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New The Hague based recordlabel Otherminds is landing with their first ever release ’Symbolic Language’, from local cosmox.

From day one OTM witnessed his obsession for electronics. Manifested by throwing countless raves, playing otherworldly dj-sets, co-running an atomic studio bunker & label and making mind-bending music. Now it’s time for his solo vinyl debut.

The 5-track EP is a blend between IDM, ambient and techno influenced pieces. A story which symbolizes a deeply shared connection and a transformative period in which the producer expands his palette further into the sonic realm.

Repress on a new colour - Red/clear half-and-half vinyl with black splatter. Kingston-upon-Hull’s The Black Delta Movement return with their stunning new album ‘Recovery Effects’ – 8 tracks of immersive, groove-heavy garage rock released April 21st 2023 on Fuzz Club Records. Determination and a commitment to musical development are writ large across Matt Burr’s personal and artistic journey as the main creative force behind The Black Delta Movement. His most collaborative work yet, ‘Recovery Effects’ sees Matt recruiting highly lauded UK guitar-slinger and Little Barrie frontman Barrie Cadogan and bandmates Lewis Wharton (Bass) and Tony Coote (Drums) to provide musical backing on the album. With legendary producer, The Heliocentrics’ co-founder and drummer extraordinaire Malcolm Catto also helming production duties. “The album’s a love letter to the band and all the emotions that come with it,” explains Matt when talking about the period of adversity that led to its creation. Finding himself without his former bandmates following the release of their highly-praised 2018 debut ‘Preservation’ and that record’s subsequent live shows, the pandemic-induced lockdown periods throughout ’20 and ’21 initially gave time for reflection before proving to be a time of productivity. Giving Matt the breathing space to fine-tune the new songs alongside Cadogan before hitting the ground running when entering the studio in late 2021 – the band cutting the basic tracks live and Malcolm Catto providing invaluable input when it came to moulding the music you hear contained throughout. The results of this creative melting pot of such talented and seasoned musicians see The Black Delta Movement delivering that ring thing: a layered, honest and deeply entertaining rock’n’roll record. There are a myriad of moods and textures, whether on the garage-blues grooves of opener and first single ‘Fourth Pass Over The Graveyard’, follow-up single ‘Zip-Tie’ which explodes from its moody intro into punk-rock motorik, or the psychedelic slow-burn of ‘Hiding In The Tall Grass’ which manages to channel the likes of The Doors and Spacemen

Five years in the game marks a very special milestone for In-Reach Records, a label born from a love of drum & bass music and a passion to share that love with like-minded individuals. What better way to celebrate that milestone than a compilation of the sounds and souls that have fuelled the labels journey so far. The artists behind all nine of IRR’s past releases have combined, along with some important members of the In-Reach family, to create this exquisitely emotive VA album.

Heading up the release is a very serious piece of wax dropping in September 2023. The 12” vinyl exclusive album sampler comprises two tracks that have been causing waves in the scene for some time. Kicking off with Kid Drama’s remix of ‘Another Place’, we have an expert re-work of an already awesome track from Sam Binary and Deviant. The hissing bass joins the drum break half way through the intro while the vocal sample repeats its mantra. As expected, a gear change hits on the drop with the entry of sub bass stabs, which take on an increasingly melodic form as they evolve throughout the track.


The legendary Madcap takes on remix duties for the B-side with his take on Greekboy’s & AKA's ‘The Jungle’, which first aired on LTJ Bukem’s Radio 1 Guest Mix in 2021. The stepping drum break enters from the outset, building atmosphere alongside the pads and vocal cries in preparation for the extremely weighty running baseline.

This new double LP version restores the track “Deep Sky Objects” to the original running order of the album as it was left off of the original single LP version due to side length restraints. This is the first time this album has been available on vinyl in almost two decades, and the first time the Drop EP has been available in any format since original release in 1994.

At the same time, Kranky is making the CD version available once again for the first time in many years, with the Drop EP tracks also included.

The debut album from New York City’s Bowery Electric was released by Kranky in late summer 1995 after they came to the label’s attention via their self-released 2x7-inch Drop EP from the year previous. The first in a trio of albums released by the core duo of Lawrence Chandler and Martha Schwendener finds them in their most raw form.

“The perfect realization of their aesthetic, each word and chord tuned and focused for maximum impact.” — Pitchfork

“Genuinely hypnotic.” —The Wire

As one of the most triumphant and beguiling directorial debut features to emerge from the fruitful Polish New Wave, Andrzej Zulawski’s 1971 film Third Part Of The Night not only earned the thirty-year-old filmmaker a place next to other radical Polish directors such as Polanski, Skolimowski and Has, but also galvanised a creative bond with long running collaborator and composer Andrzej Korzyński, providing fans of foreign abstract/suspense cinema with a potent creative fusion to match those of Polanki/Komeda, Fellini/Rota and Argento/Goblin, amongst others.

Quite simply one of the heaviest psych rock film soundtracks of all time Andrzej Korzyński’s short and unreleased score matched the blueprint that adorned the drawing boards of conceptual French jazz orch rock composers like Jean-Claude Vannier, Francois De Roubaix and Alain Gourageur, creating a soundtrack that unknowingly begs comparison to Masahiko Satô’s Belladonna Of Sadness and Billy Green’s Stone. As one of the first progressive pop writers to come out of the vibrant (but carefully scrutinised) Polish beat scene with his bands Ricecar 64 and later Arp Life (and composing for national heroes such as Czeslaw Niemen, Niebiesko-Czarni and Test) Korzyński’s growing passion for conceptual rock and jazz music soon lead to instrumental composition and soundtrack scores.

His cinematic debuts scoring two consecutive transitional new wave films for Andrzej Wajda (in collaboration with the radical Polski pop groups Trubadurzy and Grupa ABC) also provided Korzyński with another significant cinematic muse in that of the stunning actress Malgorzata Braunek with whom they would both eventually achieve their finest performances under the direction of the ravenous first-timer Żuławski. Third Part Of The Night (1971) perhaps epitomises that triangular on-screen unison in its vibrant youth and feeds it through a hallucinogenic mangle finding astonishing beauty (within a repulsive synopsis) against a bleak and shattered backdrop and accompanied by progressive, psychedelic orchestral rock music – elements which would intensify for all three creatives with the next film, Diabel, which was banned by the Polish government the following year until 1988.

Third Part Of The Night also marks the public unison of Żuławski and Braunek whose later private romantic relationship is said to form the basis for another defining Żuławski/Korzyński defining endeavour with the 1981 film Possession exactly a decade later, encapsulating a period that bequeaths a previously unopened vault of some of the composers finest and most inspired sonic adventures.

Renaissance is an English progressive rock band, best known for their 1978 UK top 10 hit Northern Lights and progressive rock classics like Carpet of the Sun, Mother Russia, and Ashes Are Burning. They have developed a unique sound that combines female lead vocals with a fusion of classical, folk, rock, and jazz influences. Characteristic elements of the Renaissance sound include Annie Haslam's wide vocal range, prominent piano accompaniment, orchestral arrangements, and vocal harmonies.

Legendary 2010’s indie band Crocodiles’ guitarist Charles Rowell’s new synthpop-meets-gothic rock project. Think Nick Cave crooning over Martin Rev’s minimal electronics or The Lords of the New Church-era Stiv Bators jamming with Wayne Hussey and Douglas Pearce.

After relocating from New York to France, Charles Rowell began stuffing his suitcase with various synths and samplers while taking cheap bus rides to bordering countries.

While living out of a hotel in north east Paris, he played his demos for Third Coming Records who quickly released the Bad Trip EP in 2020. Concerts became more frequent after the pandemic, with the release of Spellwound and a few have become infamous with guitars smashed to pieces, broken glasses, unruly audience front flipping onto the stage.

With Paris providing the background and a scene of friends such as avant-garde drag artist Tuna Mess and industrial techno veteran Poison Point who pushed his creativity even further, Crush Of Souls constant spirit is that it remains unpredictable and thrives on collaboration.
This is even more true with his upcoming album (A)Void Love.

Written over a period of intense insomnia that coincided with a run of shows playing guitar for Australian legend Harry Howard, Crush Of Soul’s main man Charles Rowell finally found rest after writing and recording the last song entitled World of Fear. Six months prior he had quit his job as a chef, traveled east to Prague for inspiration and returned ragged and sleepless.
Rowell’s insistence on keeping the instrumentation simple and clean came from an arduous two years of literal blood, sweat and tears. Every bit of drama, eastern excursion and sleep psychosis can be found within the walls of (A)Void Love.

Acoustic guitars and dramatic synths provide a cold wilderness for the various rhythms to inhabit; touches of minimal electronics, cold wave and synth pop can be found while the song writing remains classic for lovers of Echo & the Bunnymen and Nick Cave & the Bad Seeds.

There’s always been a thread of synth-punk, death rock and DIY noise running through all of Charles’ projects (Crocodiles, ISSUE, Flowers of Evil), however Crush Of Souls pushes harder and further into the darkness with the new album ‘(A)Void Love’.

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

The last decade has seen a seismic shift in how people buy and play music, vinyl has returned to being the dominant physical format with CDs consigned to second fiddle. Things were very different back in 2012 when we compiled and released the eponymous "Cool Runnings" on CD only. The vinyl revival is a belated opportunity to give the band their first long playing record to complement that earlier CD release. Together for a dozen years, Cool Runnings were one of Bristol's longest lasting bands gigging throughout the 1980s, though their failure to gig beyond the West Country meant they were also one of the City's best kept musical secrets. Originally formed in Weston-Super-Mare by Keyboardist Mark Tuck and Guitarist George Condover, they immediately relocated to Bristol and recruited various local musicians including an experienced and talented singer, Winston Minott. Although "Robin Hoods of The Ghetto" was their solitary release, the band regularly recorded material throughout their career and fortunately thanks to the foresight of George and Mark in holding onto various master tapes, Bristol Archive Records were able to release the band's self-titled debut album "Cool Runnings" in 2012. For this vinyl release we've selected eight tracks recorded between 1983 and 1985 at various local studios, and a solitary live track to give an idea of why the band were so popular in person. Although their music leans towards the more mellow end of the market, Lovers Rock, music ideally suited to Winston's soulful voice, the band were more than capable of writing good roots tunes including the excellent "We Must Go Home", "Children of Zion" and "Robin Hoods of The Ghetto". Winston Minott had spent many years touring all over Europe with soul band The Invaders and many songs showcase his vocal talent, but a particular highlight has to be "Playhouse" an alternative recording of which can be found on "The Bristol Reggae Explosion Volume 3". Perhaps proper management would have seen Cool Runnings achieve the success and wider exposure that their combined talents and unique take on reggae undoubtedly deserved. Now thirty years after the members went their separate ways, Bristol Archive Records are pleased to finally release the vinyl album that if things had worked out differently should have appeared in the 1980s

A defining album of the 90s, Last Splash by The Breeders turns 30 this year. To celebrate, the band have returned to the original tapes to give it its first-ever remaster, and by doing so have also unearthed two lost tracks that will delight fans. Recorded by the "classic" Breeders line-up of Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson and featuring singles "Cannonball" and "Divine Hammer", Last Splash was "an alt-rock classic" (Pitchfork"s Top 100 Records of 1990s) on release; a fast seller too, quickly attaining Platinum status in the US. Despite having had the boxset treatment on its 20th birthday, the album was still left to be remastered so 10 years on, the original y" tapes were taken out of the archives and have been lovingly worked on by Kim Deal, Benjamin Mumphrey and Miles Showell (Abbey Road). Never sounding so good, the album for its 30th anniversary, it"s getting the ultimate vinyl pressing. Entitled Last Splash (the 30th Anniversary Original Analog Edition), this new version has been cut at half speed at Abbey Road by Miles Showell, now spanning two LPs and running at 45rpm. A Japanese cd edition will also be available. This edition contains an exclusive, one-sided etched 12" which features two previously unreleased tracks - "Go Man Go" and "Divine Mascis" ("Go Man Go" is a track that Kim co-wrote with Black Francis while "Divine Mascis" is a different version of "Divine Hammer" with Dinosaur Jr."s J Mascis on lead vocals). Both tracks originate from the original sessions and were left forgotten until the sessions were exhumed to create this new master. The attention to detail continues to the album"s art, which equally celebrates Vaughan Oliver"s iconic sleeve. With Vaughan sadly no longer with us, his long-time design partner Chris Bigg has gloriously reimagined the album"s sleeve for this new version.

«Opening Soon» is a culinary buddy movie with a background of gourmet grooves where body tricks at the turntables have been replaced by acrobatic pizza tricks. This album from Jean Tonique and Mi Man is a real tomato concentrate and ingredients cleverly dosed which abound in suave and feel good tracks. 11 tracks that we can imagine as the perfect soundtrack to accompany the dolce vita 2.0 of this great musical duo (between Mario Bros and Cheech & Chong).

A tasty and pop cuisine that gives pride of place to a nostalgia that gathers behind the tiled counter («No One Really Knows», «Memories») or on the dancefloor («Running After Time», «The Music»). We let ourselves slide and be lulled by the smoothness of the arrangements as silky as an «Extra Virgin Olive Oil».

Do The Right Thing, as they say, and it seems like those two found a way to celebrate a lifestyle full of friendly looks.

Tonique, who had already accustomed us to the spiciness of his sharp guitars continues to demonstrate a knowledge all in funk and finesse. He is accompanied by Man, who brings his sweetness and harmony. They combine their strength on this project initiated with the title «Day & Night» and its languorous disco tinged with rhodes and percussions with Salsoul accents.

If the tablecloths are white and red, we don't doubt that the inside of the delivery van is lined with silk and velvet of the most beautiful effect to "cruise" the night as in Brooklyn and East Harlem to the rhythm of «Never Get Old». Lightness and nonchalance for a songwriting full of coolness and analogical charisma boosted by a Moog which invokes the best of the 70/80's.

Iconic and timeless, with or without a disco ball, wouldn't the key word be Pizza-Yolo?

Andres Klein alias Ackermann hails from beautiful Stuttgart and has been in the music producing biz for about 20 years. He's been running is own imprint Traktor records for a long time, churning out House, Techhouse, Techno and anything in between. His tune „I Got My Man“ got remixed by italian Mattia Borriello aka M.I.T.A. for Marco Faraone's Uncage label. This tune got heavy play by quite a few A-list Techno DJs around the globe, one of them Answer Code Request who couldn't stop dropping that diva drama belter in his sets in „The Big House“ in East Berlin. That's where it caught All That Jelly label head Mr. Fonk's ear and so it had to get pressed on hot waxxx! The 12“ is accompanied by two equally cheerful Techno slammers with a groovy House edge. You're gonna love 'em!

Tony Bennett, who sadly passed away recently, is one of the most popular artists and entertainers of the USA.

During his magnificent career, he sold more than 50 million records and won 19 Grammys.

Thanks to his collaborations with artists such as Lady Gaga, Tony Bennett is also very well known among the younger generations.

The compilation „Have A Good Time With Tony Bennett“ displays the many facets of the singer and makes clear how many hits he had.

„I Left My Heart In San Francisco“ , „Rags To Riches“ , „Blue Velvet“ , „Cold Cold Heart“ to name a few.

The fans of Tony Bennett can look forward to a vinyl featuring 18 tracks and almost 50 min. running time.

The lines between off-centre synth songs and catchy hits have always and forever been ultra-thin. With Immer the proof of the pudding is in the eating. Ede & Deckert managed to turn a red wine and post punk melancholy fueled jam session into a haunting alternative dance jam. While their instrumental sits neatly between the dark wave of Eleven Pond and the British Electric Foundation, it is the voice of the German singer with the mysterious name Sargland. One could think it is possibly an anagram? Called in for spontaneous vocal work, the repetitiveness and heartfelt expression of lovelorn of his tone and lyrics are quite simply irresistible and dichotomic. Whether it’s lover’s grief or delight, Immer works its magic in every way and for everyone.

2023 Repress

Roberta is back and taking no one's mess delivering two more deep cuts showcasing her far-ranging jazz, funk & soul influences. Side A's 'Don't Bother Knockin' is running right out of the gate with its brazen yet playful energy. B Side's Be My Man softens things a bit by adding the required feminine touches: once again delivering an EP with her signature sound replete with her penchant for groovy basslines. A much welcomed follow-up release to her successful debut on James Duncan's Brooklyn based Innermoods label.

- Releases on Innermoods, Sound Kemystry, Boutade Musique, A Friend In Need

Indies Only LP is opaque green vinyl. Both LPs come with a download. The moment the needle drops on Bite, the new A Giant Dog record, one’s conception of what an A Giant Dog record sounds like bends like space and time around a starship running at lightspeed. The biggest point of departure is that Bite is a concept album, concerning characters who find themselves moving in and out of a virtual reality called Avalonia. A Giant Dog’s first album of original songs since 2017’s Toy, Bite finds the band Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low, and Andy Bauer at their peak as musicians, challenging themselves with more complex arrangements and subject matter that forced them out of their heads and into those of the characters who occupy this supposed paradise. “We had to find ourselves within, or project ourselves into, the principal characters. We developed them, got to know their minds, emotions, and motivations, and then expressed those in nine songs,” Ellis explains. Themes of addiction, gender fluidity, living ethically in a capitalist society, physical autonomy, avarice, grief, and consent bubble beneath the promised happiness of Avalonia. This is evident in songs like “Different Than,” where Ellis sings, “My body can’t explain the things my mind don’t comprehend” as if societal gender pressure is squeezing its protagonist out of their skin. The songs on Bite are full of bombast, at turns calling to mind the spacefaring operatic rock of Electric Light Orchestra and the high drama of an Ennio Morricone film score. The album’s narrative sweep is epic in scope, its characters facing impossible odds and certain doom, existing as comfortably with the sci-fi grandiosity of Thin Lizzy’s Jailbreak as it does with the high fantasy of Dio and Iron Maiden. Appropriately, A Giant Dog came to this narrative armed to the teeth with new ideas, unleashing synthesizers and string sections to create what Ellis describes as orchestral, symphonic, futuristic punk. To achieve this, they left their home turf of Austin, Texas, for La Cuve Studio, just outside of Angers, France. Living in the French countryside, A Giant Dog laid down their vision of the future against a decidedly pastoral backdrop. On walks from Angers to La Cuve, Ellis says that they “would see many things, and also nothing at all. Swans on the river. Romani people living in little trailers, with a side hut built for their dog. A juggler on a unicycle—not fucking with you.” “We thought we wouldn’t be allowed back in France after this trip, to be honest,” they continued. “Five loud, stomping, clapping, rowdy Americans who ran through the streets of Angers for three weeks in November 2022.” The experience capped two years of planning and writing, fleshing out the universe of Avalonia beyond the bounds of most concept albums. The resulting nine songs do not merely occupy this space: They’ve lived in it, and they want out.

Athens, Georgia's Telemarket emerges with force and finesse on its debut full length, Ad Nauseum, due out August 25th on Elephant 6 label affiliate Cloud Recordings and Science Project Records. The record by tums navigates loops of existential quandary, heartache, and hilarity in a world gone awry. Running at 34 minutes and 34 seconds, this thirteen track odyssey discovers itself through bouts of exuberant feedback and snappy hooks, and ultimately finds resolution surrounded by good friends in its musical home of Athens. Among these friends is John Fernandes of Cloud Recordings, a former member of projects Olivia Tremor Control and Circulatory System and longtime Elephant 6 collaborator, who teamed up with Telemarket to release and distribute the group's LP. Ad Nauseum features artwork from late Georgia artist Patrick Dean, to whom the record is dedicated. Dean’s piece ‘Welcome to Athens, Y'all” was featured on Athens GA publication Flagpoles cover in August of 1999, and now adjourns the Telemarket cover reflecting the themes of repetition, redundancy, and relief. Telemarket provides a distorted vessel for the shape-shifting songeraft of vocalist / guitarist Adam Wayton, and features collaborations with many of his talented Athens friends. Wayton together with guitarist and engineer Will Wise hunkered down in their Odd Street home studio (originally built by a former Widespread Panic fiddle player) for much of 2021-2022 a piece of time many would just as soon forget and managed to create something memorable together in Ad Nauseum

Machine's self-titled album is shrouded in mystery. Supposedly released in 1972 on All Platinum Records, it completely disappeared without a trace and only a few copies seem to have survived, making it one of the rarest Funk albums on the planet. The album, only known to a handful of hardcore collectors, fetches prices in excess of $5000 whenever one turns up on the auction market, which happened four times in the last twenty years. Consisting of three young session musicians backing their label mates The Whatnauts, the group display a superb mix of socially-conscious hard-hitting funk and earthy soul, the album is reissued here in its original artwork and remastered by Colorsound Studio in Paris. It includes a 2-page insert with new liner notes by Charles Waring. Masterminded by singer and guitarist Michael Watson accompanied by bass player Curtis McTeer and drummer Donald McCoy, the album Machine came straight out of the New Jersey-based All Platinum studios where the label was based. The musicians had been active as session musicians for the label since the late 60s, mainly backing such label acts as The Whatnauts. As a matter of fact, the Whatnauts' manager, Bunch Herndon, makes guest appearance on the album as percussionist. Beside the core group of Watson, McTeer and McCoy, the album's line-up features several other cult musicians and also the orchestrator Sammy Lowe, a seasoned professional who had been arranging for Sam Cooke, James Brown and Nina Simone to name just a few. âÇ

Sideshows neues Projekt 2MM DON'T JUST STAND THERE! wird über 10k veröffentlicht, dem Label des New Yorker Rapper/Produzenten MIKE, und folgt auf Kollaborationen mit Leuten wie The Alchemist, Boldy James, MIKE, Jadasea und NAPPYNAPPA. Produziert u.a. von Alexander Spit, Popstar Benny, AYOCHILLMAN und Sideshow selbst, reichen die Themen von Abenteuern auf Tour über den Kämpfen des täglichen Lebens in der DMV bis zu den andauernden Konflikten gegen Sideshows Leute in seiner Heimat Tigray.

Label head DJ SUPERHERB debuts under this alias on Full Dose, in collaboration with fellow Glaswegian compatriot, TEN YEARS LOST. " Concrete City Merchandise " is a timely selection of iced out beats - a perfect companion to an unusually sweltering summer.

A surprising collision of minds has produced an album of near-horizontal belters. "Ocarina of Time", with its dusty vocal loops and shimmering high end induces a lazy euphoria like no other. The title's reference to Zelda aligns the pair with a long list of talented and game-obsessed beatmakers, matching the vibe of the track perfectly.

In an album clearly representing an evolution of the Full Dose sound, "Yeah"s dembow programming and stabby riff will be familiar to those who've been around since the beginning. Combine this with the clear G-funk influences found throughout, and you're on to a winner. "Pagan Golf" continues this amalgamation of styles, resulting in a sound that's perfectly Full Dose.

In a similar vein, "On the Rise" is as true to the West Coast sound as you're likely to find this side of the Atlantic. This hit sounds like the housier end of Stones Throw filtered through the mesh of the Glaswegian underground. Moogy synths carry loopy vocals, with the occasional fizzy and elongated riser to ensure you're not too deep in a trance.

Retaining these themes but slowing the pace right down is "Key Notez". Pulsating samples of running water sit low in the mix, providing a bed for the emotive pads and gently arpeggiated synth lines. The track somehow manages to combine elements of R&B with the more emotional end of electronic music, in a way that's rarely found."

Whoop whoop, it’s the sound of the inimitable KRS One’s ‘Sound of da Police’ and the mind bogglingly clever ‘Hip Hop vs Rap’, reissued here for the first time ever on 7 inch vinyl, housed in an original artwork picture sleeve this is a must have for anyone in the know.

First up ‘Sound of da Police’. A song that spoke out against the long running history of the Black community experiencing police brutality, violence and racism at the hands of those that were meant to be protecting them. The hard-hitting words from KRS touch on the history of slavery and it’s manifestation into systemic racism throughout the ages since.

“Change your attitude, change your plan
There could never really be justice on stolen land”

Couple that with a rough breakbeat, chopped through the MPC alongside choice funk samples and that legendary police siren ‘Whoop, Whoop’ and you had a certified golden era rap classic that ignited the fire in the belly of many across the globe.

On the flip, ‘Hip Hop Vs Rap’. A bumping hip hop loop lays the foundation for KRS to work his genius melding all manner of classic hip hop lines that are the perfect ammunition to cut up on the decks and results in a flow that certifies that hip hop is the culture that you live and breathe.

“Rap is something you do,
Hip-Hop is something you live!”

It’s a true, headsy b-boy gem which deserves a place in every collection.

Das bislang poppigste Album des Grammy-Abstaubers 2022 (u.a. für ”Best Album”)! Was macht man nach dem Gewinn eines Oscars, eines Golden Globes und von fünf Grammys in einem Jahr? Jon Batiste hat kurz durchgeatmet und ein energiegeladenes neues Album aufgenommen, das sich in keine Genre-Schublade einsortieren lässt. „World Music Radio“ heißt sein neues Albumprojekt. Für den einst als Jazzpianist und -Sänger bekannt gewordenen Musiker ist es das bisher Pop-orientierteste Album geworden. Als Gäste lud er u.a. Jon Bellion, Lil Wayne, Lana Del Rey, Kenny G, Fireboy Dml, J.I.D, Camilo und Newjeans dazu ein. Der Ohrwurm „Be Who You Are“, aufgenommen für Coke Studio, hat bereits seinen Siegeszug um die Welt angetreten. „World Music Radio“ ist eine quirlige, überbordende Mischung aus groovigen Sounds aller musikalischer Richtungen und aus allen Winkeln der Welt. Batiste: „Viel zu viel Musik versucht sich heutzutage in eine Schublade einzufügen. Auf meiner Reise lade ich die Zuhörer ein, all das loszulassen.“
Und das macht Riesenspaß!

For Fans Of... El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Producer "Grimez" has been making music for 20 years deep. Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analog instrumentals Deep, Hard Hitting Soul-Jazz Meets Dub Instrumental Analog Grooves For Your Psyche. In few words, Doctor Bionic can be described as Instrumental b-movie psych-hop. But that doesn't tell the whole story. Doctor Bionic is the brainchild of Cincinnati's Jason Grimes, formerly the producer of the hip-hop group MOOD (with emcees Main Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?). The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends. Also Available From Doctor Bionic: Animal Totem LP, The Invisible Hand LP

The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated, and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we need to go on? This hand-picked list of luminaries have answered the call and certainly don’t disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up, the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent, melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is extended as a reverence to Sven himself. Sven's profound vocal clearly infuse time and space and leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher

First appearing on TV screens in September 1968, Joe 90 was a unique nine year old boy with the ability to absorb the brain patterns of top experts

enabling him to become the most special agent of W.I.N. (World Intelligence Network).

Whilst there are arguably better-known scores amongst Barry Gray's sublime catalogue of work with the Andersons, the composer's work for Joe 90 is in many ways

the most consistent and inventive selection he ever wrote. Developing a theme for the new series was always the musician's starting point, and for Joe 90, the pop charts breezed into Gray's studio,

with an opening tune featuring a genuine groove. Mixing Gray's inventive electronics with 60s "surf rock" guitars was an inspired decision.

It is no wonder that this piece has gone on to enjoy a second life as a Northern Soul disco floor-filler.

For episodic incidentals, Gray was freed from the detached unearthly premise of Captain Scarlet and able to bring back a playful sensibility

and a more mature musical palette which are amply illustrated in this 24 track collection.

War sein Vorgängeralbum "Step Into The Earthquake" von 2017 noch eine poetische Reaktion auf das US-amerikanische Politdesaster, so wendet Simon Joyner sich auf Pocket Moon dem Privaten zu, den kleinen Gesten, dem Alltäglichen, zwischenmenschlichen und intimen. Für einen Songwriter seiner poetischen Kraft und Kenntnis ist auch das kein Sujet das er mit oberflächlichen Beschreibungen abhandelt und auf Allgemeinplätzen parkt. Seine Musik ist voll Achtsamkeit: Joyner beobachtet die Gewalt, die Schönheit und die Absurdität des Alltags aus nächster Nähe und findet eine angemessene, vielsagende Form. Wer zuhört, kann mit ihm darüber lachen, nachzudenken oder manchmal auch erschrecken, und schreiend davon wegzulaufen. Simon Joyner, der musikalisch das unkonventionelle, unverstellte schätzt - jene Sounds und Künstler die sich an die brüchigen, ungeschliffenen Ränder wagen - ging zu Pocket Moon ein für Ihn anregendes Wagnis ein: Anstatt mit seiner band The Ghost, in seiner Heimatstadt Omaha aufzunehmen, bat er seinen langjährigen musikalischen Partner Michael Krassner ihm eine Band in Phoenix zusammen zu stellen. Die lernte er erst zu den tatsächlichen Aufnahmen kennen. Es gab keine seperaten Proben, sondern aufgezeichnet wurde, zumeist live, was sich eben bei diesem Treffen musikalisch entwickelte. Die Band verwendet dabei eine breite Palette von Instrumenten und Texturen und verleiht so jedem der rauhen wie erhabenen Songs eine zusätzliche Nuance. Bei allem Minimalismus erreichten sie zusammen eine feine klangliche Offenheit, Spannung und Abgehangenheit, wie Joyner sie sich wohl wünschte. Für unsere Ohren ist Pocket Moon unter seinen mittlerweile 14 Alben wohl eins seiner feinsten.

Carl Finlow keeps on keepin' on. Not only is Finlow one of the most respected names in electro, a producer who boasts a sprawling catalogue that takes in a wide variety of aliases, but he's also spent recent years establishing himself as a mainstay for Sheffield's Central Processing Unit label. Soft Robotics, the new EP from Finlow's Silicon Scally project, is the fifth Silicon Scally release in five years to boast one of CPU's instantly-recognisable black-and-white covers.

The reason that Silicon Scally and CPU keep linking up is simple; they're a perfect fit for one another. Central Processing Unit has established itself as a haven for post-Drexciya producers since launching in 2012, and there are few artists better than Finlow at building on the Detroit group's sound. The union bears fruit once more on Soft Robotics, an EP of lithe machine-funk jams that will both do damage in the dance and also reward more concentrated home listening.

Things begin at a steadier speed than one might expect. Rather than barrelling off with the kind of sinewy roller one associates with the CPU name, Soft Robotics' title-track takes things at mid-pace. The groove reveals itself without hurry, Silicon Scally adding or subtracting elements - twitchy modular loops, pensive pads, the occasional blurt of low-end - atop the chugging bass/drums groove. It's a track which wins you over with guile rather than force.

As the name of subsequent cut 'Jitters' intimates, this one picks things up a little after 'Soft Robotics'. The tempo is higher here, the central beat more nervy. At their cores, though, 'Jitters' and 'Soft Robotics' are kindred spirits. Here, another slyly insistent bit of drum programming comes swirled up with all sorts of extraterrestrial tones, from little nuggets of melody supplied by the keys to electrifying synth stabs and percussive squelches.

Things limber up further still on first B-side 'Spin Ratio'. The track's 808 kicks are punchier than those of the A-side jams, and there's a dizziness to the bass tone which gives 'Spin Ratio' an intriguingly off-kilter feel. Atop the booming beat we find ourselves hypnotised by cells of melody and harmony interlocking or moving apart - particularly the staccato module at the track's heart. Sure enough, 'Spin Ratio' is the Soft Robotics joint which cleaves closest to Drexciya, invoking other Detroit disciples like Jensen Interceptor in the process.

After Soft Robotics picks up speed in the middle, closer 'Super Fluid Tones' brings us back to where we started. This track returns to the more measured delivery of the record's opener - there's a steady pulse to the drums, and once again Silicon Scally packs the mix with so many intriguing whizzes, bangs, blips and blurts that it's impossible not be won over by this tune's construction. 'Soft Robotics' and 'Super Fluid Tones' bookend Soft Robotics very nicely, and Silicon Scally's smart pacing gives the EP a lovely ebb and flow.

The ever-excellent Carl Finlow drops a Silicon Scally release via Central Processing Unit for the fifth year running. Like its predecessors, Soft Robotics is an excellent and deftly-crafted collection of modern machine-funk.

RIYL: Drexciya, Jensen Interceptor, Fleck E.S.C., The Advent

40th anniversary gatefold and ltd edition version of John Foxx’s classic 1983 album, The Golden Section featuring the singles Endlessly, Your Dress and Like A Miracle. This version is pressed on translucent clear vinyl. Side 1 1/My Wild Love 2/Someone 3/Your Dress 4/Running Across Thin Ice With Tigers 5/Sitting At The Edge Of The World Side 2 1/Endlessly 2/Ghosts On Water 3/Like A Miracle 4/The Hidden Man 5/Twilight’s Last Gleaming

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

Im Jahr 1993 beschlossen drei ehemalige Mitglieder der weltbekannten deutschen Metal-Band Running Wild, eine neue Band namens X-Wild zu gründen. Auf der Suche nach einem passenden Sänger stießen sie auf Frank Knight aus Manchester. Sie trafen sich mehrmals zum Songwriting in Rendsburg im Norden Deutschlands, bevor sie ins Studio gingen, um ihr erstes Album "So What!" aufzunehmen. Die Aufnahmen fanden Ende 1993 im berühmten Studio M in Machtsum bei Hildesheim statt. In diesem Studio wurden auch die beiden erfolgreichsten Running Wild-Alben "Death Or Glory" und "Blazon Stone" aufgenommen. Es wurde sogar vom selben Mann gemischt: Jan Nemec. Never change a winning team. Nach dem Erfolg ihres Debütalbums gingen sie 1995 erneut ins Studio, um ihr zweites Album namens "Monster Effect" aufzunehmen. Wieder im Studio M, das inzwischen nach Celle gewechselt war. Die Aufnahmen entstanden mit den gleichen Beteiligten wie auf der ersten Platte. Nach der Veröffentlichung von "Monster Effect" ging die Band als Special Guest der deutschen Band Grave Digger auf Europatournee, um das Album zu promoten. Nach dem Erfolg der ersten beiden Alben nahm die Band 1996 ihr drittes und letztes Album "Savageland" auf , welches jetzt endlich wieder erhältlich gemacht wird.

Im Jahr 1993 beschlossen drei ehemalige Mitglieder der weltbekannten deutschen Metal-Band Running Wild, eine neue Band namens X-Wild zu gründen. Auf der Suche nach einem passenden Sänger stießen sie auf Frank Knight aus Manchester. Sie trafen sich mehrmals zum Songwriting in Rendsburg im Norden Deutschlands, bevor sie ins Studio gingen, um ihr erstes Album "So What!" aufzunehmen. Die Aufnahmen fanden Ende 1993 im berühmten Studio M in Machtsum bei Hildesheim statt. In diesem Studio wurden auch die beiden erfolgreichsten Running Wild-Alben "Death Or Glory" und "Blazon Stone" aufgenommen. Es wurde sogar vom selben Mann gemischt: Jan Nemec. Never change a winning team. Nach dem Erfolg ihres Debütalbums gingen sie 1995 erneut ins Studio, um ihr zweites Album namens "Monster Effect" aufzunehmen. Wieder im Studio M, das inzwischen nach Celle gewechselt war. Die Aufnahmen entstanden mit den gleichen Beteiligten wie auf der ersten Platte. Nach der Veröffentlichung von "Monster Effect" ging die Band als Special Guest der deutschen Band Grave Digger auf Europatournee, um das Album zu promoten. Nach dem Erfolg der ersten beiden Alben nahm die Band 1996 ihr drittes und letztes Album "Savageland" auf , welches jetzt endlich wieder erhältlich gemacht wird.

It's a Man’s World achieved Top Ten and Gold status in the UK, and featured the singles “Walking in Memphis,” “One by One,” “Not Enough Love in the World,” “The Sun Ain’t Gonna Shine Anymore” and “Paradise Is Here”. The album was supported by numerous remixes of the singles, and a selection of these remixes are included together for the first time on new physical and digital products. None of the remixes have previously been made available physically, and only one of the remixes is available digitally in the US.

The limited-edition vinyl box contains a 2-LP set of the original album – remastered from the best available sources – plus a double album of remixes, and includes two unique, numbered lithographs for worldwide retail and the artist webstore respectively. This reissue features the original 14-track UK version.

The collaborative bi-coastal project between Andi (NYC) and Machino (LA) is dark, spiraling music that conflates the tension of running EBM basslines with the monstrosity of electro-saturated, industrialized beats. In 2021, Andi and Machino began sending music back and forth to each other virtually—thousands of miles apart—as they built upon their passion for creating off-the-cuff, dangerously degenerate dance tracks.

Parafernales, their first release out this summer on Mannequin, is a conceptual EP that deals with power struggles: love and lust, strength and destruction, dominating and domination. Andi's vocals are spoken, whispered, and yelled simultaneously, as if to mirror the mania of having control and losing it at the same time. The EP title, Parafernales, is a nod to Machino's first language of Spanish and stems from the idea of miscellany: it is parafernalia for drugs, or, simply, accessories for unsavory activities. With inspirations from turn-of-the-90s erotic thrillers to the Chilean post-punk band, Los Prisoneros, the duo collide in a manner that is unadulterated and, at times, completely unhinged.

Machino is an electronic performer and music producer from Mexico based in Los Angeles who started out making moody ambient, techno and has now pivoted towards industrial music. He has released several EPs on different labels such as Tresor and X-IMG. Andi is a DJ, producer and music journalist based in NYC. She runs the nine year strong label/party SYNTHICIDE in NYC.

Lost private press gem "The Swimmer" by Florida native Danny Morgan, is a cool and breezy, beguiling easy glide from 1987. It should've been huge. It still could be. It's a mellow marina masterpiece and quintessentially Balearic. Over the past few years, it's gathered a cult following yet the album from which it derives is virtually impossible to come by.

Finally available on a standalone, fully remastered 12", it's been backed by an instant classic "Seahawks Swimming Through Space Remix", courtesy of those beloved cats Jon Tye and Pete Fowler.

These won't be around for long, limited to just 500 copies for the world, so don't drown in procrastination.

One listen and you'll want to dive in.

Fans of the deeply entrancing, nautically and narcotically-enhanced cuts of Dennis Wilson or Michael Nesmith’s The Prison will be instantly mesmerised by the sheer beauty of "The Swimmer". After tracking Danny down, we wanted to know more. How does something so magical come about? The man himself answered thusly:

"At the time I was running many miles on the Sanibel Island beach and doing a bit of swimming in the Gulf Of Mexico. Keeping my mind busy on a long run, I imagined a “what if” movie scene. Almost every run or swim someone is sitting there on the beach watching what goes by. Back at my desk I started finger picking some chords and the picture in my head showed up. I punched in a rhythm loop and the song was on its way.

Adrian Belew and I had the same manager Stan Hertzman so I was listening to some of Adrian’s work. I was a huge fan of Joni Mitchel and the unusual chord changes and melodies in some of her songs. All of this influenced the sound on “The Swimmer”

I had a support band at the time living in my house on Sanibel Island so we practiced a lot. We came up with an arrangement of the song and we took across the bridge to John McLane’s Important Studios and recorded it. I played finger picking acoustic guitar and sang, Tim Miller played drums, Jeff Holck played fretless bass, Dave Dust played lead guitar and John McLane played keyboards and sang harmony."

Our deep thanks must go out to Jon Tye (MLO / Seahawks / Ocean Moon) for first hipping Be With to this stunner. We returned the favour by giving him the keys to the stems and requesting a strung out remix to go on the flip - he returned having conspired with Pete Fowler to conjure a cosmically copacetic rerub with the subtropical chug of the "Seahawks Swimming Through Space Remix".

Putting together the artwork for this 12" release was an enjoyable process. It was nice to be able to flip the original sleeve for the Beach Life album by using previously unseen photos, sent to us by Danny. We wanted to create something that looks like it would've gone with the LP sleeve. We think we've cracked it. Simon Francis remastered Danny's original audio and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure this previously lost masterpiece stays forever found.

Catorce reflexiones sobre el fin (Fourteen Reflections on the End) originated from an installation exhibited at the Museo de Arte Contemporáneo de Oaxaca, Mexico, in 2019. Fourteen magnetic bodies of tape that dialogued with the fourteen pieces of electroacoustic music now contained in this album composed from the sound anthology of Angélica Castelló. Thus, Catorce reflexiones sobre el fin is a complex piece consisting of multiple parts that, although articulated with each other, hold a life of their own.

Like every body, these have a unique history made up of mixed fragments spun by Angélica, ranging from field recordings, references, and self-references to previous pieces, experiences, and voice recordings made specifically for these compositions re-recorded in various formats, from lo to high fidelity, analog and digital, composed, decomposed and recomposed (Castelló, A., 2019). Likewise, as any body, they also reflect on their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.

During the Catorce reflexiones sobre el fin, Castelló takes you on a journey that is difficult to locate. An ethereal space between shattered glass, stridulation of cicadas, war drums, murmurs in French, Italian maledictions, and soft recitations in Spanish. From uproar to solace, all wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions. A gesture between invitation and sharing because who does not recognize oneself in this emotional storm?

First, the approach of the winds, the first breeze that caresses the body. Then the bewilderment announced by the scent of uncertainty condensed in the air’s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return.

To the acceleration of the winds comes the percussions, the tremor of the storm with its lightning. la Ira (1). A vibration running through the whole body, unstoppable. This reverberating sound, resulting from its re-percussion with our body acoustics, owes its tones and echoes to the cavities and organs of different masses. From what is hollow and what is full; what is void and what is matter. There is no turning back. It is a dive into the void; to fight and resist because there is no other way to go. It is a matter of survival.

Ma fin est mon commencement Et mon commencement ma fin (2)

After this, the cicada resumes at the crack of dawn, a gentle breeze, and solitude, that temporarily musical silence of embraces (3) with hints of harpsichord and bells.

The breaking of the waves in Sicily is accompanied by the antenna that picks up radio transmissions that already invite other tastes. The Mediterranean and its currents mingle and divide tense routes of escape, exchange, and struggle between Blutorangen, tides, and birdsongs.

An immersion into deep waters.

And in the end, we all commit sins! Queste maledette! (4)

Lorena Moreno Vera, 2023

Lewis Taylor's legendary magnum opus: The Lost Album. "Now you're talking. That's my favourite LT album. Unlike all of the others, there isn't anything about it that embarrasses me." Straight from the genius's mouth. What can we say about this? Well, it's the most requested record ever at Be With Towers. The Lost Album was the intended follow-up to his first album but Island rejected it for fear of "confusing" the marketplace and its conception of Lewis as a soul artist. Their loss. It's a breezy sunset masterpiece.

The genesis of this incredible record needs unpicking a bit. Lewis stopped promoting the first album after a year and went home to record a completely different record that was the most un-R&B album you could probably ever hear: "I pushed in such an extreme direction the other way with what eventually became The Lost Album. It was a knee-jerk reaction to a perceived ‘trapped in R&B’ feeling I was going through at the time. Some people around me were in favour of it and others weren’t. In the end I think I lost confidence in it and did Lewis II instead." We did at least get Lewis II, which is a remarkable album, and he kept Island happy...for a bit. Not long after, Lewis was dropped. And what was to become The Lost Album could've been...er...lost. Forever.

Thankfully, however, Lewis and longtime partner Sabina Smyth revisited those scrapped demo tracks in 2003. They decided to re-arrange, re-record and then self-release them. So it was that the brand new version of The Lost Album finally dropped in late 2004. It's sheer perfection, and we don't say that lightly. The Lost Album was a fully 50/50 collaboration between Lewis and Smyth. As well as production, Sabina did a lot more writing on it, from the melody to "Listen Here" to the chord sequence for "Let's Hope Nobody Finds Us." Thankfully, Sabina is credited this time around.

No, it's not straight up "soul music" in the vein of his previous work. Yet, in its perfectly formed suite of one dozen songs, The Lost Album is dripping in soul. It's so warm, so effervescent and so alive with possibilities. It features deep, fresh imprints on well-loved, accessible sounds. It's a proper 70s style double album. Just one listen and the musical influences on The Lost Album are fairly self-explanatory, as Lewis recently told us, but it's always nice to hear that, in case we were in any doubt, he was definitely channeling Love, Yes, Brian Wilson, CSN, Laura Nyro and, of course, Todd Rundgren. The influences don't end there: "I’m particularly fond of my bass playing on that album, there’s a lot of Chris Squire going on which is cool."

Deep orchestral opener "Lost" is a sublime, harp-laced, string drenched gem, a cinematic, melancholic Axelrod-esque mini-epic that simply beguiles. Written by Smyth, it evokes Donny Hathaway's celestial "I Love The Lord, He Heard My Cry" from Extensions Of A Man. The only problem is the brief 90 seconds running time. It segues into the classic Brian Wilson-meets-power-pop-rock splendour of "Listen Here" which, with its outstanding extended harp-licked beatless intro, sounds like the younger cousin to Boston's "More Than A Feeling". We then drift into the ringing guitars of classic 70s rock anthem "Hide Your Heart Away". It's Lewis's personal favourite, "especially the multi-tracked guitar solo – I was listening to Boston at the time, which was fun." A-ha!

A new version of the heart-stopping, shoulda-been-a-massive-pop-hit "Send Me An Angel" opens Side B before the arrival of, in Lewis's completely correct words, "the clear standout, "Leader of the Band"; the perfect distillation of everything that album was trying to achieve." Soaring, piano-led Rundgren-esque power pop that makes the hairs on the back of your next stand on end. Truly, otherworldly. This is pure pop for now (and then) people. The simple jangly brilliance meets experimental prog-rock of "Yeah" sounds like simultaneously like prime CSNY and late 90s Radiohead (if they'd had a slightly more accessible bent and could write better tunes).

Oh, you wish The Beach Boys had continued writing amazing songs beyond Holland? Well, allow us to point you in the direction of the downlifting stunner "Please Help Me If You Can" and the warm textures and brilliant atmospherics of goosebump-inducer "Let’s Hope Nobody Finds Us". Words can't really describe the sheer beauty of these songs. So we'll stop trying. Just listen. Listen, listen, listen. Closing out this remarkable side of music, the accidentally Balearic "New Morning" should be blasting out at every sunrise set in Ibiza, this summer and forevermore.

The final side opens with the vaguely Beatlesey "Say I Love You". It's just classic, soaring pop-rock songwriting and should strictly be canonical. It's that good. The sassy, Stonesy swagger of "See My Way" injects enough rock'n'roll attitude to compensate for the rest of record's peace-loving, AOR sun-dappled vibe whilst album closer, "One More Mystery", emerging out of the rubble of the previous track, comes on initially like a Baroque-Pop George Harrison before piling crunching drums and screeching guitar solos atop the dreamy harmonies til close.

When asked what it means to have these records available on vinyl for the first time, Lewis is in no doubt: "It’s great and it’s really nice to be able to offer fans a different listening experience. There’s a whole other dimension with vinyl that taps into that whole nostalgia thing, well for me anyway. Something about the physical aspect of pulling it out of the sleeve and putting it on, it does tend to make you feel like you’re more engaged."

Lewis was adamant that he wanted all new artwork for The Lost Album vinyl sleeve and his brief was just the sort of classic tropical-beach-at-sunset you’d want to see on the front of a record that sounds like this. On the finished sleeve, the beach at sunset is just where we start out, before heading up through the painterly clouds and heading out into the stars. And yes, the lettering is a definite subtle nod to all those in-between-period Beach Boys bootlegs we all love. Simon Francis's sensitive mastering combines with Cicely Balston's precise cut for Alchemy at AIR Studios so the album sounds appropriately outstanding. The immaculate Record Industry double LP pressing will ensure this previously lost masterpiece stays forever found.

Wild Creatures is a career retrospective album containing twenty-three of Neko Case’s most impactful tracks from her discography and will now be available on a double vinyl.

With a career spanning over twenty years, she has famously collaborated with The New Pornographers and Case/Lang/Veirs in addition to releasing many critically acclaimed solo albums, including ‘Fox Confessor Brings The Flood’, ‘Middle Cyclone’ and most recently 2018’s ‘Hell-On’.

The vinyl configuration is a 2LP on eco mix with printed innersleeves in a gatefold jacket.

FÜR FANS VON: Manowar, Queensryche, Kamelot, Savatage, Running Wild, Vicious Rumors.

In einer Zeit, in der kulturelle Innovationen so stark wie nie zuvor in den Hintergrund gedrängt werden und viele außergewöhnliche Musikformen der Versuchung des kommerziell lukrativeren Mainstreams erliegen, sind Virgin Steele der hell scheinende Silberstreif am Himmel. Seit mehr als 40 Jahren hält Mastermind David DeFeis mit seinem exzellenten Songwriting und seiner charismatischen Stimme eine der ideenreichsten Bands des
Power Metal-Genres auf Kurs. Gleichzeitig hat DeFeis nie aufgehört, sich als Komponist, Musiker und Produzent weiterzuentwickeln und seinen symphonisch gefärbten Sound mit spannenden neuen Einflüssen zu aktualisieren. Dies ist ihm mit Klassikern wie ‚Invictus‘ (1998), ‚The House Of Atreus I & II‘ (1999/2000) oder ‚Visions Of Eden‘ (2006) bereits mehrfach gelungen. Auf dem aktuellen Album ‚The Passion Of Dionysus‘ setzt DeFeis seiner unbändigen Kreativität nun die Krone auf. Mit brillanter Handschrift manövriert er das Werk durch ein packendes Gleichnis über Kontrolle und Freiheit und sorgt acht Jahre nach dem umjubelten Studio-Opus ‚Nocturnes Of Hellfire & Damnation‘ (2015) für einen weiteren Höhepunkt der Virgin
Steele-Karriere. Veröffentlicht wird ‚The Passion Of Dionysus‘ am 30. Juni 2023 über Steamhammer/SPV als Digi-CD (inklusive Poster), als
Gatefold-Doppel-LP und in digitaler Form. Bereits vorab werden Virgin Steele drei Singles auskoppeln.

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’