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Padre Himalaya first VA starting with P.Adrix(Principe discos) killer laser kuduro tool, Brazilian producer dj lima banging an old school funk and fast raves breaks from Rkeat.

B Side kicks off with slow lush tune from Dj Problemas, reaches the climax with the dreamy dub from Coletivo Vandalismo and finishes with Odete’s video-game like noise sound.

Superb Gatefold delux editioon of a magic ambient to ambient-core sound... Ritch and conceptual music... Out from the fields and upper than any montaign... this is This tale is written inside the gatefold : The Bandiagara Escarpement unravels for more than 400.000 hectares, multitude of sandstone cliffs and plateaus, ravines and caverns. A West African area of unique and exceptional beauty also known as the Land of Dogon.


Summer night is fading away when the Hogon Kalapodis stands up abruptly after days completely motionless staring at the stars through the openings of the Kukulu Kommo Cave. Time has come. The heliacal rising of Sirius is getting nearer. Aware of the power of the word to bring everything into existence by naming, the Hogon reaches with a resolute pace the Polio Kommo Plain where his ancestors wrote in stone the past and future of mankind. There he finds the Awa fully deployed in two lines, the oldest standing and the others sitting before them. Dressed with braids of dyed fibers and embroidered with cowry shells, figures of mythological beings, humans, animals hold the painted wooden masks tightly between their teeth. Behind them, the whole tribe stood around the rock ark in the kanaga position : legs well planted in the sandstone, arms waving to the lightening sky.
Just a nod and Nogod, the most skilled percussionist, starts a solo on his Gom Boy. First he keeps on repeating over and over the same obsessive pattern and then, squeezing the leather chords of the talking drum with arm and body, he modulates the frequency produced with the beats originating from the rest of the tribe. The last Dama has just begun.

The end of the mourning ritual is now looming over the cliff. Hundreds of Boy Na and Boy Tolo and Gom Boys jam together with bells and bullroarers and all the singers. The masked crews jump and dance quickly in sonic belligerence and the faster they cross one another, the more the rhythm accelerates.
Drumming gets supersonic. No longer possible to detect a percussive sound, only a single powerful Black Drone. Super fast music becomes super slow.


In the light of dawn, looking at the horizon, Sigui Sirius A Tolo is now rising. Also its dark companion Po Sirius B Tolo is over there and far away a new New form is taking shape. Nogod standing right at the middle of the vibing tribe, whispers sweetly something but somehow in all that rumble everybody hears clearly the name : S………I………R………I………U………S………C

Popcaan first unveiled his latest project titled FIXTAPE via Unruly / OVO Sound last year.

FIXTAPE includes a star-studded lineup, such as the Nineteen85-produced track “TWIST & TURN” featuring Drake and PARTYNEXTDOOR. Additional guest appearances include French Montana, Preme, Masicka, Stylo G, Dane Ray, Frahcess One, Tommy Lee, and Jada Kingdom. FIXTAPE continues Popcaan's historic narrative as one of the most prominent global superstars in the reggae space today. It is also the follow-up to his Vanquish mixtape, which was released after it was announced that he had signed to OVO Sound.

The 19-track body of work is powered by Popcaan’s potent energy, lyrics, and unique amalgam of genres from hip-hop to dancehall and pop. FIXTAPE is further proof that his cultural appeal spans from the streets to the club.

With a name as bold as Junglepussy and an artistry
to match, Shayna McHayle is New York’s premier rap
rule-breaker. Honest, funny and freaky, her rhymes
span from the explicitly audacious to the tenderly
relatable. Her unfailingly confident flow accentuates
her roots in Brooklyn (her parents are from Trinidad
and Jamaica) and her bars land with cool impact. In
the universe that is Junglepussy, relationships are
complicated, vegetables are magic and an
excellently delivered flex on an ex is one punchline
away.
‘Jp4’ is Junglepussy’s stellar next phase. With
contributions from vocalist Ian Isiah, rapper Gangsta
Boo and producers Dave Sitek and Nick Hook, ‘Jp4’
is Junglepussy ascended. After almost a decade of
experimenting, Junglepussy feels she’s finally living
up to her name. The numerology of four, in its
foundational symbolism, is an apt frame for ‘Jp4’.
Over an eight-year career, Junglepussy’s music has
led her to lecture at Yale and Columbia, create her
own Junglepussy Juice, star in 2018 feature film
‘Support The Girls’ and embark on sold-out domestic
and international tours. For Junglepussy, ‘Jp4’ is a
culminating moment - one that holds the essence of
closure while hinting at an exciting and expansive
future.
First-ever physical release for Junglepussy.
Remixes / features / collaborations include Kelela,
Vic Mensa, Gabriel Garzón-Montano, Rico Love and
many more.

Transversales Disques presents for the first time on LP, François de Roubaix’s full score for the French TV series Les Secrets de la Mer Rouge, an adaptation of the epic travel, through the Middle East, of the famous writer and explorer Henri de Monfreid. This album is a collection of the original (1967) themes and those recorded later in 1975 when the TV series was continued.
In the 1967 soundtrack, de Roubaix uses various flutes, marine conches, and for underwater views, unexpected instruments such as a celesta or a crystal xylophone. By 1975, electronic technology had dramatically developed and this evolution is clearly apparent when one listens to the recordings of the two seasons. For the later 1975 series, de Roubaix composed a new music score, mixing old and new sounds, a great combination of EMS VCS3 synthesizer subtly mixed with acoustic instruments.
For François de Roubaix, there was never a border between fiction, life and music, and writing music for Les secrets de la Mer Rouge was an extension of his love of the open sea.

The thirteen song album has been remastered at the hallowed Abbey Road Studios in London from the original 1/4’ analog master tapes, and the vinyl processed with a new half speed lacquer cut to ensure the highest quality audio possible.
The bonus LP is a collection of outtakes of nearly every album track, including never before heard pre-production demo recordings, alternate mixes and arrangements, live material, an Archers of Loaf cover, as well as a newly recorded version of the album track ‘Caretaker’ which was recorded in 2019 on the literal last night in the house Stevenson grew up in, ten years after the song was originally written there.
The album features liner note essays written by musicians Julien Baker and Lucy Dacus who drew early inspiration for their own music and songwriting from the album. Also contributing liner notes are Pitchfork, NPR and Stereogum writer Nina Corcoran, as well Packaging: LP Deluxe edition, stoughton tip-on jacket gatefold w/ download card

Obscure World come back digging in the past , a big techno record this time from 1995's label made in hong kong with amazing BLUE01 by Joe Montana & Robert Livesu. Repress on black vinyl , restored and remastered.

A journey to far outlands: this is exactly what one can feel when listening to Béliz. Entitled Mémoires, the album from the band Béliz, explores new territories where the Guadeloupean musical tradition meets the harmonic universe of the harp. Béliz is the dialogue between the world of classical harpist Anne Bacqueyrisse, percussionist Olivier Maurières and multi-instrumentalist and singer Edmony Krater, fervent supporter of the Gwo Ka, the ancestral musical tradition coming from Guadeloupe. Founder of the band Zepiss, once a member of Robert Oumaou's collective Gwakasonné, Edmony Krater always had the will to open the Ka to other cultures and to incorporate new sounds. Indeed, with Ti Jan Pou Vélo, his tribute album in the memory of Marcel Lollia known as Vélo (one of the greatest drummers of Guadeloupe), released in 1987, Edmony Krater brilliantly mixed jazz-fusion, Occitan folklore, synthesizers with the distinctive Ka rhythms.

The meeting of Anne Bacqueyrisse, Olivier Maurières and Edmony Krater at the Music Academy of Montauban, gave birth to Béliz. In 2009 the group of three musicians-teachers, under the impulse of one of their pupils, decided to record in studio their project, Mémoires. Béliz, with its innovative and singular artistic approach, is a true invitation to travel. The title “Arawak É Karayib” is a vibrant tribute to the native West Indian people. “Gwadloup” - an acoustic version of the song already featured on the album Ti Jan Pou Vélo - is an ode to Edmony’s beloved island. “Natibel”, an hymn to Nature - another cover from the Zepiss band – makes sense here in a minimalist version.

A true fusional object, Béliz moves us to new horizons, both imaginary and poetic.

LTM presents a limited double vinyl gatefold edition (500 copies only) of B9, the definitive collection of cold wave and minimal electronica from Belgium, recorded between 1979 and 1983.
Originally released on Sandwich Records in May 1981, B9 featured 10 exclusive tracks by luminaries such as Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese, the latter the first recording project by Daniel Bressanutti of Front 242. Now digitally remastered, with 10 additional tracks on the second disc, this new deluxe vinyl edition also features Front 242, The Names, Marine, Siglo XX, The Neon Judgement, Berntholer, Allez Allez, Isolation Ward and more.
Cover op-art by Victor Vasarely. Design by Benoît Hennebert, based on a poster for The First Belgian Rhythm Box Contest (1981). Liner notes by James Nice. The existing CD version of B9 is also still available (LTMCD 2486) 

Bridging the link between the drummer's hometown in Montana and the love of african rhythms, Beat Bronco Organ Trio offer us this sublime, lilting instrumental full of precussive warmth and mid-tempo syncopations.

This 2-part song is not featured on their recent Road Trip LP, but following hot on the theme of musical travellings. Departing from the land of the shining mountains and heading across continents to the sound of the twangy, rolling guitar, parts 1 & 2 are a delightful yet raw aural journey carried out across a live, 4-track tape machine.

Totally analog and fresh, as we often wish music could be.

Rare musical magic from the Bruton library catalogue – ambient, spacey, pastoral and electronic. Music by John Cameron, Alan Hawkshaw, Fran-cis Monkman, Brian Bennett and more – all total masters of the scene. All very cool. All very now. All will sell very fast.

Over the last three decades Jonny Trunk has collected and written about library music. But he’s never had a great deal of luck with the Bruton catalogue. By this he means that he’s never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing –that’s the kind of thing that used to happen in the 1990s and the early noughties if you were out there looking hard for library music. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their “TV Training Department” near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn’t want the records, so Jonny got a call.

There are lots of Bruton albums in existence – over 330 LPs in the vinyl catalogue, issued between 1978 and 1985. That’s a lot of music to wade through if you are looking for sublime modern day sounds. For many years now the “trophies” from the Bruton catalogue have been the beat or action driven LPs – the two Drama Montage albums (BRJ2 and BRJ8) have always been the big hitters, and others such as High Adventure (BRK2) too.

But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was paint-ing a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of ex-perimental futuristic electronics and would remind him of 1980s ITV backgrounds. This LP series includes Brian Bennett’s cosmic classic Fantasia (BRI 10). Jonny has been knows to refer to this style of library music as “Krypton Factor library”, because it’s exactly what that strange but successful 1980s TV quiz show sounded like.

In recent years as interest in library music has expanded, we’ve watched
the price of a handful of Brutons really going through the roof - not the just the action and drama ones, but the more esoteric and experimental LPs too – like the BRDs and the BRIs. Jonny gets the vibe that people fi-nally want to hear this other more interesting and experimental side of the Bruton catalogue. So what better time than now to put together a compilation of such sublime period sounds.

Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month’s wages (if the origi-nals were all wanted and if you could even track them all down), but it also chops out the need to listen to other tracks on library albums that are nowhere near as good.

The cues here all date from between 1978 and 1984. They come from the BRD, BRI, BRH, BRJ, BRM, BRR and BRs catalogues.

The composers are all legends within the genre, and here, were doing what great library composers do best – fulfilling a brief and utilising modern studio equipment to both commercial and beguiling effect.

L’Escalier des Aveugles, or The Stairway of the Blind, was commissioned in November 1990 by Spanish National Radio (Radio Nacional de España). Asked for a piece to premiere as part of the European Day of Music, Luc Ferrari returned with a radiophonic concept that organised his anecdotal music into montage form, sequencing short, elusive narratives in a successive way.

The completed composition is formed of thirteen chapters containing a mixture of environmental and synthesised sound, commentary, chatter, and encounters with people and places. Each focuses on a small event within this playbook, and Ferrari notes that each “in addition to being a realistic photograph, will be the subject of a ‘setting to music’: fragments of voice and atmosphere will be sampled and will produce musical matter or a ‘song’.”

The sonic language of Madrid forms the setting to which Ferrari lays out the persistent theme of the piece, that of the composer being guided throughout the city by a young woman. Using a game-like structure (liners for this edition include Ferrari’s “Regles de Jeu”, or “Rules of the Game” which act as a script or score to the piece) the motivation is posed: imagine that one day you are told “I know a place in Madrid that sounds amazing (or bizarre)”, to which you reply “Let’s go to it together.” The recordings toy with the relationships between guide and tourist, translator, director and actress, and masculine and feminine that emerge as Ferrari and the actresses follow this action, documenting the shared experience and connections they make as they visit these places.

Six actresses guide Ferrari (and the listener) through locations simultaneously ordinary and sonically rich: the metro; the El Corte Inglés department store where we hear the gossip from changing rooms set against music emanating from the PA; vagabonds declaiming their political stance in the Conde de Barajas plaza; interactions buying apples in a market; the reverberant and spacious halls of the Prado Museum where one actress gives a moving description of her favourite painting - Goya’s The 3rd of May 1808.

Ferrari replies in French to their comments in Spanish, and there are several self-referential plots, devices, and word games that flirt with the poetics and rhythm of language and sound. A recital of Lorca’s poem "La Casada Infiel" in “Hommage À Lorca” in amongst the location recordings feels striking, and the call and response of “La Nouvelle de L’Escalier”, where one of the actresses descends the staircase of the blind - a long stone stairway in Madrid proposed to Ferrari as an interesting location to visit during the trip by producer José Iges. She replies to Ferrari’s vocal enunciation of the place (and title) in French - L’Escalier des Aveugles - with the place-name in Spanish: La Escalera de los Ciegos.

Using this repeated title and image of the staircase of the blind as a symbolic place, a line is drawn to a situational landscape experienced and diffused through snapshots and allusion rather than holistically overviewed, sound conjuring pictures within the imagination. In the sensorial qualities of Ferrari’s treatment of emotion and language—fortified with electro-acoustic motifs and musical properties—the piece accelerates towards a render that is truthful, beautiful, yet also surreal; somewhere between theatre and reality, a gonzo cinema of the ear.

White vinyl, picture sleeve, limited pressing of 500 copies, includes Peaking Lights remix

Montaine’s “Mount Nod” is a delicate, shimmering slice of DIY pop music. The lo-fi charm sits on that knife-edge between happy and sad, its repeated “I’m on the bottom line but I’m doing fine” changing meaning as the song goes on, plotting the course of Mr Montaine’s sensitivity. What starts out small gently unfolds into an understated English confidence by the end. On the B side Peaking Lights dive into the mysterious undercurrents beneath the surface of Montaine’s worldview. Like all good remixes it sets the artist in a parallel universe, this one a utopian disco slowscape, complete with bubbling clouds and dayglow fountains. We have to sincerely thank Sam Potter of 00s band Late of the Pier for coming to Be With with the story of February Montaine back in the spring of 2017. When we first heard “Mount Nod” our jaws dropped. We immediately thought of all the people that would love it. Of friends and family, far and wide. Of fans of timeless, soulful pop music everywhere. Championed by Trevor Jackson and Efficient Space, it’s perfect, addicitve pop which generously gifts the listener eternal goosebumps. Three years later, we are absolutely delighted to finally bring this out as the second release in our Be Pop series of 12″s. In Be Pop fashion it’s pressed on white vinyl and this time limited to 500 copies for the World.

DJ Dem’s new 12”, called I Videre, translates into I See in English. Continuing the sonic explorations of timbre and rhythm, the three tracks that comprise the new EP are an envisioning mix of the artificial and the natural acoustic environment. Streets, ambulances, laughter, air; hints of Berlin techno intertwined with the cymbals of an acoustic drums set and Berlin itself; synthetic and human voices creating mazy soundscapes. A blend of house tempos, techno’s futuristic take on sound synthesis, ambientesque stillness/movement and musique concrète’s intertemporal idea of montage music. Rather than going for the usual tropes of dance music’s canon, the music on the EP folds and unfolds on an axis of her own, giving DJs a multi-purpose sonic twister.

“We shan't have any more trouble from that meddling Doctor!” Demon Records presents a double bill of unique full-cast BBC radio adventures for Jon Pertwee as the Third Doctor, based on the enduringly popular BBC TV series. The Paradise of Death reunites the Doctor, Sarah Jane Smith and the Brigadier for an adventure that takes them from Hampstead Heath to the far-flung planet of Parrakon, where they face dangers aplenty from the hostile Freeth and Tragan.
In The Ghosts of N-Space, which features Jon Pertwee’s final performance as the Doctor, the Time Lord is in Sicily where he discovers trouble in the form of spectral monsters from another dimension. Presented across 3LP x 12” 180g Heavyweight Blue Vinyl & 3LP x 12” 180g Heavyweight Yellow Vinyl, these two fast-paced adventures were specially written for radio by former Doctor Who
producer & writer Barry Letts. Co-starring Elisabeth Sladen and Nicholas Courtney, both also feature the incidental music and Doctor Who theme arrangement of Peter Howell of the BBC Radiophonic Workshop. Among the supporting cast for the stories are Maurice Denham, Sandra Dickinson, Harold Innocent, Peter Miles, Richard Pearce, Harry Towb and Stephen Thorne. Accompanying the coloured vinyl LPs are full episode billings, cast and credits, and six illustrated
sleeves that form a superb double-sided artwork montage. Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

unning Back Incantations present Yogtze!
A joint venture of Daniel Helmer - musician, producer (Mantra Mantra, Gudrun von Laxenburg)and filmmaker from Vienna and Daniel Meuzard - (Feater, Skymax, Vallay) and a headstrong trip deep into the tune-in-turn-on-drop-out-mentality of European minds outside of their natural environment. Helmer and Meuzard met around 2005 in Peru where they both participated in an ayahuasca ceremony.
After this experience they decided to travel and discover South America together for some weeks. During that journey, the idea of a musical project (Yogtze) was born.
Two years and many miles later, Helmer and Meuzard saw Alejandro Jodorowsky’s „Montana Sacra“ at a small film festival in Paris. The movie inspired them to create a musical composition that reflects its spirit and atmosphere. In order to do so, they decided to travel Morocco and record music on a small 8-track tape machine at a friend’s home studio in Essaouira. "The artistic process felt very natural. All we had to do was to open up to the cosmos and let the music flow through our bodies“, said Meuzard. Neither Meuzard nor Helmers intented to release those recordings, since the sessions were more of a personal nature and meant to create a musical experience for themselves.
A decade later, their moroccan friend, who stumbled upon the tapes while cleaning his storage, urged them to release their recordings so everyone could experience the same musical journey as they had back in 2007. "It would be a grand act of selfishness not to share this work of art with others“ he told them. Luckily for thew world, Helmer and Meuzard decided to finally edit, mix and master the rest of the material in 2018/2019 and named their project „YOGTZE“. Expect a record full of wondrous soundscapes, haunting melodies and capturing themes that would fit in many categories or definitions and none at the same time. Music from and for memories, tangerine dreams and chessboards.

Aviador Dro are without a doubt the most avant-garde and influential techno-pop band from Spain. They started in 1979 and this year are celebrating their 40th anniversary playing shows, re-releasing some old works, publishing a book and also a new album.

“Acción Contra El Pasado” was recorded in Madrid in December of 1980 and is one of the oldest live performances of which there is a recording evidence. This concert is legendary not only for its age, but also for including some unreleased songs, a couple of early covers by Kraftwerk and Sex Pistols and vintage versions of classics tracks.

“Aviador Dro y su Maquinaria Humana” (exactly as it was announced on the original flyer) was formed at that time by Biovac N, Fox Cicloide, Placa Tumbler, Derflex Tipo IARR, CTA 102, X, Metalina 2 and Cyberjet. A priceless piece of history restored and remastered from the original cassette recorded directly from the mixing desk.

Limited edition of 400 copies with a A2 size colour poster.
Drawings created by the Polish artist Michał Arkusiński.

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

This new and grainy Sbire release sees La Chaux-de-Fonds electronic craftman Gaspard de La Montagne work as per usual with Nathan Baumann. The two of them share a long history of forward thinking music projects, including EPs, videos, movie soundtracks and so on. Things have changed on this one though as Baumann co-signs the record, instead of an usual credit mention. Both artists describe these 7 tracks as a small album which average format of tunes leans towards pop music. A thoughtful and progressive tracklist bounds all titles together as a whole journey, landmarked by Baumann's ethereal vocals and minimalistic french lyrics. This new approach makes Auras a moving and bittersweet journey that will see you wander from a crowded club to your lonely bed.

Bonding over a shared love of Chic, Parliament and the other signs in the greater funk Zodiac, Mayer Hawthorne (Aquarius) and Jake One (Taurus), collectively known as Tuxedo, return with their third studio album, Tuxedo III released on the Tuxedo-owned and newly launched label, Funk on Sight. Their powers combined have yet again yielded a bevy of absolute slappers that are packaged perfectly for dance floors in 2019. The album includes features from MF DOOM, DāM-FunK, Leven Kali, Benny Sings, Gavin Turek and others. Tuxedo is back to remind you that the dance floor will always be there to welcome you, whoever you are.

(2LP gatefold 180gr pressing) The album is a collaboration between Brazilian artists Lula Côrtes and Zé Ramalho, a wonderfully off-kilter record full of fantastic hooky and strange tunes that range from full-on freakouts to quiet pastoral numbers displaying the entire range of 1970s hippie Brazilian musician culture.

2019 re-issue, 180g vinyl, remastered from the original tapes
Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: A Dramatic Suite Of Themes, Montage, Sequences And Generics. We say: An enormously influential and heavy KPM set of timeless, killer funk breaks from 1972 by the mighty John Cameron. Jazzrock is an aggressive, percussion-heavy album with an energy that leaves jaws on the floor. Breaks and beats for days with electric piano, bass loops, and pounding percussion. Funky jazz with a deep, tough, soundtrack feel. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

Endlessly sampled across the board, for those dreamy guitar licks, killer Rhodes keys and luscious strings, Goody Goody ‘It Looks Like Love / Super Jock’ is a 1978 masterpiece of disco gold. Original copies of the Atlantic Promo 12” sell for upwards of £65 so it’s about time a remastered, officially reissue landed.

Produced by Vince Montana of MFSB and The Salsoul Orchestra fame, ‘It Looks Like Love’ was a Larry Levan / Paradise Garage classic and still commands dancefloors the world over. Flowing flutes, sultry vocals and xylophone twinkles open up proceedings, as those iconic, funk-flavoured staccato guitars and rising strings step up to the plate. Combined they produce a glistening groove that captures the feel-good factor of NYC’s disco apogee.

Delectable disco, fuelled by an undeniable funk that continues to be harnessed, chopped and sampled by some of house music’s biggest players from Nick Holder and Armando, to Tom Trago and Glenn Underground.

On the B side, soul-searching cosmic fluctuations via ‘Super Jock’, with interplanetary vocal refrains stretching out above a full-bodied bass, tight drumming and spacey Rhodes. Montana’s world class arrangement sees bongo-led percussive interludes and dancing keys solos take listeners to a mesmerising galaxy, far far away.

A double dose of that good stuff!

Fix Me is a techno symphonic soundtrack of the collaboration between the choreographer Alban Richard and Arnaud Rebotini, dandy of the French electro and César 2018 of the best musical composition for the film 120 beats per minute.

Interested by the sound energy, Alban Richard conceives a piece that draws its power in fervor. Eloquent bodies, sermons and slogans, this choreographic, musical and plastic montage is exhilarating. The four performers translate their actions into words: American evangelical sermons, political speeches and feminist hip-hop songs. The light worked on a vibratory mode bathes interpreters and spectators in the same hypnotic halo.

Driven by an incessant flow, music and dance interfere each in the sphere of the other and compete with energy to monopolize the eyes and listen to the audience.

The sensitive mountain » (la montagne sensible) is the nickname Alain Bashung came up with for Arnaud Rebotini. At the height of his fame, after the success of Fantaisie Militaire in 1998, Bashung readily agreed to create an album with Rebotini. The two men didn’t know each other; their record label had introduced them. Bashung brought in “Mortel Battement” and “Nocturne,” two poems by Jean Tardieu, which he recited in a voice simultaneously warm and flat, and Arnaud produced an impressionist soundscape that ended with an apocalypse of metal. Bashung was so proud of their collaboration that he offered to give several interviews to promote the record. Today, listening back to this moving Léo Ferré influenced "talking singing" exercise, it’s hard not to hear the template for L'Imprudence, the album that Bashung went on to record with Rebotini two years later. In a similar way, the album Organique sparked a productive partnership between Rebotini and filmmaker Robin Campillo, which resulted in their being awarded a César for Best Original Music in 2018. The director, who trusted Rebotini to create the soundtracks for his films Eastern Boys and 120 Beats per Minute, never kept his love for the 2000 record a secret.

Yet it’s an understatement to say that when it was released, Organique was not in the spirit of times. That year was all about the French touch. The funky samples of Modjo’s “Lady” and Superfunk’s “Lucky Star” ruled the sweaty dancefloors. Although Rebotini was familiar with the electronic scene, he had something else in mind when he set about creating Organique. Under his own name or under the pseudonyms Aleph, Avalanche, Black Strobe, Maison Laffitte, and of course Zend Avesta, he had already released several quite bizarre and experimental techno, house, or jungle maxi singles on pioneering labels like P.O.F., Source, and Artefact, run by his friend Jérôme Mestre’s, whom he had met back when both were working as record salesmen at Rough Trade’s ephemeral Parisian store. It was at Artefact, still financed at the time by Barclay and Universal, that he naturally proposed this record project, which was a bit "different." It was his first real album.

Arnaud Rebotini has never hidden his love-hate relationship with the electronic scene. He’s a fan of rave music, Rex, and later Pulp, but he listens mostly to metal and contemporary music, mainly American minimalists such as Terry Riley, Philip Glass, Steve Reich. He wanted to mix this genre with a more French aesthetic inspired by Debussy, whose unconventionality fascinates him. From the first suspended guitar note of Organique, you can pick up another influence, possibly poppier. In the style of Mark Hollis, the erratic leader of Talk Talk, whose only solo album’s silences and dissonances left their mark two years earlier, we hear the fingers touching the keys of the clarinet on “Ondine.” The instruments have presence, character. Nothing is smooth. Everything is organic.

Although it’s sometimes labeled as electronica because of Rebotini’s career, there’s nothing digital about Organique. No "pro tools" editing or samples, only programmed drums and some synth layering. And his guest vocalists. Playing the role of electro producer, he invited Bashung, of course, to join him on the album, but also Roya Arab, who Rebotini first spotted while she was playing in Archive, and her sister Leila, Gus Gus alum Hafdis Huld, Kat Onoma’s Philippe Poirier on the “Samuel Hall” inspired track “Qu’est ce qui m’a pris,” and former KaS Product member Mona Soyoc.

The frustration of a tour where he had "little to do on stage," the desire to sing himself, and the creation of the Black Strobe project, a haunting mix of blues and rock, stopped Zend Avesta from putting out another album. Eighteen years later, the Organique we rediscover today has lost nothing of its strangeness, nor beauty. When it came out, Bashung said, "What is interesting for a musician is to feel that you have a piece of wasteland in front of you, something to clear.” That remains true today.

Andrea Introvigne, Joe Montana, Stefano Dovo, Pietro Giuliano, these analog guys, made 4 raw tracks for Oldivibes.

moogmemory is the latest album from multi-award winning pianist and composer Matthew Bourne, who has turned his considerable talents to the world of analogue synthesizers.

Very much in demand as a collaborator and co-conspirator, Bourne has his fingerprints on a huge number of projects, having worked with artists as diverse as John Zorn, Annette Peacock, Nils Frahm, Nostalgia 77, Amon Tobin and Broadway Project.

Growing from spontaneous improvised live performances, the album took shape in the studio as Bourne explored and moulded the vast sonic possibilities of voltage-controlled oscillators, creating beautiful, brooding landscapes of thick impasto and translucent sunbursts.

The seed for this project was planted when Bourne acquired an uncooperative 1982 Memorymoog, having it painstakingly modified and upgraded by Rudi Linhard in Germany .

Created without the use of computers or sequencers,Moogmemory is the first album to be recorded using only the Lintronics Advanced Memorymoog.

Bourne will tour moogmemory in collaboration with brilliant visual artist Michael England, who has worked with Autechre, Bola, Leila, Demdike Stare and many more.

The album will be available on CD and as a limited edition LP (with CD) in an intricate embossed sleeve designed by England.

Album press release written by Bourne fan Graham Massey (808 State).

The album follows the critical success of Radioland: Radio-Activity Revisited, a visceral live audio/visual experience created to mark the 40th anniversary of Kraftwerk's seminal album, with Franck Vigroux and video artist Antoine Schmitt.

Bourne's first solo studio album, Montauk Variations (The Sunday Times' Leftfield Album of the Year in 2012), was celebrated for its sense of stillness and serenity, marking an important musical turning point in his career and the beginning of a new creative direction.

Tracks from Montauk Variations have appeared on compilations by Bonobo and Needwant.

Lavascar is a sound and music project by creative instigator and provocateur Michèle Lamy, multi-disciplinary artist Nico Vascellari and Lamy's daughter, the artist Scarlett Rouge.

Following the release of their debut album A Dream Deferred in 2017 - which was inspired by Langston Hughes' poem Montage Of A Dream Deferred, the trio will release new album Garden Of Memory through The Vinyl Factory label.

Drawing on the work of Lebanese-American poet, journalist and artist Etel Adnan, Garden Of Memory explores the tension between the organic and industrial, layering both Rouge and Lamy's idiosyncratic delivery over Vascellari's ambient and EBM-influenced electronics. After Vascellari described the debut LP as 'an evocation of Michèle Lamy sitting in a cave, surrounded by wild beasts ready to devour her', Lamy says the new record has loftier concerns: 'So far it seems like we are more in the cosmos... We are coming out of the hole!' Lamy continues: 'I like poetry, I don't like when there is sentence that tells you everything, I like suggestion.' It was for this reason that Lamy was drawn to the 93-year-old Adnan - 'a woman explaining what's going on in life. We can say everything is political, this is especially important.' It's a sentiment that Scarlett Rouge echoes: 'She wrote political poetry, and she is a journalist, so that's why I think when Michèle discovered her there was an immediate sense that this is now what needs to be felt and said.'

Alessandro Adriani has become a trusted source for all kinds of beyond-the-grave minimal synth, industrial and coldwave delights. Aside from his work in releasing forgotten gems and up to the minute synth incantations, Adriani has also been quietly issuing out his own music as well.

Originally released in 2016, 'Montagne Trasparenti' is now repressed on Mannequin Records with a full new graphic design.

'New wave/neu beta psychopomp, Alessandro Adriani ov Mannequin Records, makes an arresting solo LP debut with Montagne Transparenti's ghoulish suite of atypical Italian horror atmosfear and stylised body music, highly recommended if you're into Demdike Stare, Not Waving or Italian Library Records...' (Boomkat)

The album was recorded between Adriani's native Rome and adopted Berlin, 'in various years of travelling, composing, fighting with cables and machines.'

As humans living on the planet today, we have become so removed from our original, natural habitat—the forest—that we forget our wild roots, our primal, animal origins. Music is one of the things that can bring us back to that place, that can put us in contact with a felt world of instinct, immediacy, and presence: a world where language and the problem-solving mind are not needed, where the music keeps your mind and body in the present moment, and the point of dancing becomes the dance of our inner wildness and animality itself. Hans Berg's Sounds of the Forest Forgotten affirms that music can bring us to a state of mind and body that can help us feel what we've forgotten from the forest. The overlaying project of the album is to conjure musical and conceptual resonances between mysticism and nature, summoning the incredible depth and force of nature that we usually miss, especially living in contemporary urban cities. Sounds of the Forest Forgotten channels the creativity, playfulness, and freedom of a life both before and beyond ours through the sounds of analog and digital synthesizers, a modular system, drum machines, and computers. Recorded between Hans's studios in Berlin and on the Swedish countryside, the album similarly shuttles between contemplative and ecstatic, between delicate and powerful, mixing sublime psychedelic techno compositions like 'Emerald Sea' with acidic dance-floor bangers like 'Storm' and 'Milk Thistle,' all nestled between contemplative and textural ambient compositions like 'Butterfly' and 'Glow Worm.' Berg is known for his enthralling productions and energetic livesets that capture dance floors with his particular brand of hypnotic techno, replete with angular lines, affecting melodies, pulsating basslines, and big drums. He also produces atmospheric scores and ambient soundscapes to accompany the video art and installations of long-term collaborator and celebrated artist Nathalie Djurberg. Berg's live sets have found a home in nightclubs around the world, with recent gigs in Berlin, Stockholm, New York, Tokyo, and Melbourne, to name a few. In addition to 2MR, he has released his solo work on record labels including Ian Pooley's imprint Montage, Klasse Recordings, and The Vinyl Factory. His ongoing collaboration with fellow Swede Johanna Knutsson - as Knutsson/Berg - has led them to start the label UFO Station Recordings, on which they release their own material. The duo also has released on labels such as Idle Hands, Default Position, Kann, and Random Island.

Lerosa's 25th solo EP will be released on German label eudemonia. Known for his deep-house sound, the Dublin based Italian producer showcases a different palette for this release. The four tracks gravitate somewhere between Electro, Italo, Synthwave and imaginary film themes. "Glider", a fast electro track, opens the EP combining acid drops and dystopian sci-fi elements. "The Minister' is much slower and serves as an emotional homage to those gone too soon. "Plateau Rosa" connects Italo and Detroit delivering a rolling bassline and glassy synth clouds for the delight of the afterhour-dancefloor. And if Lerosa had scored the soundtrack of a Michael Mann film in the 80's, "Theme of Perception" would have been right at home, a fitting end for this EP. The cover is a painting by the Irish artist Sibyl Montague. It was originally exhibited in London at an exhibition called - Totem'.

'All the things' begins with a Sega-like soundtrack jam produced as a birthday song for Silvestre's Portuguese neighbour. It evolves to the Ep single 'All the things', a tribute to t.A.T.u. as a slow bpm club tool which makes us want to dance while drinking a cheap can of beer.

'Montanha-russa' and 'Noite Cerrada' take us to the familiar dreamy vibes present in Silvestre's previous projects, with deep lush sounds created created in the late hours of the night.

To bring us back to the dancefloor, Silvestre follows with 'Ir ao IKEA' and 'Tito&Hector', the latter being a killer banger with reggaeton vibes.

The EP wraps up with 'Bomba de gasolina' which gently pulls you into an ironically comforting post-apocalyptic ambient. "

When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.

The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green's film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape's knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter's famously shoestring original, its musical spirit was preserved.

Sampled by Drake ( Jungle') and G-Eazy ( Running'). Instrumental versions of Gabriel's Stones Throw Records debut Jardín now available on limited edition wax. Gabriel Garzón-Montano's formidable skills have come to fruition on Jardín in his Stones Throw debut. This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,' he said. I've always wanted to make music that is healing, comforting, and funky. I named the album Jardín hoping for it to create a space for healing when people put it on. A garden is full of life, growth and beauty,' Gabriel said of choosing that unifying image as the title for his new album. It makes me think of green and white and all the colors as they appear in different flowers.' That vivid spectrum bursts forth on Jardín itself and the album contains references to fruit of all sorts, sour mango, juicy tangerines and sweet peaches. From the heartache and aching vocals that float over the dusty drums of Crawl' to the stutter-step thump of Bombo Fabrika' to the high falsetto he nails on Octave,' Garzón-Montano proves himself to already be one of 2017's biggest breakout talents.

Original Soundtrack - Super Deluxe Version, (including 4 tracks never released on vinyl before, this feature is exclusive to this edition, see the tracklisting), 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, gold sticker Info We Release Jazz is delighted to present the official reissue of the original soundtrack of Jean-Pierre Melville's 1970 film noir classic Le Cercle Rouge (starring Alain Delon, Bourvil, Gian Maria Volontè, and Yves Montand) composed by French soundtrack master Eric Demarsan, available on limited edition 180g vinyl LP mastered at half speed and including 4 bonus tracks not available on previous pressings of the album. Eric Demarsan's compositions for Le Cercle Rouge draw from the orchestral spirit of the Modern Jazz Quartet (as requested by Melville who loved John Lewis' work), abstraction and minimalism to create a suspenseful and hypnotizing audio landscape which elegantly underlines the tense atmosphere of unavoidable fate that shrouds the movie and the doleful beauty of its characters. Simply put, it's the finest combination of underworld existentialism, coldblooded chic, and crime jazz! Le Cercle Rouge boasts the participation of celebrated jazz players Guy Pedersen (bass), Daniel Humair (drums), Georges Arvanitas (piano), and Bernard Lubat (vibraphone). Starting as a collaborator of François de Roubaix and Michel Magne in the 60s, Eric Demarsan went on to become a mainstay of French cinema soundtracks, composing for directors such as Jean-Pierre Mocky, Costa-Gavras, and Patrice Leconte among others. He also recorded the cult album Pop Symphony (for Pierre Cardin in 1970) under the Jason Havelock pseudonym.

Second up on our Bobby Boyd unreleased recording we have some dope mid 80s material from Bobby, 'I Like What You Do To Me' is Boogie / Proto House joint that is totally my bag, feels like it should be in a 80s movie weightlifting montage (in a good way) it just works on the dance floor so well.

On the flip things get even stronger with the proto-house banger 'Girl Like You' a sick soulful number with with a biggest swinging kick drum I have ever heard, both proper club material.

If your not a rare soul or disco collector Bobby's name might not be a name your familiar with but as one of the founder members of Lafayette Afro Rock Band you will have experienced his music and influence which is far reaching.

Der Leipziger Produzent Kolja Gerstenberg hat bereits hervorragende Tracks für die Suol "Summer Daze" Compilations der Jahre 2016 und 2017 beigesteuert. Schiggeria, das Projekt bei dem Kolja mit seinem Kollegen Atbin Milani zusammenarbeitet, ist auch auf unserer neuen "Hallo Montag" Compilation mit der wunderbar souligen Partybombe "Muggelhausen" vertreten. Und weil die beiden die ganze Zeit hochqualitative Tracks raushauen als wäre es nichts, ist es nun höchste Zeit für ihre erste, eigene Suol-EP. Die "Saver Flex" EP wartet mit nicht weniger als vier überaus eingängigen Housetracks auf. Wir sind beeindruckt!