip side we start with an outstanding collaboration with Berlin most notorious player in the ghetto house-techno scene: MCR-T. An uplifting, instant serotonin booster.

Building up the tension at the start with a breakbeat and OG (original gangsta) lyrics, the tracks eventually turns into four to the floor house infused groove. Party killer guaranteed!

Last track but not the least consists in a classic mercury 200 signature breakbeat track. A fine blend of trancy and infectious melodies with a short rap hook and chest punching drums.

Ltd indie exclusive vinyl version of "the best" GG Allin studio album, originally released in 1988 pressed on shit colored vinyl Vinyl edition of what is probably GG Allin's greatest studio album. This was GG's fourth album when it was originally released on Homestead Records in 1988."Die When You Die" is arguably the most famous GG Allin song and this album features the original, best version of the live warhorse. . It also includes GG's rewrite of David Allen Coe's "Longhair Redneck" titled "Outlaw Scumfuc." The punkest man alive (at the time) at his peak. Pressed on blue and bile colored vinyl, sounds interessting...

Black vinyl LP with DL.

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).

Sharon Jones & the Dap-Kings have developed an international reputation as the #1 group on today’s soul scene. Soul Time! is an exploration of the full range of their dynamic sound through twelve songs handpicked by the Daptone Records gang, each one a precious exclusive.

The needle drops on Genuine Pts. 1 & 2, a supercharged funk arrangement that evokes the late Godfather not only with the spirited syncopation of the Dap-Kings rhythms, but also with the raw power of Jones’ voice. It is performances such as these that have earned her the moniker “the Female James Brown.” Though it has long been one of their best-selling singles, it makes it’s album debut here. Longer and Stronger, written for her 50th birthday, is a deep mid-tempo soul celebration of the strength and determination with which Sharon Jones has earned her long overdue success. It is heard here for the first time, but will undoubtedly join other Sharon Jones & the Dap-Kings songs in the canon of great soul music. The theme of empowerment pushes on through “He Said I Can”, an energetic stomper belted over an arrangement reminiscent of the Isley Brothers early-seventies heyday, and “I’m Not Gonna Cry” brings us back to the raw funk intensity of Genuine with a squealing tenor solo and a fiery vocal. Side one wraps with a scorching studio performance of “When I Come Home”, long a highlight of the band’s live show but rearing its head on album here for the first time as well.

“What If We All Stopped Paying Taxes?” kicks the second side off with a bang. A strong anti-war message pours over a revolutionary mid-tempo groove, accentuated by the conga work of the legendary Johnny Griggs of JB’s fame, while Settling In is a greasy rhythm and blues grinder. And who says Christmas can’t be soulful? Jones et al. make it so over their sought after holiday exclusive, “Ain’t No Chimneys in the Projects.” Next is an energetic romp into Motown intensity with “New Shoes”, a walking-out-the door belter that picks up where These Boots Were Made For Walking left off. Without A Trace shows yet another dimension of the band, stretching a dreamy mid-tempo groove down the road to Memphis and back. The record winds up with a deep laid back cover of Shuggie Otis’ psychedelic soul jam “Inspiration Information.” From the first note to the last, Soul Time! confirms this band’s place at the head of the table as the world’s greatest funk and soul showband. Whether you’re a lifetime fan, or just getting turned on, Sharon Jones & the Dap-Kings’ have yet again made a record that will blow your mind. Get ready world, because It’s Soul Time!

Following several tragedies in his personal life, New York rapper El Gant had a decision to make—face those losses head on or bury them deep within. Luckily for us, he chose the former. The result is O.S.L.O., the emcee’s most gripping and personal project yet. It’s also his most relatable, because it shows what we’re all capable of when we’re equipped with the right tools to cope and, in El Gant’s case, transform that tragedy into something powerful.

The album arrives nearly a decade after his previous solo effort, 2014’s great Beast Academy, and after several years spent touring and recording with his group, Jamo Gang, with Ras Kass and J57. Despite the highs associated with that time, El Gant also experienced major personal losses. In particular, he lost three close friends—The Last Original, Bones, and Jim Misa—all of whom had a major impact on his life and career. In fact, the album’s title, O.S.L.O., references the Last Original, because it’s an acronym for “Our Sun the Last Original.”

But it wouldn’t be an El Gant project without some straight-up dope hip-hop, too. Tracks like “Avirex (feat. Innocent? & King Magnetic)” and “Chromed Out (feat. Ras Kass & Planet Asia)” are absolute bangers filled with shape-shifting flows and crazy wordplay.

There’s a reason for these tonal shifts, too; El Gant didn’t want to simply create a linear album. “I want to take the listener on a few ups and downs, just like life does for most of us,” the emcee says. It’s those qualities that make O.S.L.O. so immediately satisfying, and why it’s his most accomplished work to date.

Waltari Mastermind Kärtsy Hatakka veröffentlicht mit HEAD FIRST deren Debutalbum. Der Status des finnischen Crossover-Monsters Waltari ist nicht leugnen, doch nur noch wenige können sich erinnern, dass Kärtsy Hatakka schon damals eine andere Band unter dem Namen HEAD FIRST hatte... die einzige echte Funk-Metal-Band aus Finnland!
In einigen der ersten Waltari Songs war der funkige Einfluss von HEAD FIRSt auch noch deutlich heraus zu hören. Und nun bringt eben diese Band ihr Debüt heraus... nach 30 Jahren des Wartens!
Basierend auf den größten Live-Killern wurde das vorhandene Songmaterial den heutigen Sounderwartungen angepasst. Dazu entstanden auch einige brandneue Stücke.
HEAD FIRST bedeutet Old-School-Funk-Metal mit einer frischen Kante grooviger Beats und mitreißender Energie!!