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We're back with another heavy release for the soundsystems.

This time we welcome Boomarm Nations own Gulls to the label.
Hailing from his dojo in Portland, Oregon, Gulls delivers us a
meditative dub hybrid, combining elements of dub, hip hop and contemporary electronica. The tune is called ''So Blessed'' and is topped by the fine voice of Wayne Daniel outta Kingston, Jamaica.

''So Blessed'' got exactly the vibe you'll need in this challenging time. Keep your head up, feel gifted for what you've got and give something back to the people around you. This tune's backing you up.

If that wasn't enough, the Portland rapper Madgesdiq steps pon the mic for some blazin' bars in his signature conscious style.

Get lost in this wicked production while heading right into the dub version to exceed the border between music and meditation.

To feel the sound through your body and soul, LXC lifted the frequencies again.

Parsley Sounds was the glorious debut album for Mo Wax by Parsley Sound. The album was one of the iconic label’s final releases before it closed in 2003 and locating a clean copy has been extremely tricky of late, unless you're flush enough to drop 150 notes on it. Mercifully, the Be With reissue, put together with invaluable assistance from the group, should remedy this situation. It's a lo-fi, bass-heavy, blunted beat treat, warped with heat haze and dreamy soft-psych and has been criminally under-heard for far too long.

As with most cult-like records, Parsley Sounds has many influential fans, far and wide. From Four Tet and Caribou to NTS's modern day breakfast hero Flo Dill, its reputation has only grown in stature. At the time, the notoriously hard-to-please Pitchfork garlanded it with a scarcely achievable 8.8 whilst, just recently, the Numero Group's Rob Sevier described it as a "visionary bit of proto-Salvia Palth (or Steve Lacy)" via a Ghostly International missive.

Parsley Sound comprised super-talented duo Preston Mead and Dan Sargassa. They released an early single (the perfect "Twilight Mushrooms", featured here) on Warp Records as Slum, before signing to Mo Wax. Hidden behind a wall of sound - fuzzy layers of beats, bleeps and symphonic synths - they were convinced they made mainstream pop music. And, in many respects, Parsley Sounds really is a beautiful pop album. It overflows with memorable, gorgeous melodies and inspired songcraft. As the contemporaneous Pitchfork review correctly had it: "Parsley Sounds is one of those rare records that manage to sound modest while frequently pushing the sonic envelope."

Killer opener "Ease Yourself And Glide" is a thing of aching, soft-psych, wonky beat-beauty. A melodic masterpiece, part Crosby, Stills & Nash, part proto-Koushik, it presents a melancholy falsetto, surging bass and blunted lead guitar. As it climaxes, gorgeous strings are ushered in to see us out. Sublime. "Twilight Mushrooms" is up next and it's an acid-drenched, strung-out acoustic-led campfire wonder. Amid layers of tape-hiss and beautiful, sun-dappled strings, its understated vocal track provides a haze of wistful innocence.

The breezy "Spring's Near" is a krautrock-inspired chiming instrumental of heavenly excellence, its warm, skipping, motorik groove and dreamy synths completely infectious. Another total highlight, the technicolour "Yo Yo" initially presents itself as a more abstract, bleepy offering but as it organically swells into ever more beautiful places, with the addition of a choppy insistent drum loop, flute bursts, horns and sweeping strings, it puts one in mind of early Manitoba and Four Tet releases. Shimmering, blissed-out greatness.

The celestial harmonies and glistening harps of the wonderfully beatless, serenely sullen "Ocean House" are very much in conversation with late-60s meditative psych whilst, closing out Side A, the jaw-dropping, lushly experimental effort "Find The Heat" comes on like Arthur Russell meets Brian Wilson. Yep, *that* good.

Side B opens with the warped, bleepy "Stevie", a brief but beautifully wonky, soulful and intricate instrumental. The more upfront vocals that propel the fuzzy "Platonic Rate" have a refreshing swagger to them, the heavy bass and neck-snapping in-the-red beats too much for any system to deal with whilst the guitars and strings have a sweeping, cinematic feel which just beguiles. The slow, urbane soul of "Candlemice" will stop you in your tracks, no matter what you're doing. It carries a delicate sadness, as does much of the album in that classic "down lifting" style we so love here at Be With.

The fuzzing, buzzing "Templechurchmansions" is a searing, soulful dubwise detonation. Heavily stoned with slow-burning jazzy snatches and a tense, moody atmosphere, it's a Tricky-adjacent gem. The album rounds out brilliantly with the ominous instrumental "Neon Breeze" before giving way to the propulsive, almost incongruous punk-funk / disco-dub of secret "untitled" track "Caution", a scratchy, smacked-out groove-fuelled workout with a female vocal dripping with 'tude. Just sensational.

Under the watchful eye - and attentive ears! - of Parsley Sound themselves, the audio for Parsley Sounds has been carefully mastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.

Preston and Dan always thought the colours on the first vinyl pressing looked a bit "washed out" vis-a-vis the original artwork which was way more vibrant. We feel we've got it popping back to the original intention with the restoration work here at Be With HQ. So with the audio and artwork now approaching completeness after 20 years, this long overdue re-issue could be considered its definitive vinyl release.

Hardcover Book which includes a 208-page book documenting Louisville's rich Black Gospel music legacy and access to a comprehensive digital archive.

In the mid-20th century, Louisville gospel music was occasionally recorded when members of the local gospel community pressed 45rpm records and LPs, and released them through grassroots record labels such as Sensational Sounds, Grace, Blessed, and D.J.S. Over the years, a substantial body of work was produced in our city, but those recordings are in danger of being lost forever.

The Louisville Story Program has been working with dozens of people in the local gospel music community to locate, digitize, and preserve hundreds of these recordings and to develop a book that documents and honors the legacies of the people and communities that produced them.

For decades, the passion, hard work, and support of countless people across dozens of Black church communities in Louisville have nurtured and sustained a rich gospel music ecosystem. This music has served as a central part of people's religious practice and as an expression of Black pride, joy, affirmation, love, dignity, determination, and hope. This legacy continues to this day.

With support from The Owsley Brown II Family Foundation and Owsley Brown III Philanthropic Foundation, LSP has partnered with members of the gospel community and a local advisory group of local gospel historians and luminaries:

To locate, clean, and digitize gospel records of local artists released by small local labels
To accompany the local Black gospel music community in developing a 4 CD box set that includes a 200+ page hardcover book with first-person documentation of their rich history
To create an accompanying double LP featuring 26 of those songs
To create and maintain a public-facing digital archive of 1,000 songs and 1,000 photographs
To celebrate the final release with a large concert at the Brown Theatre (September 28, 2024)

Despite their early success, The Valentinos’ story was, like many other groups, a ‘what might have been’ story. But there could not have been a more hardworking group. Every night, Friendly Womack Sr. taught his boys all the gospel songs he knew before he kicked them out of the house because they wanted to switch to secular singing.
“Bobby, you’re singing too church!” shouted Sam Cooke across the recording desk at the United Recording Studios in L.A. to Bobby and his brothers…
Still torn here between gospel and secular singing, Friendly “June” Womack told me about both these two lost tracks from the group: “Between you and I, we were looking hard to get another ‘Looking For A Love’. We were desperate for that, as that was such a big seller for us”.
Ultimately these sides failed to be released, yet they were both great tracks. Wouldn’t it be great though if, this time around, Soul4Real Records were able to hang out the ‘sold out’ banner that all the Womack brothers really deserved?

'Science, Art And Ritual' is a story of ‘process'. Growing up in Harrow (a then quiet suburb of London) in the 70’s and 80’s from the age of about 10, Kingsuk Biswas aka Bedouin Ascent's ears opened up to sound as he scanned the airwaves. The undeniable righteousness of 80’s dub via David Rodigan’s Roots Rockers shows was the first prominent influence he received, and with punk roots —and his burgeoning record collection— became exposed to the breathless post punk experimentation that followed in the early 80’s sweeping up free jazz, noise, dub and much more. Throughout though, he maintained his fascination with Indian Classical music which was a mainstay in his parent’s house and spoke with the same infinite space as Joy Division's 'Unknown Pleasures', and King Tubby’s Studio dispatches. Through those teens he assembled and de-assembled, knocking about with fellow travellers —punk bands, garage, space rock, noise. Something was happening. On-U Sound, ECM, Factory Records kept him plugged in and sane.

At that time Kingsuk's core studio setup revolved around his vintage Gretsch, Fender Jazz, Moog, TR-606 and rudimentary FX. He added congas, folk instruments, pipes, hand percussion, gongs, and jammed out shards of funk, noise, jazz fusion, electro and ambience into his hungry Tascam Portastudio. By 1987 these had morphed into what we’d now refer to broadly as techno, but the genre didn't exist beyond the reverberating walls of his bedsit, and he hadn’t yet plugged into the global conversation.

'Science, Art And Ritual' was released in 1994 by Rising High Records and was presented as Bedouin Ascent's debut album, although 'Music for Particles' (released in 1995, again on Rising High) was recorded even before —'SAR' sessions span from 1992-1993, whereas 'Music for Particles' were earlier from 1989-1992, with some older 4-track references from about 1986 too.

Weaved in throughout the album are subconscious references to music that Kingsuk heard in the past that still remained within sight as companions. The opening track "Ancient Ocean III", referencing the extinct ocean Tethis, unapologetically channels Tackhead, Colourbox, Mantronix and Lee Perry. The style was also deliberately juxtaposed to the prevailing sound in techno at the time, which had locked onto a rigid form of symmetrical kicks and light snare drums. Elsewhere 80’s soul and funk are frozen and captured in fragile glass lattices. Electric pianos resound throughout, such as in "He Is She", probably a half-memory of 70’s MOR radio from childhood sleepy night drives. A duel between kick drums from three generations of Roland drum machines —TR-808, TR-707 and R-8— is a central theme in "Transition-R", all in conversation, calling and responding. These were not just machines to Bedouin Ascent, but part of an extended family, with heart and soul.

Three decades after seeing the light, Lapsus is proud to present a special 30th anniversary reissue of this
left-field techno gem in a repackaged and redesigned edition. All pressed on a deluxe 3LP marbled vinyl and including a limited lithographic insert print of the original album cover. All tracks have been restored and remastered directly from the original DAT tapes, and the album also features previously unreleased tracks such as "In the Clouds" and "Thru Water" —regularly performed live at that time and produced in the same period as the album sessions in 1993.

'Science, Art And Ritual’ may refer to esoteric traditions in Indian philosophy, but equally embodies the collision of the science, the art and the ritual that is at the core of being immersed in a deep musical journey.

Balmat began our journey in 2021 with the release of Luke Sanger’s Languid Gongue. Now, three years later, we turn an important corner as the Norfolk musician rejoins us with Dew Point Harmonics, the first repeat appearance on the label. Sanger’s new album feels like a natural extension of his inaugural record for Balmat: It’s a bewitching collection of esoteric synth sketches that slips unpredictably between consonant repetition, poignant melodies, and gnarled bursts of noise that catch in the ear like burrs in hiking socks.

That natural metaphor is perhaps not accidental. Despite having been composed on Sanger’s diverse array of hardware and self-written software, many of the tracks were first conceived while Sanger was hiking in a particularly wild and isolated section of the Norfolk coast. The field recording that opens the album, on “6am Beach Walk,” was taken on one of his many early-morning walks there, in which he and his dog might go for miles without seeing another soul. The album’s title was inspired by the overnight condensation covering the long marram grass in the dunes, glistening in the early light (and drenching everything coming in contact with it) before evaporating in the morning sun. Indeed, the concept of dew point—the temperature at which water vapor condenses into a liquid—feels like the perfect metaphor for Sanger’s music, in which foggy ambience is distilled into glistening quicksilver orbs, transient spheres of perfection eventually absorbed back into the atmosphere.

A shapeshifting collection of richly detailed and deeply expressive electronic miniatures, Dew Point Harmonics is both a testament to the mysteries of transformation and an invitation to get lost in the wilderness of your own imagination.

Willie Roy Turner a native Mississippian, migrated with his family to the South Side of the city of Chicago during the 1950’s. Initially taking up employment at the Golden Rod Ice Cream Company, his first foray into secular music arose when he was accompanied by Muddy Waters Band at Smitty’s Corner Club and performed an impressive recital of the 1959 Big Jay Neely standard “There’s Something On Your Mind” at an Open Mic Night sometime in 1963. A regular talent show entrant, Duke would eventually meet and befriend fellow Mississippian, Garland Green. Green himself had been spotted at the Trocadero Theater by the then husband and wife team of Mel Collins and “Joshie” Jo Armstead, who signed him to their Giant Enterprises production company where he recorded several excellent singles for MCA’s subsidiary, Revue and Uni labels. Green’s third Revue single release, “Ain’t That Good Enough” was composed by Jo Armstead, brothers Howard and Walter Scott and session drummer Ira Gates. It was Green who introduced Duke Turner to the Scott Brothers. The Scott Brothers Review (later known as The Scott Brothers World), one of Chicago’s most respected bands, operated their own production company, Capri Productions, producing songs on both their own and other labels artists. With the Scott’s, Duke recorded his first 45, the upbeat funk mover “Doggie Dog World” b/w “Put Some Soul In Your Dance”. The tracks penned by Duke and respected arranger Johnny Cameron was released on Don Clay’s Omega label in 1968.



Duke then formed his own company, Spinning Top Records, initially releasing “Shake Your Rang-A Tang (Rang-Dang-Du) to be followed by a second single “(Let Me Be Your) Baby Sitter”. Originally intended for release with a b-side entitled “Friendship Or Friends” the studio engineer on the project Ed Cody persuaded Duke to drop “Friendship” in favour of a part 2 version of “(Let Me Be Your) Baby Sitter”. “Friendship Or Friends” was sadly never revisited and with Duke moving to several different addresses across the ensuing years, the tapes eventually became lost. Fast forward half a century, and following a conversation with collector Malcolm Collins who divulged the existence of a acetate of “Friendship Or Friends” won on e-bay by a British collector Russell Gilbert (now living in the Netherlands), the idea of releasing the song was born. When contacted, Russell was only too happy to loan to us the acetate as a mastering reference. Upon receipt of the acetate, we realized in addition to the unreleased “Friendship Or Friends” the version of “Baby Sitter” was a longer and different mix to the released 45 version. After confirming and reacquainting Duke with his long-lost masters a licensing deal was struck which will see the long overdue release of “Friendship or Friends” along with the alternative mix of “(Let Me Be Your) Baby Sitter” as part of a 3- track EP courtesy of Soul Junction Records that also includes the original 1974 version of “Give Me Some Sugar, Baby”, a song now finding favour with the ‘Lowrider’ scene. “Give Me Some Sugar, Baby” became Duke’s signature song, which he recorded again in 1983 under the title of “Sugar Baby Your Love” with his then band ‘Torch’, which included two young musicians that Duke had previously mentored, Terry Coffey and Jon Nettlesbey, the successful 90’s songwriting partnership responsible for several RnB/Pop hits for Howard Hewitt, Alexander O’Neil, Teddy Pendergrass and Keith Washington. Their credits also include Joey Diggs “Always Coca-Cola” hit commercial jingle.

“The Blue Hour” is the second VA of Berlin-based THISBE Recordings, following “Black Ink” released in 2022. Curated by label owner Pyrame, The new compilation is an invitation to cruise through the blue hour, that unique time of the day from dusk to night.

During that special time lapse, as the sky goes through several shades of blue, so goes the record: Dominik Marz´s “Bura´s Hymn” brings us straight above the Earth´s surface with a track as atmospheric as it can get, before Radial Gaze & Balam´s collab tune “Foreclosed” sets the scene for a groovy dance above the clouds.

We have already lost sight of the ground when World Wild Web initiates an immersion into an enigmatic phase of the voyage with his track “Extase”, where we do not really know in which time-space we find ourselves any more. Agle hints at a possible spot: “Sahel”, a tune that feels like a breeze across the desert, before Philip Lawns shakes everyone up with the upbeat “Johns”, bringing our feet back just above the ground. Volta Cab wraps up our imaginary trip with “Krasnodar Nights”, bringing a treat for the soul and some peace of mind. The night can now settle down.

Dear Friends,
Can you relax while maintaining a stable structure? The principle of “fang song” in Chinese martial art Taijiquan embodies this balance, where heaviness sinks downward and lightness rises through a vertical axis from heavy rooted feet to head.

As a dedicated Taijiquan practitioner, Littlelake applies this concept in his new EP, featuring four tracks rooted by a distinctive bass heaviness while giving a playful lightness to the overlying sound elements.

The opening track "Tonight's the night" immediately makes clear what is meant: a light-footed 2-step beat dances over weighty bass variations and playful vocal cuts set the tone.

“Passing by” is no more and no less than a true monster speed garage warper blending all the best elements of its genre.
Coming with funky tribal breaks, skillful sample manipulations, and a warm, soulful string foundation, “Watch Your Mouth” defies genre classification—it's in a class of its own.

With "Lost", Littlelake once again proves his ability to create extraordinary dancefloor moments. A jackin' 909 and shimmering dub sounds contrast with a dark Reese bassline, creating a captivatingly ambivalent mood. Don't miss this one.

P.S.: physical release comes with handcrafted, screen printed artwork by fabulous graphic artist Zatina Kessl.

25 killer library music cuts by the German film music maestro on audiophile pressing in deluxe 2x10" set. Uberrare and never released before material from 1968-1976, sourced from Peter Thomas' personal reel-to-reel tape archive. Limited edition of 500 pieces.

From brassy big band funk, space jazz, krauty synth experiments to proto-hiphop, cosmic schlagers, heavy easy listening, soulful soundtrack moods and absurdly dreamy LSD ballads, this compilation encompasses the composer's most obscure and yet most transcendent work.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970, best known for his iconic soundtrack work. He scored over 600 films and episodes, from the crime blockbusters of Jerry Cotton and Edgar Wallace to indie arthouse films like Playgirl, Bruce Lee's The Big Boss and the extraterrestrial Space Patrol and Chariot of the Gods.

His recordings for music libraries often provided an even more leftfield approach. Their visionary 'dope beats' appeal provoked a keen interest from vinyl aficionados, beatmakers and rare groove DJs alike. Unavailable for the public, the original "for professional usage only" albums are now sought-after collector's items that fetch astronomic prices on the 2ndhand market.

This double 10" album is the definite selection of Thomas' best library cues from the Golden Ring Records, KPM and DeWolfe catalogues, many of them available publicly for the first time - plus four recently unearthed "lost" tracks from Warner Chappell's CPM Archive series that have never been released on vinyl before. All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation was realised in cooperation with Peter Thomas' son Philip who takes care of the Peter Thomas Sound Orchester catalogue after his father's death in 2020.

Since we finally brought Countdown into the Acid Jazz orbit
four years ago, we have released a series of excellent records,
all tied to our own Ed Piller’s roots in the mod scene. After all,
Ed originally founded the label (with Maxine Forte and Terry
Rawlings), as an offshoot of Stiff Records, against the backdrop
of the mod revival of the early ‘80s.
Something that we have been looking to do for a while is launch
a special series of Countdown 7” singles, looking back at the
original Mod classics of the 1960s – and the time is now!
The first release is from the Fleur De Lys – who we have been
working with for some time – pairing their 1965 cover of Pete
Townshend’s ‘Circles’, with the first-time single release of their
cover of The Temptations’ ‘You’ve Got To Earn It’.
The band emerged from the vibrant Southampton scene with a
love of Soul and R&B, and were signed to the Immediate label
by Tony Calder, who had connections on the South Coast. Their
first single was ‘Moondreams’ (produced by Jimmy Page no
less), before their incendiary take on ‘Circles’ – a number
originally slated as The Who’s follow up to ‘My Generation’,
before getting caught up in legal matters. The Fleur De Lys
version remains one of the finest slices of the Pop Art Mod
sound, and is as fresh today as it was then. Originally released
to take advantage of The Who’s misfortunes, it was rushreleased and failed to chart. It proved to be their final release on
Immediate, before they signed with Frank Fenter.
‘You’ve Got To Earn It’ is from a tantalising, lost session from
1966 (which also included takes of The Impressions ‘Amen’ and
Don Covay’s ‘Sookie Sookie’). All that survived from the
session was an acetate of this amazing cut, found by group
member Gordon Haskell, from which this cut derives. We
originally released it as the title track of the first Fleur De Lys
compilation on Acid Jazz in 2013. It has never before been
available on 7” vinyl.

The slow burning project of of producer Bonar Bradberry ( PBR Streetgang , Vyvyan) continues on from its 2022’s hit EP ‘Rivazzura’ and singles on ‘Bordello A Parigi’ and ‘Wrong Era’ . Magari’s dive into to the beating heart of the Rimini Club Scene of the 80’s & 90’s goes deeper….

Side A 'Calling Mick' is the first of the Magari canon that leans slightly towards house but still with all the tropes of a sun soaked Italian coastline and hot summer nights. 'La Selvaggia' is classic throbbing , sultry groove with guitar riffs dancing through the arrangement taking you off in to a lost world 80’s nightclubs. The final track of the Ep 'Alden' is the more downtempoboogie affair that could be as easyily at home in the clubs
of south central LA in ’85 as the beaches of the Italian Riviera. On for Burning hearts and melancholy souls

DSSC001 VA is made of 5 tracks across the wide electronic music scene, involving the listener in a trippy safari through the mind, with quirky musical accents. As humans have an infinity of nuances, vibrations and perceptions, eclectism is the main point of this first opus. A spicy cocktail between retro vibes, nostalgic synths, sweet trancey touches and wild electro-house.



With no boundaries, D.ssoci8 has his heart set on feeding the prism of freedom, which fluctuates in the direction of the creative genius. It’s all about the third eye, diving into an ocean of levels of consciousness and identity processes, inviting everyone to connect with the true Self, the others and the universe.

The 5th original release of Soultape.
The entire EP is permeated with the vivid influence of house music.
As always, in a masterful performance with
the characteristic unique handwriting of the maestro.
Four excellent grooves for the dance floor.
Enjoy it!

‘Diré’, Idrissa Soumaoro new album, comes as a surprise to Malian and international audiences. Composer, singer, guitarist and master of the kamalen n’goni Idrissa Soumaoro presents here a beautiful collection of songs on his third album, Diré, named in honor of the town where he met his wife and where his first daughter, who is no longer with us, was born.
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.

It’s approximately been a year since Antoine lost what would have been his debut album, ironically dubbed ‘Humour. Positivity & Affection’. In its wake, stemmed the idea for the producer to reform his conceptually based project (Mise En Place) into a vinyl only label.

The Land Down Dunder EP being the first, of hopefully, many releases throughout this new imprint. The label head feels there is no better way to start this campaign, than with a body of work, entirely inspired by the modern, timeless TV Sitcom - The Office (US).


The opener ‘Australian Reds’ looks to bridge the gap between Progressive House and Antoine interpretation of Minimal. Matched with Ghanian inherited grooves of course.

‘Colombian Whites’ as suggested by its title, widens the eyes and warms the soul with its textbook, 90’s House inspired Kicks, Hi’s and Baseline. Synthy melodies run throughout the mid(s) of the track to marry the ensemble together. Fitting for all terrains, but would be highly favoured in the Summer.

The B-Side flips the script in tone, tempo and texture - pulling on Antoine’s repertoire for groove laden Techno - ‘Cafe Disco (AK’s Rare Groove Dub)’ brings you to the after hours of any setting with it’s full bodied percussive rhythms, beautifully automated soundscapes and highly persuasive swing. Lastly, the EP is capped off by ‘Threat Level Midnight’. A nod to Antoine’s versatility within the realms of House and Techno. An incredibly versatile track, structurally inspired by the producers love of Hip-Hop. A cacophony of ethereal chord progressions run throughout the track alongside one moody baseline, as well as solemn drum patterns which progress in both body-feel and stature.

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

For those seeking a musical experience reminiscent of the iconic LARRY HEARD, RON TRENT & KERRI CHANDLER, delving into the enchanting sounds of A VISION OF PANORAMA is a journey well worth taking. A VISION OF PANORAMA, much like MR. FINGERS, has mastered the art of crafting immersive and soulful electronic compositions. This latest release invites you into a sonic realm where lush melodies, dreamy textures, and intricate rhythms coalesce to create an atmosphere of pure musical bliss. In a landscape where electronic music continually evolves, A VISION OF PANORAMA stands out as an artist who skillfully pays homage to the timeless vibes of classic deep house while adding a contemporary touches of forward thinking smooth and Balearic jazz. The fusion of classic house elements with a futuristic flair makes A Vision Of Panorama the closest thing available to the legends that precede.

DJ Support: Danny Krivit, Craig Charles (BBC Radio 6 Music), Hallex M, Jazzanova, Delite Radio, Mi Soul, Pointblank, Totally Wired Radio, XFM, Radio Solar, Tony Minvielle, Simon Phillips, Chris Phillips (Jazz FM), KCRW DJs, Ian Friday, Aroop Roy, Samantha Badd (Café Del Mar), Mr. V, Simon Harrison (Basic Soul), Greame Park, Mike Fossati, Timo Mass, Deli G, Servino (Horse Meat Disco), Hyenah.

‘Badly Written Songs’ is, of course, a tongue-in-cheek title. It comprises a carefully structured and well-produced array of songwriting, topped and tailed with live instrumentation, commanding vocal performances and high-end production: the result of years of sound engineering and music production experience. Since the last album, Ross Hillard has continually honed his skills whilst earnestly crafting this sophomore long player. As well as developing a range of audio plugins, Ross also manages recording sessions at his own Paddocks Recording Studios: huge live spaces boast cutting-edge technology, integrated with distinguished analogue kit. The studio is complemented by a collection of prized microphones, together with a fully-restored vintage Raindirk mixing desk.

The opening track and first single from this album is the positively-anthemic gem entitled ‘Good Morning Sunshine’. It tells a forward-looking story promoting the merits of getting back into the driving seat of life. It’s propelled further by superb jazz-inspired drums and live horns that build up to an exhilarating crescendo. Featuring the vocal talents of Sophia Marshall, the story she paints is supported by a wonderful, darkly humorous cartoon video. An animated cadaver hilariously acts out her notions of positive living.
Other tracks also destined for a single release include: ‘Loving You’. It’s a song written around love lost. A bouncing house composition lays the foundations for Sophia Marshall's beautiful vocal that narrates the many facets to be found in loving another person. ‘Better’ again echoes jazz-inspired drums behind Sophia's vocals, drawing attention to how so many people are lost on their devices, missing out on the awesome world around them. A catchy chorus chants the notion behind this song, i.e., that you ‘could be better!’ This single is also supported by another fantastic video featuring the same comical, deceased character introduced through the ‘Good Morning Sunshine’ video.

What I Breathe is the debut album from Mall Grab AKA Jordon Alexander. The Australia-born London-based powerhouse reaches within to create the most comprehensive demonstration of his style to date – loudly defining the raw energy that has become synonymous with the moniker.

“This album is deeply personal and an exploration of all influences, sounds and sides of the Mall Grab project. It follows my journey of the last 6 years from a university dropout in Newcastle (Australia), making music as a source of happiness and expression.”
While glances of what Jordon gravitates towards in dance music can be heard in the record label imprints he steers—Looking For Trouble and Steel City Dance Discs—it's with What I Breathe that he elaborates on and articulates his diverse ear for music. Through collaborations with Brendan Yates of Turnstile, Novelist, D Double E and Nia Archives, the Mall Grab repertoire of emotive electronics is used to traverse his love of hard-to-define energies that exist between genres like Hardcore, Hip-Hop and Soul.
“I have been lucky enough to work with some of my favourite artists which have really been the glue that keeps the project coherent. There are a lot of familiar sounds on this album that my listeners and followers have become accustomed to and joined me in the deep dive. Elements of emotional but hard and pumping club music are intertwined with House, Jungle, Rave and Grime. My adopted home city of London has been a huge inspiration to how my music has evolved and progressed, and on What I Breathe I wanted to create a body of work which not only had something for everyone who has been with me the past 6 years, but also those who aren’t yet aware of what I’m about or the music I make.”
Jordon’s long-standing penchant for all things DIY blossoms in tracks like Lost In Harajuku and Without The Sun which feature his own original lyrics and vocals. As the album twists and weaves from one song to the next, gleaming melodies flare up into club-ready anthems such as Metaphysical and Breathing. The kinetic flow of the music as a whole can be attributed to the many years of cutting his teeth as a DJ, a skill that can be testified by anyone who has witnessed a Mall Grab set.

“As I was a DJ for many years before I delved into producing electronic music, I had a wide appreciation and love for all types of music, predominantly gravitating towards ‘band' music when creating my own projects, before evolving into a fully-fledged electronic producer – however always retaining the influence and love for all things live and genre-fluid.”

Even with a stack of very well-received projects already under his belt, What I Breathe can be seen as the first deep breath in and a fierce declaration of what’s to come for Mall Grab.

“I’m grateful for everything and everyone in my life, those I love and those who support my music, through all the ups and downs. I live and breathe this shit. I cannot do anything else. I will continue until there is nothing left for me to say.”

Like a phoenix from the ashes, or Ukrainian culture after centuries of demolition, the Kyiv based label Noneside Records is experiencing its revival and rebirth. After all, «Nothing will stop an idea whose time has come» - these words of chief Stepan Bandera make it clear to everyone: if you really burn with sincere emotion for your dream - no difficulties will stop you on the way to its realization.



Five unique tracks from Slava Los, Yevhenii Loi, Lostlojic, Luschn and aqua. - is a tech house with elements of trance with soul and passion from musicians who write music despite the war. Visualization of the whole action on the record is the picture «The hug» by the Lviv artist Oles Derega.



Slava Los makes his debut on vinyl with the beautiful track «Snus» - old school trance in the best traditions. The author now defends the borders in the ranks of the Armed Forces of Ukraine, so he decided to fulfill his old dream about the vinyl. Yevgeny Loi is also currently in the military, but this did not prevent him from making a new version of «Bounce» - a trance for a slow, erotic dance mood. Lostlojic, who is also the art director of the project, recalls the important message of «Send Me F16» in the uncompromising track of the same name, or rather in its VIP version created especially for the release.



Known to vinyl collectors for releases on Deeptrax and Infinite Pleasure. Luschn, a Kyiv legend and mega productive musician, known to tech house maniacs for his releases on Vector.Kyiv and Noneside, invites you to have fun and crazy dances with friends to his rehearsed «Ostinato Transdanz». Newbie aqua. has a unique recognizable style, where the rhythm is constantly changing in each track, nostalgic for the favorite place of childhood - near the Hydroelectric Station in Zaporizhzhia, crazy beats and steppe motifs in the track «H.E.S.».

Solee - Rumors / Stimulation (FUR13)

For the next journey on Future Romance, we are proud to announce the arrival of another impressive 2-tracker by labelhead Solee. The leading track „Rumors" is a peak time banger with all necessary components to set the dancefloor on fire. While the electro-influenced „Stimulation" comes much deeper but still strong, armed with a big bassline and beautiful melodies.

Something for your mind, your body and your soul. Embark on a journey and get lost. Early DJ support by Joris Voorn, Marc Romboy, Camel Phat, Quivver, Kevin De Vries, Eelke Kleijn, Timo Maas, Einmusik Guy Mantzur and more.

*Repress*

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

On his new single "Pacifico Waves", Joel Sarakula takes the scenic route down a pacific coastline, searching for peace, enlightenment and the perfect sunset.

Travelling and searching is nothing new to Sarakula: it's almost his default way of being. Born and raised in Sydney, Australia before swapping oceans to live in the UK and more recently onwards to Gran Canaria: "I've been busy making my islands smaller" he jokes. But the music on "Pacifico Waves" sounds like none of these places: with its easy drum shuffle, soulful guitar hooks and smooth vocal harmonies it distinctly evokes Southern California. It's such a potent portrait of the West Coast that if not for the contemporary lyrics and some modern production techniques, it could be a long lost hit from an early 80s LA studio band.

"Pacifico Waves" is ultimately about memory, fantasy and the powerful emotion of reminiscing when Sarakula sings 'The sound of the ocean gets me so high, helps me remember what I left behind'.

The Amsterdam-based duo of LYMA and Rebiere aka LIKEMINDS follow up their debut album On My Way with versions from its predecessor.

Sometimes life throws you a curveball and you still gotta make it to first base. That’s what happened when Rebiere’s laptop was stolen, along with all the recordings of their original debut album. The pair made a brand new album from scratch, but they kept coming back to the demos from the lost recordings. They started to rework the sound as a whole, adding finishing touches, including additions from Bo Floor and Gino Groeneveld from Jungle By Night. The demos weren’t the same as the stolen tracks, but they learned to love the imperfections all the same.

The Lost Tape takes you on a journey - through low-slung beats, party jams, soulful. melodies and woozy synths, all masterfully woven together with samples and field recordings from Amsterdam’s watery canalways. It’s also the story of how the duo met, at a time when LYMA felt lost at sea with his collection of unreleased tracks, before Rebiere threw him a lifeline and brought some focus and clarity. Sometimes finding a like-minded
friend can make all the difference.

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

Future Romance proudly presents the 2nd volume of a regularly recurring V/A EP concept called "Sonos Futures", featuring both established artists and next generation talents. Curated with heart & soul by label founder Solee each volume will take you on a journey through deep and expressive sounds that lead us into the future. For part II of "Sonos Futures" we warmly welcome the esteemed artists David Granha with "1304", Raphael Mader with "Ground Zero" and Deciduous with "War of worlds". On top labelhead Solee delivers another gem called "Somnia", a long awaited track, known from his DJ sets. Every track tells a story, functional but artistic, no trivial fillers. That´s exactly what you can expect on Future Romance. Embark on a journey and get lost.