Cerca:master stone

Kitchen sink Scuzz n’ Bass from 1998 Tokyo. Existing somewhere between Drum n Bass, Musique Concrète, Free Jazz and Noise, Jigen (aka Taro Nijikama) ran the cult Shi-Ra-Nui imprint and was a lynchpin of Tokyo's underground music scene, working as much behind the scenes as in front of them.

There is an inherent grit to the work on display here. Jazz-inflected drums, echoing bells, dissonant flutes, and haunting piano work coarsely interact with skipping breaks and industrial atmospherics, punctuated by tense gasps of silence. Samples disintegrate and reappear, creating a kind of elliptical narrative, and the 9 tracks here perhaps trigger a disorienting sense of dèjá vu.

Originally released on CD by Shi-Ra-Nui in 1998, Double Circumflex is proud to present the first officially licensed reissue of Stone Drum Avantgardism by Jigen and introduces the prescient sound of Shi-Ra-Nui for deeper excavation into its shadowy fissures. Mastered and cut with maximum precision by Beau Thomas at Teneightseven.

Stoned Part I was the first self-released album from lost soul phenomenon Lewis Taylor. His third album proper, it was initially released on his own label Slow Reality in 2002 and it's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. The songs are varied, hook filled and outstanding. Beloved by his legions of diehard fans, it's nothing short of a masterpiece.

After parting ways with Island, and without a label deal, Lewis went back to his home studio and began to record Stoned Part I in 2001. Co-written and co-produced with longtime collaborator Sabina Smyth, Lewis sings and plays all the instruments on this beautiful, emotional and very human album. It represents Lewis at his most accessible and finds him in the middle ground between his two Island releases. In some ways, Stoned Part I distills the best of his musical sensibilities. The flawless production is dense, layered and very early-2000s slick. The bottom end is thick, funky and sexy.

The complex, proggy-soul of title track "Stoned" opens the album and instantly captivates. Deep swinging funk with truly sweet soulful vocals, complemented by wah-wah guitar and swelling acidic synths. As Lewis himself told us, the ad libs at the end of the track were a nod to Paul McCartney at the end of "Hey Jude". Fan favourite "Positively Beautiful" has shades of Curtis and Marvin; its richly layered harmonies propelled by a simple, metronomic click-track that gives way to a more fully fleshed beat for the magnificent coda.

The slow, sweeping majesty of "Lewis IV" is all moody atmosphere, featuring dense, richly textured music and heavenly multi-tracked harmonies. The stop-you-in-your-tracks incredible "Send Me An Angel" could have been a huge AM radio hit, beautifully crafted sophisticated soul-pop songwriting in the vein of the very best Sade records. Yep! *That good* The smooth, psychedelia-lite "Til The Morning Light" is a gorgeous, sun-dappled love song, layered with Lewis' distinctive honey drenched vocals and, again, the type of record you could've easily heard all over the radio at the time of initial release.

The remarkable, wide-eyed "Shame" packs so many shifting styles into one song, it has to be heard to be believed. Opening in a laconic, breezy style, not unlike a Dallas Austin or Rodney Jerkins produced R&B hit of the day, it morphs into a heavy psych-soul Soulaquarians wig-out (the solo bearing an uncanny resemblance to Carlos Santana’s on "She’s Not There") before elegantly sliding into string-assisted symphonic soul and then back around again. And again. Sheer brilliance. The sublime, gentle head-nod funk-soul of "When Will I Ever Learn" (Part 1) is a strikingly well-turned-out tune, a neat, sweet bass-driven guitar-soul jam that ensures our jaw won't be leaving the floor anytime soon. "Lovin’ U More" sounds like a classic turn-of-the-century Neptunes production, the likes of which they'd lay on for JT BITD. A Latin-tinged groover with more than a little Nile Rodgers-driven slick funk stylings, it's yet another instant Lewis bomb with those gorgeous harmonies and chart-friendly irresistible key-changes to boot. Another indisputable (non-)HIT!

The funky seductive swagger of "From The Day We Met - Part II" opens the final side of wax, giving way to the gigantic buzzing synth-funk beast "Lovelight", a track so insouciantly mighty it should have been a massive hit for someone. Wait, what's that? Robbie Williams covered it? Ah, OK, well, I guess that says something about the effortless pop genius contained within. Containing a seemingly unnoticed nod to Kraftwerk’s "Computer World", it's Lewis's favourite song on the album. It's easy to hear why: "Sabina’s production totally nails it. I love the restraint and the subtlety, and that mixture of warmth and sweetness from the singing against the slightly cold, yet beautiful airy-ness of the backing track." To close this phenomenal album, the twisted electronic soul of "Sheneverdid" marries Lewis's beautiful falsetto to his virtuoso playing and an easy-cum-ominous musical backdrop. Stunning.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the eleven tracks over a double LP so, as ever, it sounds sensational. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned.

Stoned Part II is Lewis Taylor's pure, perfect dance-pop album. His second self-released album and fourth album proper, it initially appeared on his own label Slow Reality in 2004. It's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. Gravely misunderstood at the time by hardcore fans and the music press alike, it has aged quite magnificently. An experiment in the sounds of contemporary pop and dance music, Lewis's wonky take on funky pop would annihilate anything kicking around the charts, then or now. If only it were given half a chance.

Stoned Part II is brimming with Lewis's trademark soul, his singing as beautiful as ever, but the rhythms throughout are more upbeat, the overall sound a more smooth and slicker dance-funk presentation. Roughly half the tracks are absolutely essential, fascinating re-workings of tracks from the eternal Stoned Part 1, as Lewis explains: "When we were doing Stoned we were trying different approaches with everything so we ended up with more than one version of nearly all the songs which left us with more than an album's worth of material. There was a lot of really cool house tunes around at the time which we were both really into and that shaped the sound and production, some songs more directly than others." Amen to that.

The swoonsome, string-drenched opener "Madman" is quite the departure, a bleepy, bumping soulful disco-house record with a bassline to die for. Is there anything he can't do? It's followed by another huge dancefloor stomper, "Keep Right On" again riding another killer bassline over funky drums and featuring Lewis's dazzling vocals. There's no let-up with the sparkling "Reconsider" which sounds an awful lot like Daft Punk meets Nile Rodgers (prescient as ever, our Lewis). The wide-eyed French filtered house vibe is to the fore here, and how this wasn't picked up by someone like Kylie and taken wholesale to the top of the charts is something we'll never understand.

Opening the B-Side, "When Will I Ever Learn 2" really slaps, presenting a breezier, more upbeat funk take on the brilliant original and incorporating "From The Day We Met" from Stoned Part I. "Out Of My Head Is The Way I Feel" is absolutely fantastic and one of Lewis's very best songs. The vocals, self-harmonising and virtuoso playing are next level. To close out the side, "Carried Away" is a real standout, Lewis's gorgeous falsetto riding a quasi D&B groove to begin with before adorning a more classically funky 2-step rhythm. The marriage of undulating synths and guitars is stunning, giving way to Lewis indulging his goosebump-inducing Brian Wilson harmonies.

The funky, Rhythm King drum machine soul of "Stoned Part 2" refashions the original in the style of an unearthed Sly Stone classic, circa There's A Riot Going On. Yes, it's that good. On we then glide to "Positively Beautiful 2" which, if it's even possible, manages to be better than the original. The epic, orchestral opening truly captivates before Lewis truly gets down with kaleidoscopic dancefloor-slaying Philly soul-funk. It's surely tracks like this which help explain why he was soon to be tapped up by Dangermouse and Cee-Lo for the musical director role with Gnarls Barkley. "Throw Me A Line" closes out the side

"Shame 2" is a blissful, restrained version of the massive original, without the crazy psych-soul wig-out. Definitely more radio-friendly, that's for sure. The gorgeous mellow vibe continues with "Won't Fade Away", featuring more Beach Boys harmonies over a barely-there pulse (a version of which later pops up in an altered state on The Lost Album). The album bows out with - you guessed it - a psych-soul wig-out! "Keep On Keeping On", a real highlight, opens with looped sampled drums a la Massive Attack and Lewis's multi-layered self-harmonising again very much high in the mix. It amps up gradually to feature vocals dripping with tune and bite before screaming guitars and crashing drums really blast this whole set into the stratosphere.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the twelve tracks over a double LP so it sounds exactly as it should. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned, Part II.

High Roller Records, black vinyl, ltd 500, insert, bonus 7", Mastering and audio restoration by Patrick W. Engel in February 2022.

High Roller Records, reissue 2023, black vinyl, ltd 200, insert, poster, Audio mastered and restored by Patrick W. Engel in September 2021

High Roller Records, reissue 2023, red vinyl, ltd 200, insert, poster, Audio mastered and restored by Patrick W. Engel in September 2021

Much anticipated debut album from this Leeds-based electronic duo, following high-profile UK festival slots, and shows alongside luminaries The Brian Jonestown Massacre, Warmduscher, Sea Power, Moonlandingz, The KVB, with multiple plays across BBC6/BBC Introducing and Amazing Radio, jellyskin are finally ready to unleash ‘In Brine’, their first full length release. The result of four years spent writing, recording, and refining the album between Leeds, Liverpool, Bristol, Palamos, and Berlin, ‘In Brine’ showcases the many talents of Will Ainsley and Zia Larty-Healy in a work straddling iridescent electronica, tungsten-tipped techno, art pop, and queasy, brown acid folk. The songs are pieced together with themes of longing, misadventure by the sea, desire and aquatic apparitions that showcase Larty-Healy’s warm but urgent vocal range, as at home around the campfire as it is in the club. The pair’s meticulous arrangement and rearrangement, sculpting, recording, and mixing was a glacially slow process of adaptation, mutation, cooperation, growth, and, yes, natural selection. First single ‘Bringer of Brine’ thumps from the speaker anthemically and forcefully, pitched somewhere beautiful and uncanny; Larty-Healy’s vocals soar and skim off the production like a smooth stone across choppy waves. The radio-ready pop electronica of ‘I Was The First Tetrapod’ bursts into the world with an urgency in line with the lyrics. An aquatic tale of crawling onto land for the first time, desperate to make new life forms, it’s also a positive, joyful rebuke to the despair of the world around us. “Growing my legs...”. The fuzzed-out psychedelic keys and forward-moving, Knife-like structure echo throughout while beautiful lyrics detail visions of where this would all lead life as we know it-“I can run freely, white horse behind me. Flexing my bones and artery twine, find human tone and reach for the vine.” ‘Fox Again’ opens with chopped alarm clocks segueing into a lurching rhythm, before exploding into skittering beats and a soaring chorus. The effect is like waking up drowsily, going over to the window in your room and yanking open the curtains to be blasted by searing sunshine. The pair brought in Berlin based co-producer, mixer and masterer Lewis D-t to help finesse the tracks into fat-free hunks of ecstasy and sonic exploration, their rich depths marking ‘In Brine’ as an album everyone should be talking about this summer and beyond-all nine tracks will have feet moving and hearts swelling in equal measure. As opening track ‘Lift (Come In)’ positively opines “Going up!/Just want to keep going up!”. It’s time to get in on the ground floor

Beatservice are delighted to present the debut album from the irrepressible Norwegian outfit, b0ka, with 13 genre-surfing tracks lovingly presented on the gloriously pop-centric 'Forever, My Friend'.

Friends since as far back as kindergarten, the b0ka players released a selection of highly regarded singles between 2013 and 2016, with their music arriving via prestige imprints including Eskimo, Paper Recordings, Diamond Club, and their own b0ka Recordings. They've since pursued a diverse range of projects, including Lakehouse, OJKOS, Bjørnar Sira and Den Kosmiske Overorden, with their expansive sounds routinely winning admirers throughout the global music community. The pandemic-induced lockdowns allowed the band an opportunity to re-visit long lost b0ka projects: reviewing dusty hard discs before funnelling the best morsels into the Sagrada Jukebox mixtape earlier this year. It was during this journey of sonic rediscovery that the masterfully diverse 'Forever, My Friend' was ushered into existence.

Drawing on all-manner of far-flung influences and brilliantly assembling the components with a pop-ready sophistication, this is spectacular work from b0ka, marking their return to release action in breathtaking style.

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Super limited edition. 2LP comes with an alternative artwork and three bonus tracks! Gatefold, neon pink / black / blue striped vinyl. Limited to 250 copies.

Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound!

This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Gatefold, 2 x black Vinyl, Special Cover vanish, printed Innersleeves

Das Album SHADOW KINGDOM präsentiert Dylan mit einigen Songs aus seinem legendären Backkatalog in neuen Interpretationen - darunter Fan Favorites wie "Forever Young" und "It's All Over Now, Baby Blue" sowie ausgesuchte Katalogperlen wie "Queen Jane Approximately" und "The Wicked Messenger". Ursprünglich für ein exklusives Streaming-Film-Event eingespielt, das im Juli 2021 lediglich in einem begrenzten Zeitraum von einer Woche ausgestrahlt wurde, ist SHADOW KINGDOM nun erstmals auf Vinyl, CD und digital erhältlich. Die Setlist des Albums umfasst 13 Originalsongs, die Dylan für seinen Auftritt in "Shadow Kingdom" persönlich ausgewählt hat, sowie das abschließende Instrumental "Sierra's Theme". "Dylan zeigt immer wieder, wie sehr man selbst als notorische lebende Legende auf der Höhe der Zeit bleibt." (Joachim Hentschel, Süddeutsche Zeitung). "Die für diesen Anlass halbakustisch umarrangierten Songs sind dabei geradezu betörend. 'Tombstone Blues' als entschleunigtes Rezitativ ist einer der Höhepunkte, ein geisterhaftes 'What Was It You Wanted' ein anderer." (Maik Brüggemeyer, Rolling Stone).

This blue coloured vinyl is exclusive to Indie stores, very probably including a DLC as extra bonus. The classic third album from the Black Lips, originally released in 2005 and now back on vinyl and part of a series of Fire re-issues celebrating 20 years of the legendary garage rock gurus from Atlanta, Georgia. 16 tracks of grimy and chaotic punk, scuzzy and raw, and catchy as hell. The band at their trashy best, more melodic but every bit as psychotic. If The Royal Trux had listened to the Troggs instead of the Rolling Stones, they might have recorded this album. This baby is a masterpiece. Unapologetic southern-fried twang, crunching through the gears in a blitz of grimy bravado. Their music twitches with an engaging, wired vigour." **** Uncut - "Their strongest effort to date." All Music

Billy Preston’s mastery of the organ was such that he was commissioned for collaboration by The Beatles, The Stones and countless others, his classic Hammond work a defining element of ‘Get Back.’ Released in 1964 when Preston was still 19, The Most Exciting Organ Ever mixes swinging originals such as ‘Low Down,’ ‘Soul Meetin,’ ‘The Octopus’ and ‘Billy’s Bag’ with expressively soulful covers of standards such as ‘If I Had A Hammer’ and ‘Don’t Let The Sun Catch You Crying,’ ably showcasing Preston’s awesome dexterity and unmatched ability on his chosen instrument. With every track a winner, the title rings true!

Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.

Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.

The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.

The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.

The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.

This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.

Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.

The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.

The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.

This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.

The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”

With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.

The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.

Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.

This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty.

Death/Thrash Metal classic reMastered! A strong Master album re-issued.
Since the dawn of human intellectualism, self-aware individuals have sought solitude. Paul Speckmann of Master finds his own solidarity in
expressing apathy towards society. Lets acknowledge the introspective impact of Master’s 1998 release “Faith is in Season.”
Crusty bass lines and tom-centric drumming push “Faith is in Season” forward with a reliable tempo, coupled with intermittent guitar leads and Speckmann’s defiant screeches define Master’s new production - consistent and comprehendible Death Metal. This is further polished with thoughtful song intros that highlight each individual member’s musicianship. This foundation supports the guitar melodies and lyrical concepts.

Compositionally, each instrument in Master is worth its own weight in gold while also not overshadowing each other. This is a self-evident
testament to Speckmann’s exemplary leadership because the band line-up on “Faith is in Season” was relatively brief.

Similar to 1990’s contemporaries like Vader or Obituary, Master solidified their craft with “Faith is in Season” and has since strayed minimally.

Nehmt euch vor der Bestie, die beißt, in Acht - GODSNAKE melden sich lautstark mit ihrem neuen Album "Eye For An Eye" zurück, das vor Metal - der direkt, heftig, riff-orientiert, aber auch eingängig ist und epische Hooklines parat hält - nur so strotzt!

Das Reptil treibt seit 2015 sein Unwesen und hat sich erfolgreich im metallischen Dschungel etabliert. Torger (Gesang), Stevo (Gitarre), The Walt (Bass) und Sidney (Schlagzeug), die bereits am Album "Poison Thorn" beteiligt waren, wurden 2022 durch Gitarrenzauberer Pepe (Ancient Curse, Sons Of Seasons) verstärkt und somit erneut komplettiert. Der vielseitig erfahrene "Newcomer" hat sowohl live als auch bei den Aufnahmen bereits einige Duftmarken setzen können.

Mit dem zweiten Album wollen die 5 Musiker die sehr positive Resonanz auf das Debüt erneut unter Beweis stellen und damit ihren Platz im Ranking behaupten.
Wie schon "Poison Thorn" wurde auch dieser mächtige Brocken Musik in den Lübecker LSD-Studios von Mastermind Lasse Lammert (u.a. Alestorm, Gloryhammer, Wind Rose etc.) aufgenommen und produziert.

Beim Song "Story Of A Ghost" ist Wayne Dorman (Onslaught) mit einem Gitarrensolo zu hören.

"Recorded at Ardent Studios and released in 1972, the album has gone on to become one of the most influential and iconic debut albums of all time. This 50th-anniversary indie exclusive edition is pressed on 180-gram metallic gold with purple smoke vinyl and features all-analogue mastering by Jeff Powell at Take Out Vinyl. The album has been included in Rolling Stone’s 500 Greatest Albums of All Time, with the song “Thirteen” featured in its 500 Greatest Songs of All Time. Realeased on 180g Tip-on Jacket , Gold/Purple vinyl "

London based label Natural Selection present their 4th release in the form of a 4-track physical and digital Techno EP courtesy of Rommek, entitled "Devil's Playground EP". Cut by Simon at The Exchange Vinyl and mastered by Dadub Studios, Berlin.

Based in London, Rommek has seen his music released by the heaviest of renowned labels such as MORD, ARTS & James Ruskin's Blueprint Records. Rommek returns to Natural Selection after releasing with the label via their widely acclaimed VA compilation fundraiser "In Aid Of Ukraine" in 2022, with his track "All Blood Is Red", which has gained support by some of the most respected DJ's worldwide.

Since his debut release in 2014, Rommek has creatively expanded his own sound and has firmly established himself within the global techno and experimental scene. His extensive interest in sound design is crafted within the dense atmospheres, heavy broken drums and dynamic tones found within his productions. After various releases that grounded him within the Blueprint family, Rommek then completed his most established work to date, the 'Set In Stone Trilogy' in 2018. The three part release compromises of 12 tracks, original and remixes from key members of the Blueprint team; James Ruskin, O/V/R (James Ruskin & Regis), Broken English Club and Makaton.

After releasing over 15 solo EP's, Rommek has gained a wide range of noteworthy support, from being played on BBC Radio 1, to features and reviews in Mixmag, The Wire and The Quietus magazines. In 2018 he was featured within the top 100 globally charted artists on Resident Advisor. From this, it is clear that Rommek is driven to continue expanding his capabilities and keep excelling forward. After forming a close connection to Natural Selection in recent years, he has now cemented himself as one of the main front-line artists and residents within the London based imprint.

Natural Selection are well known for bridging the heavier spectrum of Techno, Electro, IDM, Acid, etc. with new, experimental style and form. One can always expect cutting-edge, hard-hitting, underground electronics from Natural Selection, with extreme diversity in sound.

Limited one time pressing of 1000. Raising the bar yet again, Night Owls' first single of 2023 lays yet another set of classic soul songs on you, flipped into the band's signature style. On Side A we find The Flamingo's beloved Doo-Wop/soul hit from 1959, "I Only Have Eyes For You," re-imagined to wind your waistline with Night Owls' longtime friend and collaborator - the one-and-only Chris Dowd from Los Angeles' legendary Fishbone on vocals. Known for tunes like "Pouring Rain" and "Everyday Sunshine" Dowd brings his signature soul drenched delivery with a hint of rude boy grit to match the rhythmic and tonal stylings of the group. Wanting to take things to the next level, producer Dan Ubick called in veteran underground Jamaican legend Tippa Lee (Stones Throw, Dub Club, Jammy's, Greensleeves, etc.) to sprinkle his magic rasta dust on top and deejay/toast on the track and the results are burning hot.
But wait, that's not all!! On Side B we find the beloved beat diggers classic "Live And Let Live," originally performed by Jimmy Jones in 1970 on Deke Records out of Chicago. For the Fender Rhodes-driven reggaefied version here, Night Owls roped in another longtime friend - Los Angeles kingpin and mover ’n' shaker, "Music Man" Miles Tackett to add his soulful vocals to the track and it's as buttery as cornbread from Cracker Barrel! Tackett is the mastermind behind globe-trotting funk/soul collective Breakestra (of which Night Owl Dan Ubick was a member) and legendary weekly L.A. dance parties like Funky Sole, Root Down and The Breaks. This side also includes Destani Wolf, who many will remember was featured on Night Owls’ version of “Let’s Stay Together”, providing the beautiful ‘verbed out backing vocals

Die schwedische Industrial-Kultband DEATHSTARS meldet sich mit ihrem neuesten Output "Everything Destroys You" endlich zurück.
Verstärkte Angst, zerstörerische urbane Partynächte, Dystopie und glatter Glamour - ihr vielfältiges musikalisches Spektrum reicht von elektrischen, blitzschnellen Highways voller Spaß, Action und Adrenalin bis hin zu Dunkelheit und tiefschwarzem Humor.

"Der Grund, warum es so lange gedauert hat, ist, dass wir einfach eine Pause wollten - und brauchten - nach dem intensiven Touren und so weiter, und obendrein ist die Pandemie passiert, so dass die Touren verschoben wurden und die Veröffentlichung mit ihnen, so dass es sich fantastisch anfühlt, endlich 'Everything Destroys You' präsentieren zu können", sagt Nightmare Industries.

"'Everything Destroys You' ist das Gesicht der Exzesse unserer opulenten Nächte in der Stadt. Wir schreiben immer über unser Leben, und es gibt keine Fiktion, Spiritualität oder Seele im Mark von DEATHSTARS", sagt Whiplasher. "Es ist einfach nur das vernarbte Großstadtleben im Rohzustand."

Das fünfte DEATHSTARS-Album wurde von Nightmare Industries bei Black Syndicate in Stockholm, Schweden, produziert und von Jay Ruston (Stone Sour, Uriah Heep, Anthrax, Steel Panther, Fall Out Boy) in Los Angeles, USA, gemischt und gemastert.

"Albert King’s legendary first album for Stax Records, Born Under A Bad Sign – featuring Booker T. & The M.G.’s and The Memphis Horns, the album is pressed on 180-gram Vinyl with ALL-ANALOG mastering from the original stereo tapes by Jeff Powell at Take Out Vinyl. Inducted into the GRAMMY Hall of Fame and included in Rolling Stone’s “500 Greatest Albums of All Time” this album should be a staple in every music fan’s collection. "

Edition OF 500 copies, Comes with insert and download code.

An album that sounds like The Menahan Street Band playing in a tropical jungle, at dawn, right at the point when the first rays of sunlight penetrate the dark depths of the forest. During the 2022 summer of natural disasters, under an unprecedented heatwave, and haunted by news reports of ancient relics, sunken ships, and hunger stones resurfacing as rivers dried-up all-over Europe, Amsterdam based multi-instrumentalist producer Alex Figueira started to hear uncanny metallic vibrations And eerie melodies of untraceable origins, day and night. He recalls nightmares of winged creatures inside timeless structures of Escherian architectures playing cosmic instruments amidst tropical storms
and acid rains. As the visions came more often, his wife reported that he babbled during his sleep about South American demon Yurupari. Soon, Alex found himself in a sleepless state and decided to cleanse the studio, with hallowed rites and
the intense burning of Palo Santo. After almost burning the studio down, he turned to his neighbourhood’s most experienced psychic, seeking answers. He was told there were “cosmic entities” trying to manifest a message “too complex for us to understand in this dimension” and the only way he could find peace was to deliver those messages in a decipherable form. It was then he decided to transmute his hallucinations into music, an all-or-nothing cathartic solution.

Alex entered a feverish dream, fuelled by the kaleidoscopic motion of the cosmos, ancient meteor showers, and visions of forgotten interstellar South American gods. He remembers very little of the work, but the outcome is this record. Entirely composed, recorded, produced, and mixed in a frenetic nine-day studio stint.

How the experts describe it:

”Just when outernational vinyl vampires thought they had it all sewn up, the metronomic makeshift
magician known as Alex Figueira unravels the entire fabric of your record collection to expose a gaping
hole where PUNKUMBIA and Transplant-Tropicalia should be. Reducing an expansive palette of
influences to a recipe that tastes wildly exotic but comfortably over-familiar, Alex’s roles as both
scavenger and chef, bookend a whole ensemble of other highly adept musical personalities in between.
Discover this record NOW, or wait until all your friends (or enemies) recommend it to you later.”
Andy Votel (Finders Keepers)

“Incendiary, lysergic takes on South American and Caribbean music from one of the scene's truly
authentic and eccentric producers. You can always count on Venezuelan-born, Amsterdam-based,
multi-instrumentalist, music-fanatic Alex Figueira to surprise and innovate, whilst consistently keeping it
true and real. The former Fumaça Preta drummer & front-man's debut solo album does not disappoint!”
Miles Cleret (Soundway)

“The one man band Alex Figueira comes through with some major flavors on this one. Cumbia beats and
psychedelic elements with that Latin touch of soul & Funk!”
Kenny Dope (Masters at Work)

“I really respect Alex Figueira’s DIY ethos. From running his own little funky recordstore to running his
own label and making his own music by playing every instrument himself. I was already a fan of the song
“Aprende” which he released on 7 inch and with“Mentallogenic” he takes it a step further in that same
vibe. From songs like “La Culebra” making use of a vocoder in his typical latin sound to songs like
“Serious” playing with rhythmic changes and topping it off with some synth flavors. A lovely and fun
album”.
Antal (Rush Hour).

Critically-acclaimed, criminally-overachieving Glasgow-based singer and guitarist Alasdair Roberts is known as a superlative original songwriter as well as an interpreter of traditional songs from Scotland and beyond. For the past twenty years, his recordings have alternated between these two complimentary poles, with "pop" records such as The Amber Gatherers and A Wonder Working Stone nestling in his expansive back catalogue alongside "folk" albums such as No Earthly Man and What News (with Amble Skuse and David McGuinness). Additionally, all of these records possess a further dimension, derived from their collation of songs together into one album-length statement. This is part of Alasdair"s great achievement in his career - for him, this thing of music and song hasn"t come the eons it"s travelled to simply entertain. These impulses fully present and well honed, Alasdair returns to his roots with Grief in the Kitchen and Mirth in the Hall, his fifth full-length collection of traditional song. Recorded live in the studio, it is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair"s homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada"s eastern seaboard too. The record takes its title from a line in the final verse of one of its songs, "The Baron o" Brackley" - a ballad of feuding clans and matrimonial betrayal from the north-east of Scotland. Grief in the Kitchen and Mirth in the Hall: it"s a title which goes some way towards encapsulating many of the record"s themes. Collectively the songs treat of various conflicts and tensions - those of gender; of class, status and position; and of geography and tribal belonging - and the roles and responsibilities expected at the various intersections of these constructs. That we should never forget! As with many of Alasdair"s recordings, Grief in the Kitchen and Mirth in the Hall contains ballads aplenty: tragic ("Bob Norris"), supernatural ("The Holland Handkerchief") and dramatic ("Eppie Morrie"). There are love songs ("The Lichtbob"s Lassie") and anti-love songs ("Kilbogie"). There are rare, seldom-heard pieces ("Young Airly") and much more well-known ones ("Mary Mild," a version of "The Queen"s Four Maries"). Woven through all of this - a thread of levity, perhaps - is a triptych of zoological allegories - a panegyric to a mystical steed ("The Wonderful Grey Horse"), a lament for a lost cow ("Drimindown") and a paean to a regal waterbird ("The Bonny Moorhen"), which serves to highlight the intersection of the mythic, the eternal and the mundane at which we all find ourselves in every day of our life on Earth. Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day. Its brevity on all levels is an aspect of its expression. Alasdair"s renowned acoustic fingerstyle guitar is understated yet questing, ever in service to the needs of the song, underpinning his soulful tenor voice. Three songs eschew his habitual acoustic guitar in favour of simple piano arrangements. The spare setting and Alasdair"s deeply committed performance gently reminds of the meanings and melodies of these old songs, chosen instinctively and with care, for all to hear and sing in 2023, and the world beyond that is ever coming.

blueblue is the latest full-length from multi-instrumentalist and all-around vibe wizard, Sam Gendel. The record, out via Leaving Records, is a concise, tightly wound song suite whose 14 tracks each correspond to a pattern within sashiko, a traditional style of Japanese embroidery. This conceit remains playfully ambiguous — to what extent, if at all, is Kagome (woven bamboo) meant to evoke the pattern of the same name, for example? But there is an intuitive sense, throughout blueblue, that Gendel has, in this instance, narrowed his focus. To say that blueblue feels richly textural might be a little on-the-nose, thematically, but alas…it does. There is an intimacy, a humility, and a strength at play here that typifies the work of a master craftsman. Only an artist could make it sound so effortless.

A Los Angeleno by way of Central CA, Gendel is by now an institution. Across a dizzying slate of solo releases and collaborations, he has amassed a reputation for not only virtuosic musicianship (primarily as a saxophonist, though the songs that would become blueblue were all initially composed on guitar), but also for his mercurial and prolific output — a corpus of work, which, while obviously indebted to jazz and hip hop (and the farther flung, experimental corners of both) is, in a word, unpindownable.

The bulk of blueblue was recorded in isolation in a makeshift studio built in a cabin floating atop a tributary of Oregon’s Columbia River. Having sketched out a set of guitar melodies, Gendel recorded the album in five-or-so weeks, during which time he became well-acquainted with the river’s tidal rise and fall. This organic rhythm, which daily lifted the house to meet the horizon, later setting it down gently upon the riverbed, permeates t

Recommended If You Like: Boredoms, OOIOO, Blonde Redhead, Guerilla Toss, Rolling Stones, Liars, Marnie Stern, Yoko Ono, Battles. Cover by acclaimed photographer and artist Kunie Sugar White Vinyl / White Cassette available while stocks last. Did you know that miracles happen every day? We don’t always see it that way. We look at the state of the world and think, “It’ll be a miracle if we make it out alive.” But miracles are what humans do. We’re Earth’s most inventive and unpredictable species, when we’re allowed to be. Also the most destructive. Miracle-Level is Deerhoof’s mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof’s 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi’s native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.

Australian vocalist-guitarist Daevid Allen was a part of the highly experimental Canterbury scene, alongside the likes of drummers Robert Wyatt and Pip Pyle, before he relocated to Paris in the late ‘60s, formed Gong and made music that had a rare blend of on the fly creativity and off the wall humour. However, Banana Moon was a solo effort by Allen that saw him reunite with the aforementioned British kindred spirits as well as bassist Archie Legget and vocalist Maggie Bell, among others. The nine songs on the record run from interludes of just under a minute to epic suites that exceed ten, making it clear that Allen, as his work with Gong suggested, gave full vent to his imagination whether he was writing songs with a quasi-Beatles pop appeal or engaging in unrestrained sonic flights of fancy. With lyrical curveballs being thrown on every track, none more so than ‘Fred The Fish And The Chip On His Shoulder’, the music has a wry charm to match the performance skills of the band. This re-mastered version of Banana Moon brings Allen’s uncommon musical vision back in to view and serves as a reminder of the feverish and fearless energy that spurred on an artist whose work has lost none of its seductive shock value.

Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation.

Relentless raver and emerging artist from the Rinse France roster of captivating talent, RONI launches her imprint Nehza Records with a five-track EP titled ‘Slowing’ by Bordeaux-based Neida . Marking the debut release on the label, Neida is the first producer to bring RONI’s fantasy-led vision to life.

‘Slowing’ is a cross-pollination of breaks, acid, jungle and bass which nods to the sound of the underground UK rave scene circa 1990. An era that RONI closely aligns with in terms of sound, art and the sense of liberation synonymous with 90s club culture, Neida nails this aesthetic throughout the EP. ‘Bull’ sets a powerful tone as the opening track, packed with punchy drums layered below an orchestral-like vocal before ‘DSO’ burbles through with squelchy synthwork over a 4/4 beat — a clear hint of that UK rave sound simmering under the surface. Garnering his appreciation for reggae and Rasta dialect, Neida’s rework of a vocal derived from reggae artist Don Carlos is masterfully blended into this 6-minute churner.

Over on the B-side, ‘Guess Who’ burns slowly with downtempo breaks and mesmerising chords; you can almost smell an imaginary forest as the track unravels, creating an image of tripping in nature. ‘WHT’ rumbles through with a mellow introduction before going full-whack into barreling drums and clap-heavy percussion, illustrating Neida’s ability to dip into experimental textures that nod to complex rhythm patterns rather than club-cut melodies. ‘For All The Time Sake’ closes the EP with an acid bassline and bright, crisp percussion ending the EP on a significantly vibrant note to mark the first stepping stone of RONI’s record label. ‘Slowing’ is a spiralling myriad of bright atmospheres and escapism, likely to be one of many sonic trademarks on Nehza Records.

2023 Repress

* After three groundbreaking albums over the course of a decade, the internationally acclaimed electronica project Shpongle have returned from what fans feared was the end of the project when 'Nothing Lasts but Nothing is Lost', their third album, was released. Not prepared to leave us hanging, electronic music pioneers Simon Posford and Raja Ram have continued to push the envelope and break boundaries to create yet another sonic masterpiece: the much-awaited fourth Shpongle album, 'Ineffable Mysteries from Shpongleland'.
* There are languages here that Shpongle fans will know and love as much as their previous work, and yet there are some massive leaps forward in terms of production techniques, sonic trickery, structure, and direction compared to all of the previous outings to date. With influences drawn from anywhere from Steve Reich and Mike Oldfield to the Batman movies and beyond, this really is another 'over the top' record in terms of production skills, tonal textures, and original ideas from Shpongle. It is rich in detail and emotion, in worldly and otherworldly samples and inspiration, and in
harmonic and melodic construction.
* Shpongle continues to evolve and inspire and with two sell-out back to back shows at the Roundhouse in London (30th and 31st October) to celebrate the launch, Shpongle prove to be as popular as ever and this album is already in huge demand.

Elemental Music presents a newly remastered 180-gram LP reissue of Masterpiece, the acclaimed 1973 album by The Temptations originally
released by Norman Whitfield on the Gordy (Motown) label. Having already produced songs for The Temptations such as “Smiling Faces Sometimes” and “Papa Was a Rollin’ Stone”, which emphasized his instrumental musical backgrounds over the group’s vocals,
Whitfield went one step further here.

The title track, at nearly fourteen minutes long, includes just three minutes of group vocals. Masterpiece reached #1 on the Billboard R&B singles chart, and #7 on the Billboard Hot 100. “Hey Girl
(I Like Your Style)” also became a Top 40 hit in the late summer/early fall of 1973.

Raising the bar yet again, Night Owls' first single of 2023 lays yet another set of classic soul songs on you, flipped into the band's signature style. On Side A we find The Flamingo's beloved Doo-Wop/soul hit from 1959, "I Only Have Eyes For You," re-imagined to wind your waistline with Night Owls' longtime friend and collaborator - the one-and-only Chris Dowd from Los Angeles' legendary Fishbone on vocals. Known for tunes like "Pouring Rain" and "Everyday Sunshine" Dowd brings his signature soul drenched delivery with a hint of rude boy grit to match the rhythmic and tonal stylings of the group. Wanting to take things to the next level, producer Dan Ubick called in veteran underground Jamaican legend Tippa Lee (Stones Throw, Dub Club, Jammy's, Greensleeves, etc.) to sprinkle his magic rasta dust on top and deejay/toast on the track and the results are burning hot.

But wait, that's not all!! On Side B we find the beloved beat diggers classic "Live And Let Live," originally performed by Jimmy Jones in 1970 on Deke Records out of Chicago. For the Fender Rhodes-driven reggaefied version here, Night Owls roped in another longtime friend - Los Angeles kingpin and mover ’n' shaker, "Music Man" Miles Tackett to add his soulful vocals to the track and it's as buttery as cornbread from Cracker Barrel! Tackett is the mastermind behind globe-trotting funk/soul collective Breakestra (of which Night Owl Dan Ubick was a member) and legendary weekly L.A. dance parties like Funky Sole, Root Down and The Breaks. This side also includes Destani Wolf, who many will remember was featured on Night Owls’ version of “Let’s Stay Together”, providing the beautiful ‘verbed out backing vocals.

Following the release of their 2021's critically acclaimed album The Black Stone Affair, instrumental cinematic-soul outfit Whatitdo Archive Group unleashes two startling new singles: "Forbidden Cove" and "The Cashmere Chamber", out on limited edition 7'' on March 24th via Record Kicks. The 45 is limited to 500 copies worldwide and it is just an appetizer of the upcoming new album Palace Of A Thousand Sounds, scheduled for release on May 5th, 2023. Whatitdo Archive Group previous 45s went sold out in weeks and are currently very in-demand from collectors and djs.

On side A, we find the first single "Forbidden Cove". We are immediately greeted with top-notch production that feels like we stumbled upon yet another lost rarity, but this time from the heyday of American "exotica" music from the mid-century movement of the early '60s (think Martin Denny and Les Baxter). The twist here is that the underlying tone is dark, heavy and cinematic. WAG flexes their compositional chops and maturity with clever arrangements, a tight rhythm section and dreamy vibraphone that lead us to dense Arthur Verocai-esque orchestral arrangements and hypnotizing eastern flavors.

From the first notes of the Javanese metallophone, Whatitdo Archive Group welcomes you into "The Cashmere Chamber", on side B of the 7''. Less a room and more an auditory experience, "Chamber" skillfully guides you deeper into its world complete with menacing drums and bass, sinister vibraphone melodies and a haunting choir. But this driving force of the rhythm section isn't enough for WAG; we see the song quickly blossom into an adrenaline pumping guitar feature layered expertly with a Turkish baglama saz and percussion. This track is a sample-worthy heater for any DJ.

The new album Palace Of A Thousand Sounds will be available May 5th, 2023 on limited edition LP, CD and digital platforms. Palace Of A Thousand Sounds finds Whatitdo Archive Group entrenched deeper in the worlds of mid-century exotica and library music—from the Tropicalia-steeped Amazon to the minor key tonalities of the far-out Near East.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV USA, this three-piece recording collective (Alexander Korostinsky, Mark Sexton and Aaron Chiazza) focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. As an onlooker, it's hard to tell whether the music they are procuring is actually archival, music of their own creation, or both. Their debut LP The Black Stone Affair, the formerly lost soundtrack music of a once-shelved Italian cinematic masterpiece, was released in 2021 and received praise from the likes of Wall Street Journal, Mojo Magazine, Uncut, Shindig and Blues & Soul Magazine, BBC 6 (UK), FIP (FR), KCRW (US), JazzFM (UK) and more. Two years later, the Whatitdo Archive Group is back. Get ready for an exotic adventure with their sophomore full-length effort: Palace of a Thousand Sounds.

Ground Groove, the third full-length release from the LA-based, Iranian-American producer and DJ, Maral, begins with an invocation: the sprawling, achingly heavy Feedback Jam opens the floodgates of history. Conventional (linear) spacetime collapses, crushed beneath the track’s lumbering 4/4 heartbeat and successive waves of distortion. As each wave recedes, samples trickle forward in the mix — seeking, perhaps, to fill the void. Voices and instruments rise and fall in uncanny reverse. Overlapping, implied melodies flicker into focus, then flit away. Feedback Jam is at once an initiation ritual, and a thesis statement for the record that follows.

Drawing upon a vast personal archive of Iranian folk, classical, and pop recordings (some sourced from mixtapes made by her parents in the eighties/nineties), Maral presents, on Ground Groove, a further refinement of the signature “folk club” sound she developed as a live DJ— a sound she would later codify on Mahur Club (2019) and Push (2020). By collecting, dissecting, and re/presenting sonic fragments from Iran, Maral practices a kind of dance-floor ethnomusicology. The subject of her inquiry: Iranian


culture and contexts, throughout history and in the present. But, crucially, this inquiry is instantiated within and throughout the body of the listener, whether this listener is dancing in the club, or riding the train, nodding along with headphones on.

Maral speaks of being in collaboration with her samples, treating each as a distinct bandmate, often consulting with an artist’s catalog (or even a single recording) as one would a trusted creative partner. In so-doing, Maral claims to seek to transcend the self. In this regard, her output neatly triangulates contemporary dance and heavy music with much of the traditional religious music that she samples. Broadly speaking, each of these idioms addresses a desire —shared by audience and performer alike—to transcend the self through volume, repetition, and movement.

Having, in her youth, studied the Setar under Nader Majd (the founder of Virginia’s Center for Persian Classical Music), Maral cycled through various genres (ex: punk, emo, dub) in her adolescence and early twenties, all the while expanding her knowledge of, and appreciation for, Iran’s diverse musical traditions during regular summer trips to Tehran. In college, Maral taught herself to make beats with a ripped copy of Ableton (which remains her DAW of choice), eventually transitioning to playing and hosting various club nights. Forever abiding by an autodidactic, DIY impulse to create art and foster community, Maral relocated to Los Angeles in 2013, where she quickly immersed herself in the city’s numerous overlapping music scenes.

Collaboration (beyond sampling) has proven an important component of her process, with notable spoken word contributions from the likes of Lee Scratch Perry and Penny Rimbaud, as well as a 2021 Panda Bear collab track (On Your Way), which the Animal Collective founder co-produced. Maral is equally attentive to the visual components of her records (album art, music videos, etc.), drawing upon the work of peers and friends for inspiration.

Indeed, the genesis of Ground Groove can be traced back to an audio-visual collaboration between Maral and the artist Brenna Murphy, originally commissioned for the 2021 Rewire Festival — a project that would eventually serve as the album’s foundation. Tracks eight through eleven on Ground Groove comprise Maral’s half of this installation, with tracks one through seven composed afterwards, inspired by the fruits of Maral and Murphy’s collaboration. Murphy’s visuals will be released alongside Ground Groove as a visual accompaniment. Additionally, Murphy designed the album’s art, directed the video for the lead single (the aforementioned Feedback Jam), and is featured on track six, Shy Night.

Composed largely on Ableton, Ground Groove features more frequent and more prominent live recordings from Maral (guitar, bass, and vocals) than either Push or Mahar Club. The cult favorite Roland MC-909 groovebox rears its head on Mari’s Groove. Mixed by Trayer Tryon (Hundred Waters) and mastered by Daddy Kev, the attention to sonic quality on Ground Groove constitutes another significant step in Maral’s development as a studio artist.

Ground Groove’s eleven tracks are “grooves” in the obvious sense, in that they are each driven by a persistent, propulsive rhythm, but the album’s title may just as well suggest the glacial passage of time—the scope of human history, in which individual voices, like streams, carve paths (impossibly) through earth and stone, winding their way to the vast sea of the present.

Tape

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

Mastered by Tohru Kotetsu and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Misty is one of the most sought-after titles from the acclaimed Three Blind Mice catalog.

Touring with the Micky Curtis Band, Tsuyoshi Yamamoto had the chance to explore several international experiences that he would later use on his 1974 album, Misty, as he worked with this band in France, England, and Switzerland.

The Yamamoto Trio’s Misty is a Stoned Cold Killer! A1 Reference Material!!! Misty earned both the “Best Engineering” Award and Jazz Disc Award of Swing Journal in 1974. Recorded at Aoi Studio, Tokyo, on August 7, 1974. Tsuyoshi Yamamoto is highly musical and his expressions natural, neither overly technical nor serious, his performance is relaxed and melodious.

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

LTD Violet Vinyl

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.