quête:jus just

Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘. The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.

Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.

The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel.

Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’.

The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect.

This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

Portuguese- Italian Producer "Vhycepicks" up where he left off,
once again teaming up with the talentedvocalistYves Paqueton Kraak & Smaak's very own Boogie Angst imprint.

He's already got an impressive list of top DJ fans in the shape of
Pete Tong, Claptone, Gorgon CityandSatin Jackets, and it's no surprise given his clean, pop aesthetics and catchy dancefloor sensibilities.Indeed it has led to releases on some of today's most respected dance labels like Kitsune, Future Disco and Casablanca Sunset.

As well as collaborating on their previous single 'Duran Duran' together, Brazilian born soulful vocalist Yves Paquethas previously collaborated with the likes of Aeroplane,and scored #1 in the Belgian dance charts with The Subs. He provides the perfect foil to Vhyce'sbeats with just the tonic – a melodic toplineall about the good times, having a drink and getting high…

In addition to the original mix there's another special treat as stepping up to provide a stellar remix is none other than PrinsThomas, a true pioneer of 'space disco' and regular bandmate of nu disco royaltyLindstrømin their imaginatively titled project 'Lindstrom & PrinsThomas'.

Yes, he takes his arpsynth lines out for a spin and serves up a prime cut of good time, ethereal, dancefloor fire. With all the hallmarks of his crisp and upbeat spacey productions it's not one to miss out on.

For those who are all about the beats, fear not we got you covered as there's an instrumental safely stowed in there too …

A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

Inspired by the nocturnal city life, Syntax Error emerges from the dark and lights up your ears with a bunch of new techno shooting stars. Clearly, it is time for a night rave – of course all Syntax Error style.
For all vinyl lovers, he pushes four full-flavored techno tracks through the turntables. Already the first beats of A1 “Finnisage” hit right in the middle of the dusty underground heart. Starting with a pure beat, he builds up level by level and creates his signature sound – an energizing drive, wobbly bass lines all wrapped in spherical sounds. The following tracks “Powder”, “Vegan Monster” and “DT Style” continue this exciting symbiosis of dramaturgy and driving beats.
In the digital version, Syntax Error adds four tracks and enlarges his vinyl ep to a digital album. “Deep Saw” clearly keeps its promise, “Elakt” and “Future” go with full steam ahead through the night, whereas “Test1” finally hijacks you into an experimental sound conglomerate just ready for dawn.

This release represents the first original Zion Train album in 5 years and features 9 vocalists alongside the extremely talented musicians. Vocalists include Cara, Michel Grena Prince Jamo and Rider Shafique whilst amongst the musicians are such luminaries as
Paolo Baldini, Don Fe and Gianni Denitto.

Zion Train are working alongside the Stop Ecocide and Extinction Rebellion campaigns with the release of this music to help attempts to build a brighter future for our planet - to this end they are reprinting the Leap Manifesto authored by Naomi Klein and friends with this release.

Repress

A triumphant return to old form after classic bangers like PROTOTYPE (KOMPAKT 92), FREQUENCY (KOMPAKT 102) or MAXIMIZE (KOMPAKT 145), but also a bold step in a new sonic direction: Kompakt ally REX THE DOG presents his latest offering SICKO - a brand new 12" packed with two incorruptible rabble-rousers that hit the floor right behind the ears, employing sharply focussed thrust and dramatic sweeps to stunning effect.

Having started out with just one synth in 2004 -

the same vintage Korg 700S that was used by Mute Records founder Daniel Miller for his legendary "Warm Leatherette" outing -, REX THE DOG knows perfectly well how to squeeze the most out of a limited set of sounds. A growing intimacy with analog gear finally lead the producer to design and build his very own array of modular synthesizer components, including a sampler fittingly called RTD-001.

Armed with this barn-storming DIY attitude, and using gear he made with his own hands, Rex pulls two strikingly muscular rabbits out of his hat: the A-side's title cut SICKO is a raw, pounding cut-up fest that builds a scary amount of tension just with a few distinct elements, while the flipside's KORGASMOTRON loads up its bleep-ridden

chassis with a succulent, sweeping vocal and some well-placed acid drops. Both tracks showcase a leaner, cleaner, but also meaner approach to dance music, making this a particularly thrilling entry in REX THE DOG's oeuvre.

Isolate's Murat Uncuoglu and his extraordinary ability to create simple but remarkable melodies is back on Multinotes with a new three tracker.

Nils Frahm, born in 1982, had an early introduction to music. During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again.

The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes. As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new Nils Frahm, born in 1982, had an early introduction to music.

During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again. The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes.

As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new album of piano improvisations the result is 'The Bells', which will now be released on Erased Tapes in the UK, Ireland and North America. Perhaps the most stunning aspect of what on the surface appears to be an entirely pre-planned and composed body of work comes with the discovery that these pieces were in fact improvised.

These two friends share a common affinity in that they both possess an absolute mastery of melody, composition and performance able to deliver with devastating effect. The modest Mr. Broderick states 'I remember thinking to myself as I lay there stunned, that I could spend ten years trying to write an amazing piece of piano music, and still it would never be half as good as these improvisations!'

Recorded in a rented, beautiful old church in the heart of Berlin over two nights, Nils 'just played' with the occasional instruction from Peter 'I spouted "Make a song using only the notes C, E, and G", or "Make a song that you could imagine me rapping over the top of" (Track 8 'My Things'). At one point I was even inside the piano, laying on the strings, asking him to make a song called 'Peter Is Dead In The Piano'. The resultant work 'The Bells' shares the same excitement and air of playfulness.

For a musician this early in his career, Frahm displays an incredibly developed sense of control and restraint in his work. As the recognition continues to grow for both, 'Wintermusik' and 'The Bells', we are pleased to announce that 2010 will also see his next album release on Erased Tapes.

die ANGEL, the duo project of ILPO VÄISÄNEN (ex-PAN SONIC) & DIRK DRESSELHAUS aka SCHNEIDER TM, starts its 3rd decade of sonic explorations with the release of album #10 which bears the programmatic title "Utopien I".180g LP and DL on KARL.

die ANGEL (or just ANGEL in the early days) was born in 1999during a joint European tour of PAN SONIC and SCHNEIDER TM with the aim to use electronics, string instruments and effect loops to develop a sonic world that goes beyond fixed structures and clearly defined genres. Coming from different musical backgrounds proved quite an advantage for the duo as it meant that ILPO VÄISÄNEN (ex-PAN SONIC) & DIRK DRESSELHAUS (SCHNEIDER TM) had to find their particular modus operandi: communication through noise and action, instant composition, spirit.

Over the course of over 2 decades now, die ANGEL crafted a catalogue of 9 albums released on labels like EDITIONS MEGO or EDITION TELEMARK that were recordings of either the core duo or featured like-minded artists like cellist HILDUR GUDNASDOTTIR, OREN AMBARCHI, LUCIO CAPECE or BJ NILSEN. die ANGELdelve deep into the microcosms of tones, shaping nuanced layers of abstract sound that integrate elements of Musique Concrète, Minimal Music, Industrial, Noise, Blues and Psychedelia, and yet bear the unmistakable die ANGEL signature.

"Utopien I" is not only the duo's latest effort (feat. OREN AMBARCHI) but also a clear political call: in a world of a general decline, we need new ideas and approaches to design the future.

All tracks performed & recorded December 2015 - January 2016

by Ilpo Väisänen & Dirk Dresselhaus at ZONE, Berlin

Overdubs on 'Cargo Cult'by Oren Ambarchi (Milano, Italy) April – May 2016

Edited & mixed by Dirk Dresselhaus May 2016 at ZONE, Berlin

Mastered by Helmut Erler at D&M, Berlin, December 2019

Ilpo Väisänen : electronics & effects

Dirk Dresselhaus : electric guitar & effects

Oren Ambarchi : electric guitar & effects

On his new record "Companionship", London-based Soft-Rock, Soul and Disco artist Joel Sarakula keeps the mood easy and the grooves deep. Ten new songs see Sarakula develop a deeper, more introspective lyrical style from his previous works as he celebrates and laments friendships, love and loneliness. Interspersed with a few standout up-tempo tracks to keep the ship sailing, "Companionship" is a chill-out album and listening experience of the highest order.

"Companionship" opens with "Midnight Driver", a driving soft-rock fantasy where the narrator laments his partner's nocturnal habits: 'When she's coming up, it gets me down'. The Californian sun-kissed guitars, vocal stylings and percussion all help to set a cinematic mood which unsurprisingly also makes it a great driving song. On the introspective "King Of Clowns", Sarakula creates a pop song that calls to mind the craftmanship of Hall & Oates and Elvis Costello. Both an admission of guilt and an unapologetic statement of intent, his low vocal careens in the dangerous divide between self-pity and self-parody: "My bad decisions worked out for a while, I'd do my dance tried to make you smile, I'll never wise up it's just the way I am". These confessions all occur over a down-tempo funk groove complete with some vintage synthesizer musings that makes the track ready to be sampled for a hip-hop record.

"Sunshine Makes Me" steps straight out of its mid-1970s swimming pool, heavily dripping in jazz fusion to dry off in the cold light of today's sunshine. The chorus is a mantra of desire, needs and reality that sees Sarakula sing 'Sunshine makes me lose my mind, thirty degrees and my eyes get so wide. Dreaming big and living slow, don't you know that time is on our side". On "Companionship", Joel Sarakula, prolific writer, producer, performer and multi-instrumentalist finally unleashes his chill-out pretensions. In this follow up to the critically acclaimed "Love Club" (2018) he develops a deeper and more mature compositions and production style. His love of all things vintage extends to a devotion to analog synthesizers and on "Companionship" you can hear a genuine love of synthesis that at moments is reminiscent of 70s synth production pioneers Todd Rundgren and George Duke.

Joel Sarakula will tour "Companionship" through Europe and the UK this Spring and Summer 2020 with his musical companions. Born in Sydney, based in London and a true internationalist, Sarakula tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is a sly nod to the golden era of the 1960s and 1970s when travelling US pop, soul and blues artists would do the same.

Who put the dance into Factory Records?”

Be With would like to refer you to FAC 59.

Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12" is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul.

Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester. Rob Gretton had just signed the band to Factory, snatching them from under the noses of RCA and WEA Records who had been sniffing around and seemingly ignoring Tony Wilson’s concerns that Factory might not be the right home for a black soul act. Rob clearly thought different.

The band of Tony Henry on guitar and vocals, bass player Derek Johnson, drummer Tony Thompson, lead vocalist Beverley McDonald and John Dennison on keyboards were put in the studio with A Certain Ratio’s drummer Donald Johnson producing the sessions. The band also found themselves with an interesting new member.

The back cover of the finished record credits synth F/X to a mysterious “Be Music”. Turns out that’s Bernard Sumner. Yes, that one. Tony Henry explains that bringing Bernard in was another part of Rob Gretton’s plan, “Barney was a real soul boy at heart and had always wanted to produce and work with black artists… with 52nd Street, he was an honorary member”. The results suggest he fit right in.

“Look Into My Eyes” squeezes so much aural pleasure into one side of a 12" single. A strutting, rich, soul-gliding funk with bass and guitar high in the mix above twisted, bubbling synths. Like Nile and Barney drenched outside the Haçienda that first summer. How can something be this liquid loose whilst sounding so, so tight? The hypnotic, naïve-cum-insouciant vocals from McDonald, backed by her fellas, only add to the track’s charm. Put simply, it sounds like nothing else.

On the flip, “Express” is sheer drama on wax. Tony’s opening lesson in good manners (“Excuse me miss, is this seat taken?”) sees us strapped in for a wild, chaotic, rhythmic ride. All bold keys, synth brass blasts, insistent bells and a galloping groove giving *that rush* atop a bassline to die for. No surprise it was a Frankie Knuckles favourite. Blistering heat.

The 12" was Paul Morley’s single of the week in the NME but his approval did little to get daytime radio play or to sell the record when it was released. It probably didn’t help that, in Tony Henry’s words, Factory were a label “notorious for not promoting their bands, not wanting any communications with the written press and not answering their office phones.” It came and went with none of the fuss that music this good deserved.

But in the near-40 years since they were released, these two tracks have gone on to become cult underground hits for those in the know. Of course that means those original 12"s have gotten rare and pricey. So here’s your chance to own this particular piece of post punk Factory Records funk.

But this record isn’t just a vital slice of Manchester soul history. Tony’s not shy about just how important he thinks the collaboration between 52nd Street and Bernard Sumner was: “this worked out quite well for us in the band but even better for New Order and Factory Records as Sumner studied grooves, rhythms and how to write and construct funk and dance music from 52nd Street and producer Donald Johnson”. You just have to listen to Blue Monday to hear what Bernard did when he started putting what he’d learnt into practice.

“Look Into My Eyes” and “Express” come from a chapter of the history of Factory Records that no-one seems to have gotten around to writing. Working with Tony to reissue the original 12" is the start of putting that right. The story of 52nd Street is more than just a footnote.

Be With hereby presents aural perfection.

Don’t let the title mislead you, “Much Too Much” by Sass has just the right amount of everything, whether you’re talking about the vocal or the instrumental. And that’s as true now as it was when it was originally released back in 1982.

In 1981 The Jack Sass Band, as they were known, were still working the NYC club circuit. Along with the likes of Change, The BB & Q Band and High Fashion, they were part of the Little Macho Music phenomenon and that’s how they ended up in an 8 track studio on 7th Avenue near 20th Street, where Little Macho recorded demos.

Produced by the band’s vocalist Mic Murphy, who also wrote the track along with fellow band member LaForrest Cope, the band needed just one session to capture “Much Too Much”. The recording studio just so happened to be run by Silvio Tancredi and when the tracks were finished he offered to put them out on his 25 West record label. The vocal version and an instrumental mix were released as a 12" the following year. Mic tells us this meant Sass “were one of the few bands to have a record release while still playing on the club circuit. So the reaction exceeded our expectations at the time”.

According to Mic “Much Too Much” was something a little different from the band’s live sound at the time, “it was more R&B smoothed out than the more funk rock we usually leaned into”. Indeed, the track glides with grace, poise and patience. The elegant, easy tempo, combined with the magnificent melody and Mic’s signature sublime vocal conjures magic. The blend of deep boogie-funk power and heavenly sweetness is both infectious and goosebump-inducing.

Over on the flip-side, the instrumental slaps harder. Without Mic’s vocal it’s just pure groove, with nothing to stop you vibing all night - the bassline, the drums and the melody still connect. Hard. Pick your side, you won’t lose.

Working directly with Mic Murphy means that the audio for this re-issue of the classic 12" comes from the original tapes. Cut at 45 RPM and released in a plain sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

Mic told us just how much it means to him to have “Much To Much” re-issued: “It’s an amazing feeling to have something you created almost 40 years ago still have relevance and even more amazing to be considered among the Northern Soul boogie anthems. And it’s especially important to me that we’re available again on vinyl”.

UPSIDE DOWN SMILE WAS RECORDED AND PRODUCED BY EWA JUSTKA AND BY SELF-DESIGNED, SELF-MADE, SELFSELFSELF, ODD LOOKING SLIGHTLY DYSFUNCTIONAL SYNTHESISERS AND BY A TRANCE PURPLE KILLER ROLAND JP8080 AND BY HIS BROTHER VIRUS AND SOME OTHER ROLAND BROTHERS NO SISTERS INCLUDED DURING THE TIME WHEN EWA JUSTKA WHO CURRENTLY LIVES IN GLASGOW, GOVANHILL, ALLISON STREET, WHERE RECENTLY HER PASSPORT WAS STOLEN DUE TO THE BURGLARY, WHERE SHE LIVES IN JOY, ALTHOUGH SOMETIMES THE FLOOR GETS WET DUE TO THE LEAKING WINDOWS AND SOMETIMES ONE CAN FIND DEAD PIGEONS LAYING ON THE STAIRCASE BUT IT'S NICE AND COSY AND EWA JUSTKA HIGHLY INFLUENTIAL PERSON IN THE DEEP DARK TRANSISTOR LADDER CIRCUITS LIVES SINCE SHE IS STUDYING PHD AT EDINBURGH COLLEGE OF ART WHERE SHE THINKS A LOT ABOUT IMITATION IN SYNTHESISER DESIGN AND FILTERS AND VCOS AND FORMANTS AND ACID AND HARDCORE MUSIC AND TWIN T FILTERS AND OPERATIONAL AMPLIFIERS AND SHE TURNS KNOBS AND THINKS AND THE UPSIDE DOWN SMILE ALBUM WAS MADE IN THE DEPTH OF THOSE THOUGHTS QUITE OFTEN SAD THOUGHTS UPSIDE DOWN SMILE IS A BIT OF A CYNICAL SMILE BUT AN HONEST SMILE CYNICAL BUT HONEST UPSIDE DOWN SMILE IS A SMILE THROUGH TEARS BUT TEARS OF JOY SCOTTISH JOY UPSIDE DOWN SMILE IS UPSIDE DOWN ACID ONE COULD SAY UPSIDE DOWN SMILE COULD BE INTERPRETED AS A SAD SMILE BUT IT IS A SMILE IN THE END OF THE DAY

In 2016, talented artist Paul Cut released his first vinyl with Popcorn Records: the Basement Jam EP.
This album foresaw the rise of the young producer, who has since piled up project on top of project, and record on top of record. One of the driving forces behind the D.KO label, and a (literal) key player of the Secret Value Orchestra band, Paul has also thrived on collaborations. Whether with Chez Damier, Jef K, Flabaire… They all fall under the spell of the young pianist’s skill, who has become in just a few years one of the leading figures of French house.
In 2019, Paul joined house legend Larry Heard for his world tour, and multiplied appearances at famed festivals such as Glastonbury, Dimensions, DGTL or Printworks. In 2020 Popcorn Records is turning 10. And to mark the occasion, Paul is coming back to his beloved label to unveil his first album. More than a year of thought and work went into “Le Bal des Douaniers”. An album composed of 10 titles, which all reflect fragments of Paul Cut’s influences.

Limited to 800 copies Red Vinyl
Includes postcard and poster
The Die Young EP was released on the group’s own Cafeteria label, released early 1987. Michael Fury was inspired by James Joyce’s short story The Dead. Only previously available on a 4 track12” .This 7” version comprises 3 of those 4 tracks
Metro Trinity were a short lived Manchester based indie band that included Jon Male, later of Soul Family Sensation and Republica fame. Drummer Colin Rocks, bass player Tim Whiteley and Doves guitarist Jez Williams.
Metro Trinity only other release came on a split with the Inspiral Carpets on Dave Haslam’s Debris fanzine. Which featured the track “Stupid Friends”.
Andy Williams of Doves joined the band later on, but does not feature on this EP. The band split up shortly after.

The awesomeness of this record can’t simply be denied and without a doubt, Chained To Oblivion will more than likely be my doom album of the year. I just don’t know how anything can top this. So please, give it a listen and enrich your life with it’s vibrancy" - NEW NOISE.
"Spirit Adrift’s 'Chained to Oblivion' Is An Epic Tale of Doom Metal Redemption" - VICE "This doom metal massif is as heavy as the Himalayas, and the passion involved is second to none." - METAL INJECTION "This is an album that will get people through tough times. You can feel the authenticity, which is a very powerful thing in the days of unending sarcasm and ironic creation" - TOILET OV HELL.

Music With Soul returns with another genre-defying instant classic, expanding the limits of the Tropical Dance music universe.

Staying true to the label's essence, founder Alex Figueira places a high bet with this new release, introducing a brand new breed of traditional “Hindoestan” (Indian diaspora in Surinam) music and Cumbia. Taking the music of underground Surinam musician and empresario A. Bechan for an explorative excursion into the depths of the Colombian caribbean coast, this explosive combination raises the bar unquestionably. Equally weird, groovy and trippy, this 45 will turn any party upside down, regardless of any factors. The only problem you will encounter is what to play after. The solution is right on the other side. Just flip the record and give them the Instrumental version, featuring electric guitar, an alternative percussion set up and the beloved classic Juno-60 synthesizer in the leading role for another 4 minutes of dancefloor catharsis.

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

We’ve worked with Ian Willson to reissue his insanely good, self-released West Coast classic “Straight From The Heart”. Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours.

You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.

Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk).

The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.

Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record.

Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982.

A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together.

Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears.

And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.

When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP.

The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.

Pitto is not one to flood the scene with new music considering he’s only released two ep’s in the last three years. He takes the time to let ideas evolve and it’s clearly noticeable on last year’s EP on ‘Something Happening Somewhere’ sublabel ‘Ooshaa’, where his feel for an almost poppy hook is perfectly combined with his love for darker electronics. On the ‘Baila baila EP’ –his return to Heist after his last ep in 2018- he explores this path further. The EP is filled with live percussion, a dark and rolling acid line, chopped beats and catchy piano riffs. The three originals are accompanied by a remix courtesy of Pete Herbert that has ‘summer’ written all over it.

Opening track ‘Sammie’ has a beautiful sense of melancholy to it, where an emotional piano riff is combined with some 80’s tinged vocals and loads of live percussive elements for a smile inducing experience.

‘Discko’ takes a darker approach with a deep and ‘dubby’ low end and a guitar riff that wouldn’t be out of place on a Caribou track. The horn section and synth lead give it a real crossover appeal and it’s the kind of track you imagine working just as well on a summer festival as in a dark basement.

On the flip, there’s the title track ‘Baila’, a proto inspired acid stomper with a nice wink to early 90’s dance music vocals. An acid line gives the track its backbone, but it’s the combination of Pitto’s chords and instrumentation that give this track it’s unique edge.

The EP finishes off with Pete Herbert’s remix of ‘Sammie’. Pete’s version has that full-on summer appeal with his recognizable style of modern day island disco. He adds a bit of drama to the track with some big breakdowns, changeovers in the piano riff and turns the Balearic vibe up a notch with an added dreamy solo.

We’re happy to have Pitto back on Heist and this unique and diverse EP is one we hope will create a lot of smiles on the dance floor in the coming months.

Yours Sincerely,
Lars & Maarten

Rhyze were a funk disco band who recorded their debut album in New York and released on Sam Records in 1980. This reissue features highlights such as the fantastic title track ‘Just How Sweet Is Your Love’ (which charted in both the US R&B and Dance chart) plus the single ‘Free’ and two B Sides ‘Singing and Dancing’ and ‘I Found Love
In You’ This classic is presented on 180g heavyweight black vinyl with original artwork and printed inner sleeve.

We think our 6th release – not counting the überdrüber
‘sizzling hot edits’ – is a good display of the rtct.records
variety. Four artists from all over continental Europe are
showcasing their eclectic styles, fully exploring the richness of
house music front to back and old to new. Whether you hated
or enjoyed the record, let us know what you did with it. And, you know, just for reasons of SEOability, here are artist names again: PARADISO RHYTHM!
MUTENOISE! GUS NOBEL! LEO WOELFEL!

Palette 71 kicks off with legendary Warp artist Plaid on remix duties. Transforming the title track, re-synthesized 909 samp-les and lua scripted sequencing, Plaid builds melodies and ar-rangement to epic proportions in classic Plaid fashion.

Tejada’s new EP is an homage of sorts to the sample heavy production style of the late '90s. "Limiting the options and just creating and manipulating a batch of samples is my happy place,” says Tejada. The title track hints back to a personal favorite, Optical’s "Moving 808s." While the sound is quite different, the approach is similar: samples, editing, some fil-ters and not a whole lot more opens up a lot of creative possi-bilities without too much getting in the way. Of course, the bass plays an important role. Combing through some older influences of varying styles, the production became more in line with Tejada classics like “Timebomb” and “Western Star-land,” both sample collage pieces focused on groove.

The final track, "Infinity Room" also follows this production process while resulting in a slightly moodier sound.

This EP is Volume two in the series of early 1990's slower tracks by Mike Wells that Rabbit City didn't want to release as they wanted all "Bangers".

In 2017 Brooklyn's Bryce Hackford spent a week at the PRAH Foundation in Margate (UK) recording rhythmic foundations and the environment around him. After his residency, eleven musician friends contributed their performances to what would become Safe (Exits). All of these contributions, however, were made in isolation and the task of mixing them together became the crux of the production.

Bryce's records largely explore improvisation with electronics, using recording as the compositional medium, and feature the occasional contributing musician. Eleven make Safe (Exits) more of a chance ensemble record, with players in unlikely combinations, from disparate backgrounds both personal and musical, pushing a collage aesthetic beyond sampling. The poetics of these sounds is the focus of this album.

Safe (Exits) attempts to create a rare space where rhythms get propulsive enough to make one dance yet become subtle enough to make them nod into the serene vistas of distant, contemplative waves.

Safe (Exits) is Bryce's first album since 2015 and second release with Spring Theory.

Featuring: Gabi AsFOUR, Brian Close, Matt Evans, Adrian Knight, Kiki Kudo, David Lackner, Frank Lyon, Camilla Padgitt-Coles, Bernardo Risquez, Viktor Timofeev and Justin Tripp

1970’s best-kept Bossa Nova secret. Surrounded by mystery for nearly 50 years due to its obscurity, this is one of the most honest, personal and unpretentious albums of it's genre.

A selection of 12 exquisitely crafted songs supported by measured, subtle arrangements. The list of musicians born or raised in the Tijuca district of Rio de Janeiro is long and illustrious and includes names that have shaped Brazilian music: Tom Jobim, Roberto Carlos, Tim Maia, Milton Nascimento, Jorge Ben or Erasmo Carlos – to mention but a few.

We can now add to that list another name: Werther. In 1970, a man by that name recorded an album unique in its personality, its honesty, and its lack of pretense. In a time when Bossa Nova had become a global phenomenon and its main characters were already household names in Brazil, Werther assembled a collection of songs that uncannily – almost naively – remind us of the time when Bossa Nova was just a group of youngsters making music. His songs are about simple things: bohemian life, the sea, love.

Despite Werther and his friends being only in their teens, without any previous experience recording music, those working behind the scenes were not equally amateur. Producer Peter Keller had already worked with Aloysio De Oliveira in the quintessential Bossa Nova label Elenco, and was also an initial partner in Roberto Quartin’s cult label Forma.

Studio owner Bill Horne was a very loved character in the Rio jazz scene who had regularly taken part in the legendary meetings in Nara Leão’s apartment and befriended some of Brazil’s most respected musicians. Some of these musicians were, for example, Naná Vasconcelos and Edison Machado, who provided small contributions to Werther’s album.

It's album release time for this Madrid-based soul/jazz organ trio who have been burning up stages and festivals throughout 2019 and who have already had a successful single out on Rocafort Records. Beat Bronco Organ Trio have not rewritten the Hammond musical handbook, but they do what it says on the tin rather splendidly – a Road Trip that grooves, swings and sashays around the familiar but much loved funky jazz theme.

Although it's impossible to listen to the album without summoning up the ghosts of Jimmies McGriff & Smith and the like, nearly all tracks here are originals and shout out personality, verve and respectful homage to the tradition. Featuring the usual leitmotifs: Shaftish film sountrack, lo-fi lounger, gospel-tinged toe-tapper, the hip shaker and much wah-wah frenesi, there's nothing not to like if the genre is your bag.

The steaming horn section on "Hard Play" thickens the sauce à la JBs and the Meters, aided along by a unique orchestra of handclaps. Vocalist and guitarist Alberto Palacios Anaut storms in with "Hey Hey", an old Dave Bartholomew classic from New Orleans, just to remind us where Fats Domino and Ray Charles got it all from. Chip Wickham makes two welcome appearances on flute, adding an extra jazzy touch to "Squirtly" and "Electro Pi" – the latter a fabulous trippy, spacious head-nodder that demands in our opinion some kind of a wigged out drum'n'bass remix. Every track is clearly dominated by variations on the vintage keyboard, be it Hammond, Clavinet or Minimoog; all roads lead to that sexy, sacred sound.

Spain is already prominent on the modern-day Funk map thanks to groups like The Sweet Vandals, Speak Low and Mighty Vamp – and it comes as no surprise that our hero trio featured at various times in all these bands. Gabri Casanova (keys), Lucas de Mulder (guitar, percussion) and Antonio "Pax" Alvarez (drums, percussion) have been busy reviving the funk gospel for some time now. Road Trip is an elegant culmination of their efforts in keeping alive a revered and timeless tradition that still today serves as a reference to where all the good stuff came from: The Church!

‘Rock Sutra’ is the new space rock album from Sun Araw.
 ‘Roomboe’, the first track, illustrates this process.
Experience is elastic. Humans alive right now tend to think
there is some sort of ‘baseline’ experience of a thing, a
room, a person, a feeling, some version we all agree on.
This isn't true at all: experience is completely dependent
on the quality of attention of the experiencer. There is a
granularity to experience that, when tuned up, reveals
deeper and deeper space inside of things. When you zoom
in (by pure observation: by not-articulating, not-thinking),
you create ‘room’, you make space. Just like that. For
instance, ‘Roomboe’ has an extremely limited tonal
framework; about 9 notes for the main guitar melody. As
the guitar pushes against these melodic limitations with
continually renewed attention and energy, it begins to
create space around itself. And all of the sudden (at about
4:57), out of this constriction, space balloons up from
everywhere simultaneously. ‘Roomboe’ is a clue about how
to open a portal outwards into free space.
 ‘78 Sutra’ is about orbital motion. ‘Catalina’ is about taking
a walk. ‘Arrambe’ is about a peculiar feeling you can get
when you zoom in far enough. The music is offered in a
spirit of generosity and adventure; it doesn’t stay put and
it keeps zooming in to reveal more and more.
 The album was recorded live-to-midi with the band and
this is the first Sun Araw album recorded like that. That
band is Jon Leland on drums and percussion and Marc
Riordan on synthesizers and Cameron Stallones on
synthesizers and guitar and vocals.

Scottish trumpeter Malcolm Strachan is a founder member of top UK funk/jazz-funk band The Haggis Horns as well as being one of the busiest session musicians in the UK today. In a professional career spanning 20 years, he's recorded with the likes of Mark Ronson, Amy WineHouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jesse Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds and Blue Note saxophone legend Lou Donaldson. Now he's finally releasing his first solo album, aptly titled "About Time", on Haggis Records and he's going back to his original roots... Jazz.

The album is a collection of original compositions, all written and arranged by Malcolm, which are firmly rooted in the classic acoustic modern jazz style typified by the great 60's and 70's recordings on the legendary Blue Note Records label. A nice variation of themes and tempos feature throughout the album. From full-on latin vibes to beautiful ballads, soul jazz grooves to cinematic soundtrack flavours, all woven together by a great group of experienced musicians.

Malcolm's core quartet is himself on trumpet/flugelhorn, fellow Haggis Horns members George Cooper (piano) and Erroll Rollins (drums), plus Courtny Tomas on double bass. Featured guests are Atholl Ransome on tenor sax (The Haggis Horns), Rob Mitchell on baritone sax (Abstract Orchestra) and Danny Barley on Trombone. Strings are courtesy of Richard Curran and the percussionist is one of the finest session players in Europe, Karl Vanden Bossche (Incognito, Robert Palmer, Joss Stone, The Gorillaz, Sade, Blur - He and Malcolm met while touring with Mark Ronson)

Malcolm's love of jazz comes from his parents. Aged 7, his jazz musician father gave him a trumpet. From then on, jazz was his life. His musical education came via music teachers, youth jazz orchestras and jazz summer schools but mostly from his dad's record collection listening to Art Blakey and Dizzy Gillespie records and learning to improvise and solo by ear. At 18, he enrolled at Leeds College of Music and quickly immersed himself in the city's vibrant acid jazz, funk and soul scene and from making his recording debut in 1999 with The New Mastersounds, jazz was his musical passion but took a back seat to funk/soul/pop which were the day job. Until now.

Jazz is back. The wait is over. It really is "About Time" for Malcolm Strachan.

Getting stuck into the new year with a fresh, contemporary jazz attitude, Rocafort Records are proud to present the Kumadé EP from exciting Swiss-French quartet KUMA, led by keyboardist Matthieu Llodra and saxophonist Arthur Donnot.

Confidence, rhythmicality and solidity are the first impressions that hit you from this tight outfit of young but highly experienced musicians. After nine years of holding down a 10-night residency at the prestigious Cully Jazz Festival, Llodra and Donnot have honed down their skills in front of a live audience making tension, pacing and release their speciality in compositional strategy. Grooves and moods are created with just the right amount of rise and fall, push and pull, melodic catches and improvisational wanderings.

The EP is well balanced out with two spaciously laconic, ethereal tracks - Alfama and The Core - that could easily belong on some ECM-inspired soundscape, juxtaposed with Kumadé and I.G.A.T.F. that pack a fuller punch, fat and chunky in all the right places, hinting at a 1970s style George Duke at his funky-fusion best.

Despite a whiff of nostalgic reference, rest assured that the KUMA timbre is fresh and exploratory, as innovative and curious as any protagonist from the current UK jazz explosion. Keep an ear out for these young Jedi masters, all of them at the top of their game. More assured, impressive releases are due out this year.

Matthieu Llodra – Fender Rhodes

Arthur Donnot – Sax

Fabien Iannone - Bass

Maxence Sibille – Drums

Zacharie Ksyk – Trumpet (guest on Kumadé").

Entitled ‘My Heart Is Hungry And The Days Go By So Quickly’ Danish singer and songwriter Jacob Bellens presents his fifth solo album. Thanks to his unique voice and his talent for heartfelt melodies, over the years Jacob, also known as frontman of I Got You On Tape and Murder, has become one of the most distinctive figures on the Scandinavian music scene. Slightly darker in tone than its predecessors ‘Trail Of Intuition’ (2018) or ‘Polyester Skin’ (2016), the new album lets us see the world through Jacob’s eyes.
Somewhere between left-field pop and a classical singer/songwriter approach, the songs were recorded in two sessions with producer Mads Brinch, drummer Tobias Laust, bass player Jonas Westergaard, keyboardist Malthe Rostrup and guitarist Tobias Fuglsang. “So many good friends and amazing instrumentalists have contributed to the sound“, explained Jacob. “And mostly, people were playing what they felt the song needed, which was an incredibly inspiring way of just letting the process develop naturally, and take on a life of its own.” As such, the recordings give off a distinct light-footed and organic feel. Rich in metaphors, the lyrics deal with personal perceptions based on everyday life occurrences that at the same time hint at the meaning of life in general - or at least suggest a higher perspective. The sonical expression is timeless but also modernistic and the lyrical point of view is refreshingly diverse, never just black or white. The sad songs have uplifting, often surreal qualities, and the lighter, uptempo songs also invite to a certain darkness. A flower basket full of difficult emotions, sprinkled with magical fairy dust that somehow makes everything worthwhile.

Electronic / acoustic wonder band KUF deliver a special surprise for their third album: eleven sizzling hot takes on tracks drawn from the Macro label's stellar catalog, as originally crafted by some of today's most respected artists in electronic music. KiNK, Patrick Cowley, Peter Kruder (of K&D), Stefan Goldmann, rRoxymore and more get the treatment. With a nod to the label's previous highly original compilations and mixes from the Macrospective and Vinylism series, Re:Re:Re captures more new ground.

KUF's previous albums presented an astonishing inversion of the typical extended electronic set up, in that they paired a plethora of disembodied, sampled voices with acoustic real time interaction on bass, drums and keys. Re:Re:Re shifts the focus of sampling altogether to scanning entire tracks and compositions which are then reimagined with the band's singular approach. Neither just remixes, nor faithful reproductions, KUF engage in careful sound archaeology. From re-programming key sounds to holistic granular deconstructions, the originals's sound palettes are reproduced to serve as a springboard towards entirely new instalments. The resulting tracks range from intimate ballads to full power dance floor movers, spanning a highly engaging arc of sheer listening pleasure.

Just act like it didn’t happen…
Reznik & Mikesh crack open a fine vintage bottle of conspiracy with the scorching truth bomb ‘The Moon
Landing Was A Hoax’. Following their remix of Telepopmusik last year, the freshly-formed duo of
Keinemusik affiliates deliver such an acid weapon Justin Strauss insisted they release it after it caused
total Panorama Bar meltdown for him.
In case you missed the inaugural edit, ‘The Moon Landing Was A Hoax’ takes off with pure 303 bounces
before sharp vocal cuts pepper the mix leading to a heaven-opening breakdown. Total euphoria; it’s so
powerful it totally misses the lunar landscape and spins us back around our own planet faster and faster
with every emphatic layer. Reznik & Mikesh’s ‘Area 51 Infinite Mix’ adds three more minutes of feels,
creating this immense drama that sits somewhere between Chemical Brothers and Two Lone
Swordsmen.
It’s backed by a giant leap of a remix by Justin Strauss himself. Teaming up with Throne of Blood’s Max
Pask, they take it up through the gears, ramping the rolling acid tension until the last two minutes pays
out the euphoria jolt we’re waiting for. File under rocket-fuel.
There are no small steps elsewhere on this trip either; ‘The Nostromo Swerve’ goes intergalactic with
such tense, epic acid techno thunder it could dodge entire black holes while ‘Kiss My Axe’ goes all-out
Stingray-style electro with its gravity-defying breakbeat swing and sweeping layers of melancholy
synths. Total celestial immersion: in space, no one can hear you scream, dream or even make up
hoaxes… Happy landings.

2026 Repress

Four standout remixes to celebrate the 20th anniversary of iconic Australian duo Madison Avenue’s classic, ‘Don’t Call Me Baby’ from Patrick Topping, Spencer Parker, Mousse T and Super Disco Club. Be prepared as one of the world’s most prominent vocal tracks just got bigger.

Australia’s Madison Avenue continue to celebrate their 20th anniversary of ‘Don’t Call Me Baby’ a certified UK, European and US Billboard hit that returned late 2019 to cement no.1 positions across Aria Charts, Beatport and Traxsource. Now Patrick Topping, Spencer Parker, Mousse T and Super Disco Club take it to a higher level that’ll see it dominating clubs for many years to come!

A tale of two halves the A side see’s man of the moment Patrick Topping and veteran of the scene Spencer Parker provide two tech-y interpretations, the former an acid tweaked destructive whirlwind and the later a looped-up dub stomper. On the flip it’s nu disco at its best with a pair of remixes from Mousse T and Super Disco Club.

On Patrick Topping / Spencer Parker remixes:

Ben UFO - Very Nice Acid Mix
Danny Howard (BBC Radio 1) - Absolutely ripped it to shreds and turned into an absolute club weapon for 2020 (Patrick Topping’s Remix)
Annie Nightingale BBC R1 - Great reworks!
Black Madonna - Nice! | Change Underground - Premiere
Hannah Wants - Both bangaaaaaaaas. nice packageeeeeee

You learned that there are genres. Everything separated into categories with their own canon and rules: Major, minor, 4/4, 6/8, highs, lows, high head, butt end. Techno here, Disco there. You learned that art and music are two different things. Visually auditory, audio-visual, optically acoustic, not to mention the surface feel. Listen to me, look at me, touch me. But everything in that order please! You have learned that understanding takes you further. Night / life, rhythm / dancing, substance / excess, water / holding out, sleep / rest, headache / not good. But what would it be if all of that wasn't just right? If all of our knowledge is based on the mistake of having to put everything in relation? To classify it, to make it responsive. What do we do with something that doesn't follow the rules of this logic? That is not based on 0 and 1 and therefore not bound to our binary systems? Is this all at once? After all, what if the whole thing has no limits?

Jens-Uwe Beyer recently released the Yellow Book with Albert Oehlen on Gagosian and on his own label Magazine. He also runs PNN and Schalen. His 4th album „Horizons“ as Popnoname is the very first long player to be released on Cologne based label Feines Tier.

Our man Assel returns with this banger party record. We can just say BOOM!

12" vinyl limited edition of 200

Dimi is the new solo project and label of (Dimitrios Ploumpidis) one half of techno duo, AnD.

The Dimi label will be an exploration in sound, pushing techno, rave and dance floor sounds with a raw and powerful attitude.

DIMI001 kicks off with "Time Travel". Pulsating kick drums and vocal cuts interweave, creating groove with the snappy snare and lashing hi hats. When the huge synth stab and melody drop to take us straight to a hedonistic past put looking clearly into the future.

"Bang Your Face" enters the room with a tight, hard-hitting kick and serrated rave sirens building an infectious groove before being banged in the face with the old school euphoric synth line that drops in and out of the mix creating tension and dramatic shifts in the track.

"Groove Away" a throbbing bass and kick drum drop with a sinister stab for this funky techno monster. Hard in dynamics but with a maximum amount of groove this track thumps and slams while the spaced out synth line and rave stabs help keep this funky banger grooving all the way to outer space as the alien melodies propel us for take off.

"All In" syncopated delayed synth stabs build in this track with tight rhythmic percussion and distorted kick drum. The snare enters like a punch to the face but only solidifying the swing while the main synth line opens building tension ready to destroy everything in its path. This is Dimi showcasing his direct and unique take on techno music.

KOGNITIF is back with MONOMETRIC 2020 EDITION, 6 years after the first edition. He totally reinterprets this deeply Trip-Hop album with a very wise and sharp ear and invites you to rediscover his classics , such as “Bande de Dégénérés” or “So Let’s Begin”. Jeannette Robertson’s gorgeous voice being delightfully enhanced by this remastering.

The most important pieces are still the 4 original tracks scattered across the album so just get ready, open ears wide and check this out !

Nina Simone was an exceptional artist. She was gifted with a precocious talent and she played music at home and in church. Nina originally counted on becoming the first black female classical pianist ; her plans were thwarted and that frustration no doubt permeated almost her entire career. Yet she became a diva capable of combining the jazz world with those of the classics and soul, and among other titles she recorded are some of the most vibrant and moving performances of Wild is the Wind or You Can Have Him, I don’t Want Him.

She was one of the greatest artists of her time, and her fervour and rigorous demands concerning the quality of her music took her to the highest summits, whether in her compositions or in her vocal and piano performances. For all that, she never forgot her condition as a black woman in the America of the Sixties, and her active commitment to defending the rights of the black minority was exemplary - and at times even excessive, for which she was often reproached.

She has left us some of the most beautiful chapters in jazz and soul music, among them the 23 titles that appear in this album.

Ten years on from its digital-only release, Utter presents the legendary third Mu album on vinyl for the first time! What can we say? This is possibly the most bonkers and 'out there' Maurice Fulton has gone production-wise, from sub-heavy Hip-Hop to Country (!) to Thrash-Metal (?!) alongside a sprinkling of his signature genius House/Disco magic thrown in for good measure... all with Mutsumi's infamous vocals over the top. Limited pressing with fluorescent pink sleeve & insert. Remastered & cut by Rashad Becker at D&M.