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ALL DAY I DREAM COMMENCES THE NEW YEAR WITH A BANG, RELEASING A WINTER SAMPLER VI COMPILATION
Lee Burridge’s All Day I Dream imprint is thrilled to kick off 2024 with the latest addition to its semi-annual compilation series, A Winter Sampler VI, releasing January 26.

Serving as a testament to the label’s commitment to fostering emerging talent and highlighting the cutting edge of melodic house music, A Winter Sampler VI is a curated selection of tracks that showcase the diverse and vibrant sounds within the All Day I Dream family.

A Winter Sampler VI brings together an impressive consortium of artists from around the globe to put together a 12 track offering. The compilation kicks off with Simon Vuarambon's remix of St Germain’s 2000 hit ‘So Flute’, the euphoric and driving track setting the tone for a journey through the innovative and cutting-edge sounds of the compilation. From Wassu and Bona Fide’s deep yet playful collaborative track ‘Threshold’ to Nathan Katz’s serene and uplifting ‘For You’ to Seth Schwarz and Solidmind’s beautifully spiritual collaboration ‘Create The Universe’, each contribution adds a unique flavor to the sonic tapestry, resulting in a must-listen body of work from beginning to end.

A Winter Sampler VI serves as a testament to All Day I Dream's dedication to providing cutting edge melodic house from select talent across the globe, providing a platform for both emerging and established artists to shine.

All Day I Dream invites music lovers to dive into the next edition of their compilation series with A Winter Sampler VI

Eddie shows up to this game alone, wielding, as ever, a deft and unbeatable trigger finger on the sampler...

Reprising those beloved 7 Inches Of Pleasure and early Red Motorbike vibes on some deadly Madlib style downtempo cuts, and quick Cut 'n Paste workouts

LJ Simon, who collaborated on those killer recent Sandy B releases lends a hand too, it's a joyous Disco-House affair that reminds us of those old Tony Senghore jams from the 90's

Fruitful and fully juiced up joints for the Disko Universal !

Produced by longtime collaborator Simon Dine, MKII captures a band reinvigorated, delivering their most confident and dynamic work to date. Sullivan"s sharp, incisive lyrics drivethe album"s freshsound and renewed energy. Frontman and founder Billy Sullivan sets the scene for the album by saying: "It sounds refreshed and confident, ballsy but doesn"t mind showing a softer side and being reflective too. For me it"s not a continuation of The Spitfires back catalogue, it"s very much the start of a new chapter. I"m incredibly proud, after all these years, to be talking about a new body of work which excitesme and inspires me more than ever." From the high-octane political pop of "The Great Divide!" to the moody intensity of "I"ll Never" and the reflective, Parisian- tinged "Grateful", MKII is a bold statement: The Spitfires are back-and stronger than ever.

Produced by longtime collaborator Simon Dine, MKII captures a band reinvigorated, delivering their most confident and dynamic work to date. Sullivan"s sharp, incisive lyrics drivethe album"s freshsound and renewed energy. Frontman and founder Billy Sullivan sets the scene for the album by saying: "It sounds refreshed and confident, ballsy but doesn"t mind showing a softer side and being reflective too. For me it"s not a continuation of The Spitfires back catalogue, it"s very much the start of a new chapter. I"m incredibly proud, after all these years, to be talking about a new body of work which excitesme and inspires me more than ever." From the high-octane political pop of "The Great Divide!" to the moody intensity of "I"ll Never" and the reflective, Parisian- tinged "Grateful", MKII is a bold statement: The Spitfires are back-and stronger than ever.

Belgian singer-songwriter Emma Hessels releases her debut EP 'Constant Distance' on October 24 via Unday Records. With a voice that lingers long after the song has ended and lyrics that feel like pages torn from a diary, Hessels has quickly carved out her place in the Belgian scene. She was named laureate of Sound Track in 2023, went on to play intimate yet arresting sets at Ancienne Belgique, Botanique, and the prestigious Cirque Royal, and appeared at Best Kept Secret this summer.

Milestones that signaled the arrival of a singular new voice in folk and soul.

'Constant Distance' gathers six songs bound by a recurring undercurrent: the presence of distance in its many forms - absence, longing, loneliness, the fear of loss, but also the desire for belonging. The songs weren't conceived around a single theme, but when brought together, a pattern revealed itself. Loss implies distance, longing implies distance, even love can. Yet the EP closes on 'Breaking', a gospel-tinged anthem of connection and alignment, written during a women's writer's retreat where community and music became inseparable.

Musically, 'Constant Distance' moves between folk and soul, carrying the feel of modern blues and occasionally leaning into gospel's call-and-response. The atmosphere is warm and nostalgic, drawing inspiration from Laura Marling, Damien Rice and Big Thief as much as from Aretha Franklin, Nina Simone and Richie Havens. Emma's voice remains the constant thread: soulful, unforced, quietly commanding. "I hope my songs can be like a warm blanket, something that keeps you company, that makes you feel a little less alone."

Though written solo on guitar, often during long train rides, the songs expanded into layered productions through collaboration with Aram Santy, Nard Houdmeyers and Fender Mackenson Rooms, with additional contributions such as Marthe van Droogenbroeck's evocative trumpet. Recorded over two intense days at Studio Beertje, the EP captures both intimacy and expansiveness. The result is music that carries the weight of Emma's fears and questions, but also the joy of collective creation.

With 'Constant Distance', Emma Hessels doesn't just deliver a debut - she opens a world where fragility and strength coexist, and where music becomes a way of closing the gap between people.

"Dunya", der Titel von Mustafas meisterhaft ausgearbeitetem und atemberaubend zärtlichem Album, bedeutet aus dem Arabischen übersetzt so viel wie "die Welt mit all ihren Fehlern". Ein hochtrabendes Thema für einen jungen Songwriter, aber wie bei jedem Thema, das im Mittelpunkt der Arbeit des sudanesisch-kanadischen Künstlers steht - von religiöser Hingabe bis zu Kindheitstraumata, von Bandengewalt bis zu romantischer Intimität - nähert er sich durch eine persönliche Sichtweise. Er mischt Genres und Stimmungen, verwebt romanhafte Details in einprägsame Folksongs und hat ein Album geschaffen, das sich wie eine Reihe persönlicher Durchbrüche anfühlt, die einer nach dem anderen eintreffen. Was zuerst an Mustafas Musik auffällt, ist seine Art zu schreiben: ein einfacher, durchdringender Ton, der jede Geschichte so roh und ernsthaft wirken lässt wie die Worte eines Liebesliedes. Mit seinem leisen Vortrag, der seine Umgebung zum Schweigen bringen kann, entwickelte sich Mustafa schnell vom Wunderkind, das in seiner Heimatstadt Toronto Gedichte rezitierte, zu einer Kraft, die hinter den Liedern steht und Popsongs schreibt. Auf "Dunya" ist er zu einem eigenständigen Autoren gereift. "Ich versuche, das gewöhnliche Leben im Ghetto zu bewahren und zu feiern", beschreibt Mustafa seine lyrische Inspiration. Die Songs, in denen er sein Aufwachsen und seinen weiteren Lebensweg beschreibt, sind gleichermaßen entwaffnend in ihrer Einfachheit und vielschichtig in ihrer emotionalen Bandbreite. Durch die Zusammenarbeit mit Aaron Dessner, Rosalía, Clairo, Nicolas Jaar und anderen sowie Mustafas langjährigem kreativen Partner Simon Hessmann offenbart die Musik eine selbstbewusste, unverwechselbare Stimme, die noch nie so massenkompatibel geklungen hat.

Platipus Records proudly announces the highly anticipated release of the 6th vinyl installment in the Platipus 30 Years series, featuring four iconic tracks that epitomize the label's storied sound.

After much anticipation, the sixth installment of the Platipus 30 Years 12” vinyl series has arrived, celebrating three decades of iconic electronic music. Volume 6 delivers another timeless selection from the label’s legendary catalog, featuring Robert Miles’ era-defining anthem Children, the early trance masterpiece Cambodia by Art of Trance, the hypnotic and modern Pukwudgie by Simon Berry & Luke Brancaccio, and the rediscovered gem Bluebottle by POB featuring DJ Patrick Reid. This collector’s edition is a must-have tribute to the rich legacy of Platipus Records.

Double album for 2025's Peur Bleue production, bringing oldschool Tribe and Acid ... Many first timers on vinyl supported by beloved artists since years....

Photo of the shop by Livia Saavedra, and visuals By Vstee FDB

Mastering by Jo.IND and cut by Simon Davey.
Pressed at Records Industry.

2025 Repress

FINALLY! The very first commercial release of two legendary remixes of Arthur Russell's "In The Light Of The Miracle". Both are widely regarded as transcendent masterpieces and very much befitting of the title “holy grails”.

These long-beloved mixes are the types you'd wish would last for eternity. With almost 30 minutes of music here, we very nearly get our desires granted. At last, these jaw-dropping mixes are widely available to every Arthur fan in the world. This is musical perfection.

The deep Loft classic "In The Light Of The Miracle" remained unreleased during Arthur's lifetime, finally discovered when Phillip Glass included the original version on Another Thought on Point Music in 1993. As Steve Knutson told us, when Another Thought was being put together, the plan was to release a companion album of remixes that was overseen by Steve D'Aquisto but the project only got as far as these two remixes of "In The Light Of The Miracle".

Some dodgy scans of some centre label designs suggest that Point Music might’ve been planning to release these on a 12" but it didn’t happen. The story goes that Gilles Peterson heard the remixes on a visit to the Point Music offices and wanted to release them on Talkin’ Loud. We’re not sure how many white label copies made it out into the wild, but again, these remixes didn’t make it to a proper release.

These remixes both extend and undeniably enhance the original, elevating it to new heights. The 13 minute remix on the A-side is by Danny Krivit & Tony Smith with editing duties performed by Tony Morgan. As ever with Arthur, the music is almost impossible to describe: is it Disco? Garage House? Avant Garde? None of these tags do full justice to its sheer majesty. You best just listen. Stretching out the original with some unbelievably great percussive elements, until we're in a deeply spiritual, otherworldly realm, it's just too beautiful for words. As many have claimed, it's the prototype for EVERYTHING.

The "Ponytail Club Mix (Part 1 & 2)", produced by Tony Morgan in the mid-90s, is in a more up-tempo style, with vocals higher in the mix, the BPM upped to 120 and the addition of a housey 4/4 kick drum. A 14 minute epic, you could say this is a more straight ahead "club-friendly" mix (but can things ever be that straightforward with Arthur?!) It also has some really interesting vocal parts not used in the other versions, including some vocals from guest poet Allen Ginsberg.

These remixes are part of the same original project that also produced the Another Thought album so it seems only right that they have a sleeve that matches. Thanks again to Janette Beckman for letting us use another of her photos of Arthur and the rest of the design follows what Margery Greenspan, Tina Lauffer and Michael Klotz did for Another Thought back in 1994.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year.

In 2005, when they formed Cotonete, the Parisian musicians secretly dreamed of playing 70s Brazilian funk in Brazil. Having become specialists in the style, the dream became a reality 12 years later thanks to Brazilian singer and actress Simone Mazzer (awarded Newcomer of the Year), who decided to hire the Parisian group to record her second album.
The engagement quickly turned into a collaboration, with Cotonete taking part in the selection of the repertoire, the arrangements, and the production of the album. It was prepared and recorded in Paris at Studio Prado in July 2016. It would be mixed and released in Brazil in 2017.
And so, Simone finally invited Cotonete to come and set foot on Brazilian soil. Five concerts, including two wonderful ones at the SESC Copacabana in Rio, were organized for the album's release. It was during this tour that the band met singer Di Mélo, with whom they recorded the album "Atemporel" in Sao Paulo, featuring the track "A.E.I.O.U."

Nearly 10 years after its recording, the album "Simone Mazzer & Cotonete" is finally being reissued on vinyl on Prado Records. It has been remixed for the occasion by Fabien Girard.
Simone Mazzer will be in France in September 2025 and performing at the Studio de l'Ermitage on September 19th for the official vinyl release.

The Rhythm Makers's Soul On Your Side is flawless proto-disco funk. The Bronx-based band - that later went on to form heavyweight disco outfit GQ - originally released this treasure in 1976 and it's long been a hard to find record. It's also rare to find a record this hard. Captivating funk at its rawest, no doubt.

Storming out the gate with the rollicking Loft/Garage staple "Can You Feel It (Part 1)", the listener is immediately put on notice that this LP is just a little bit special. The title track, "Soul On Your Side", is a classic dancer and the basis of GQ's future hit "Disco Nights". But it's perhaps "Zone", a huge Baldelli track, that the record is best known for. Hypnotic psyched-out cosmic-disco / cosmic funk, it's an unrelenting groove that really thrusts the party into hyperdrive. With doses of scintillating Latin and pulsating African rhythms driving the pumping tune, atop an unstoppable bassline and imaginative, soul-slathered keyboard figures, it's basically a full-on funk assault. You might need a lie-down after this.

But there's no let-up on the B-Side, immediately grooving thanks to "Funk-N-You", a laidback glider that just rolls in the sleek style. Gorgeous harmony skills are displayed on "Street Dreamin'". Beautiful and gritty funk, by turns. "You're My Last Girl" is an airy ballad with two leads before the legendary "Monterey" enters the fray. A much-sampled instrumental and heavy disco-funk nugget, it contains an amazing B-Boy drum break making the whole LP worth the price of admission. "Can You Feel It (Part 2)" closes out this spectacular set.

The Rhythm Makers had been gigging around New York City since the late ’60s, having initially come together as Sabu and the Survivors, named after bassist Keith “Sabu” Crier. They eventually - for this album at least! - settled on The Rhythm Makers and cut one record for the small De-Lite subsidiary Vigor. The core lineup featured Crier, keyboardist Herb Lane, drummer Kenny Banks and rhythm guitarist Rahiem Leblanc.

Mastered for vinyl by Simon Francis, cut by Cicely Balston for Alchemy at AIR Studios with artwork restored at Be With HQ, this new edition should hopefully bring this album into the homes and record boxes of many more people.

The Keith Tippett Group's Dedicated to You, But You Weren't Listening is a landmark in cutting edge fusion/avant-jazz. A vital and profoundly adventurous Jazz-Rock record that still swings very hard, it was first released on Vertigo in 1971.

Original copies are now very tricky to score and, as most of you really should know, it’s aged ridiculously well.

A legendary work, this Be With re-issue has been newly remastered from the original Vertigo master tapes, demonstrating just why this deserves to be back in press. The stunning gatefold jacket fully restores Roger and Martyn Dean's original, arresting album artwork to complete this must-have reissue.

Alive and bursting with a joyful energy that has to be heard to be believed, Dedicated to You, But You Weren't Listening flirts with perfection. It's truly magical and forever essential.

A brilliant jazz pianist, composer, arranger and bandleader "who could make the outlands of modern music feel like the most hospitable of places" (The Guardian), Keith Tippett's second album is oft-regarded as his Canterbury album.

Indeed, not only does he draw heavily on Soft Machine members past, present and future but the album title itself archly references a Soft Machine composition. Ray Babbington handles bass alongside Neville Whitehead and the drums are shared between Brian Spring (Nucleus), Robert Wyatt(!) and Phil Howard (who would go on to replace Wyatt in Soft Machine). Gary Boyle (Isotope) is on guitar whilst the great percussionist Tony Uter is enlisted for his conga and cow bell expertise. Elton Dean on Alto Saxello, cornetist Marc Charig and Nick Evans on trombone round out this quite stunning ensemble.

Dedicated to You, But You Weren't Listening presents a collective of superhuman musicians really, *really* enjoying themselves in the studio. The sheer exuberance of the performance is totally infectious. It's wild, energetic, atmospheric and, bluntly, bordering on chaotic at points. In a word, it's beautiful.

Robert Wyatt's drumming opens the record with a bang on the majestic Be With favourite "This Is What Happens". Some have described his work here as "easily the most inspired of his career on record." It's an ultra-funky conga-driven groove that truly sparks via the duelling interplay between the three horn players. In the background, Keith's insistent piano, in conversation with those unignorable drums, is the anchor that keeps this piece rollicking away. Breathtaking.

The epic, energetic "Thoughts to Geoff" is a 10-minute jammer that tends towards the dissonant and improvisational but becomes more fluid, laconic and melodic as it unravels. The interplay between soloists and ensembles is particularly dazzling here - blazing solos by Evans, Charig and Tippett himself in a flourish of angular arpeggios interspersed with chordal elocution. Phew.

Up next, the no less-urgent Mingus-referencing "Green and Orange Night Park" is a soaring example of ambitious jazz mixed with rock aggression, with Dean strutting his stuff by launching into a scorching solo. An absolutely jaw-dropping piece. Arguably the highlight of this album of huge highlights!

Though much of the album tends to fall on the raucous side ("Gridal Suite" approaches free-jazz at its most chaotic and, dare we say it, "difficult"), there are a few more sedate, at times spacey numbers, such as the deeply impressionistic "Five After Dawn". The rhythmically complex "Black Horse" is the most accessible track here, a sort of swinging Big Band number with tight grooves, soaring horn & reed melodies, a sizzling Boyle guitar solo and tasty electric piano riffs from Tippett. An hypnotic climax to a staggering record.

This Be With edition of Dedicated to You, But You Weren't Listening has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at Abbey Road Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored in all its brainchild glory so you know you're dealing with the definitive reissue, here. Now, are you listening?

Mutant, in partnership with Netflix, are proud to present the premiere physical media release of Alan Silvestri's epic score to the Netflix original film The Electric State. One of the most important and prolific composers of our lifetime, Alan Silvestri (The Back To The Future Trilogy, Forrest Gump, Predator, Who Framed Roger Rabbit and so many more) rejoins the blockbuster fimmaking duo Joe and Anthony Russo (Avengers: Endgame, Captain America: The Winter Soldier), to score their latest sci-fi epic based on the graphic novel by legendary artist Simon Stålenhag.

Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and songwriter/technician Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue a different musical direction.

Turner claims that the idea of Deux Filles came to him in a dream, and the novel fiction/roleplay would be strictly maintained throughout the girls' short career. As well as posing in costume for the album covers, the duo even performed live without the audience realizing that the girls on-stage were actually a pair of blokes from south London having a giggle.

Deux Filles released two highly collectable albums: Silence & Wisdom (1982) and Double Happiness (1983)

Guitar Solos is the debut solo album of British guitarist, composer, and improviser Fred Frith. It was recorded while Frith was still a member of the English experimental rock group Henry Cow and was released originally in October 1974. Voted one of the best albums of 1974 by NME critics it also attracted the attention of Brian Eno, resulting in Frith playing guitar on two of Eno‘s albums. Frith‘s never tiring spirit in creating and performing music has made him one of the most notable and creative guitar players and musicians in the scene of improvised and composed music. For the anniversary of this release we have encouraged Frith to arrange a set up similar to what he used 50 years ago to record an album of new compositions which will accompany the original record.

Frontmann Simon Neil erklärt:
„Futique ist eine Reise durch Gedanken, Dinge und Beziehungen, die über die Zeit hinweg existieren – wir wissen nie, wann wir etwas zum letzten Mal tun. Und genau darin liegt eine gewisse Schönheit, aber auch eine Traurigkeit. Was wird dein Futique sein?“

Der Titel basiert auf Simons Überlegungen, wie sich unsere Erinnerungskultur im digitalen Zeitalter verändert hat. Früher klebte man seine Lieblingsfotos sorgsam ins Album, heute sind sie als endloser Strom aus Bildern in Sekunden auf dem Smartphone abrufbar.

Diese Reflexion rief Erinnerungen an Menschen seiner Jugend wach, an Dinge, die er heute vermisst – aber noch spannender war die Frage: Was werde ich in der Zukunft vermissen, das mir heute wichtig ist? Ein Gedanke, der ihn besonders während der Tour 2023 mit seinem experimentellen Metal-Projekt Empire State Bastard beschäftigte.

Er reiste gedanklich zurück zu den Anfängen mit seinen Bandkollegen James und Ben Johnston, zu holprigen Nirvana-Covers im Garagen-Proberaum im zarten Alter von 15 Jahren, zu Festivalbühnen, auf denen sich das Publikum bis zum Horizont erstreckte, und zu all den kleinen Dingen, die alles bedeuten. Insider-Gags, endlose Gespräche, stilles Einvernehmen, das lauter spricht als jedes Wort.

Wie in jeder langjährigen Beziehung gab es auch bei Biffy Höhen und Tiefen. Aber sie haben gelernt, das zu pflegen, was sie immer zusammengehalten hat: eine tiefe, unverbrüchliche Liebe – zueinander und zur Musik. Biffy Clyro gegen den Rest der Welt: ein sehr persönliches Narrativ, das trotzdem universell anfühlt. Denn Hand aufs Herz – wer vergisst im Strudel des Alltags nicht manchmal, wie wertvoll das Hier und Jetztist?

Frontmann Simon Neil erklärt:
„Futique ist eine Reise durch Gedanken, Dinge und Beziehungen, die über die Zeit hinweg existieren – wir wissen nie, wann wir etwas zum letzten Mal tun. Und genau darin liegt eine gewisse Schönheit, aber auch eine Traurigkeit. Was wird dein Futique sein?“

Der Titel basiert auf Simons Überlegungen, wie sich unsere Erinnerungskultur im digitalen Zeitalter verändert hat. Früher klebte man seine Lieblingsfotos sorgsam ins Album, heute sind sie als endloser Strom aus Bildern in Sekunden auf dem Smartphone abrufbar.

Diese Reflexion rief Erinnerungen an Menschen seiner Jugend wach, an Dinge, die er heute vermisst – aber noch spannender war die Frage: Was werde ich in der Zukunft vermissen, das mir heute wichtig ist? Ein Gedanke, der ihn besonders während der Tour 2023 mit seinem experimentellen Metal-Projekt Empire State Bastard beschäftigte.

Er reiste gedanklich zurück zu den Anfängen mit seinen Bandkollegen James und Ben Johnston, zu holprigen Nirvana-Covers im Garagen-Proberaum im zarten Alter von 15 Jahren, zu Festivalbühnen, auf denen sich das Publikum bis zum Horizont erstreckte, und zu all den kleinen Dingen, die alles bedeuten. Insider-Gags, endlose Gespräche, stilles Einvernehmen, das lauter spricht als jedes Wort.

Wie in jeder langjährigen Beziehung gab es auch bei Biffy Höhen und Tiefen. Aber sie haben gelernt, das zu pflegen, was sie immer zusammengehalten hat: eine tiefe, unverbrüchliche Liebe – zueinander und zur Musik. Biffy Clyro gegen den Rest der Welt: ein sehr persönliches Narrativ, das trotzdem universell anfühlt. Denn Hand aufs Herz – wer vergisst im Strudel des Alltags nicht manchmal, wie wertvoll das Hier und Jetztist?

This is Music: The Singles, ist ein Kompilationsalbum der englischen Alternative-Rock-Band The Verve:
Richard Ashcroft (Gesang), Pete Salisbury (Schlagzeug), Simon Jones (Bass) und Nick McCabe (Gitarre).
Ursprünglich wurde das Album im November 2004 veröffentlicht und enthielt zwei Nicht-Singles, die aus
den Aufnahmen zu ihrem dritten Album Urban Hymns stammten: „This Could Be My Moment“ und
„Monte Carlo“.
2024 markiert den 20. Jahrestag der Veröffentlichung eines Albums, das nie auf Vinyl gepresst wurde,
und unter der Leitung der Gruppe ersetzt diese längst überfällige Neuauflage die Bonustracks durch die
kraftvollen Singles aus dem 2008er Reunion-Album Forth - ’Love is Noise’ und ’Rather Be’ - und enthält
auch die zweite Single ’She’s A Superstar’ (1992) in ihrer ursprünglichen, achteinhalbminütigen Form (statt
der fünfminütigen Bearbeitung). Somit repräsentiert das Album nun die komplette Geschichte der Singles
von The Verve.
Benannt nach der sechsten Single der Band, der ersten aus ihrem zweiten Album A Northern Soul, dokumentiert es auf brillante Weise die Kraft der relativ kurzen, aber epochemachenden Reise von The Verve
durch den musikalischen Kosmos.

POiSON GiRL FRiEND’s first full album produced by British artist Momus. Simon Turner and Louis Philippe also participate.



releases, August 8

Nippon Columbia/J-Digs / Ambient, Synth Pop, Bossa Nova, Downtempo, Japanese

Daniel Monaco Band is an international group led by Italian bassist Daniele Labbate. Blending jazz, funk, house and disco with live energy, their debut EP ‘Get Naked and Fly’ captures years of collaboration and experimentation. The result is a warm, analog-driven sound crafted by seasoned session musicians who’ve toured the world and are now channeling their creativity into original music as a group.

Lead track ‘Love Ago’ delivers modern disco with the authenticity of the golden era, ‘Mimouna’ has a psychedelic edge, with the WHODAMMANY remix taking the original into a more electronic direction. ‘The Devil Left Dancing’ takes a subtly off centre path, nodding to Brazilian influences, while the title track ‘Get Naked and Fly’ is raw and instinctive blending live instrumentation with electronic sensibilities.

The project is a testament to what happens when musicians trust each other enough to explore freely without chasing perfection. A live band speaking house, funk and jazz with one voice — analogue, soulful, and free.

Personnel : Percussion by Yannick Van Ter Beek, Drums by Robin van Rijn, Sax by Alessandro Russo, Guitar by Simone Cesarini and Bass by Daniele Labbate.

Designed by Bradley Pinkerton.

Following the release of his fifth studio album ‘Magickal’ at the start of the year, Damian Lazarus now opens a new chapter in the project’s evolution with ‘Magickal Remixed (Part I)’, this first instalment of the two-part series features bold reimagining’s from Harry Romero, Jonathan Kaspar, THEMBA and Mëstiza, offering four fresh takes on standout cuts from the acclaimed long-player.

The package opens with Harry Romero’s ‘Raw Dog’ remix of ‘R U Dreaming?’, originally a deeply introspective cut featuring Canadian maestro Mathew Jonson. Here, the New York favourite dials up the low-end pressure and rhythmic weight, bringing raw tribal energy and heavyweight swing to the original’s dreamlike tones. Jonathan Kaspar’s ‘Sunrise Remix’ of ‘Falling Down’, Lazarus’ collaboration with TEED and A-Trak, comes next. Channelling radiant euphoria through rising pads and sweeping melodic phrasing, it leans into the emotional intensity of the original while transforming it into a full-blown moment of sunrise transcendence.

On the B Side THEMBA delivers striking remix of Damian Lazarus and Jem Cooke’s ‘Searchin’.
THEMBA’s remix builds on that foundation and takes it into expansive, Afro-infused club territory, layering hypnotic percussion, deep rolling grooves, and subtle atmospheric shifts that heighten the emotion and push the track into new late-night spaces. Closing out the release, Spanish duo Mëstiza return to reinterpret their collaboration with the Crosstown head honcho, ‘La Hija De Juan Simón’. Expanding on the track’s flamenco-inspired roots, they layer hand-played percussion, haunting vocal flourishes, and dense atmospheres into a hypnotic, slow-burning groove, bridging folklore and futurism in their unmistakable style.

Unearthing old gems, remastering and bringing them back to the forefront is what Private Parts are up to for release number 07 in the catalog. Original London Tech masters Rob Pearson & Dave Mothersole originally released Wanting You in the early 00’s, but with the extreme prices on Discogs it seemed like the right choice to get this re pressed for your pleasure.

Wanting you is everything you ever wanted from those timeless sounds of London Tech. Dubbed out vocals, tribal rhythms, pulsating acid lines and a groove to keep you locked right in.

Flipping to the B, and the biggest thank you to Rob himself for spending weeks searching old DAT tapes in his loft to find the original pre master of the driving remix from the late Iteration X. They don’t come more heads down, and hypnotic than this. Throbbing bass stabs, luscious chords and in true Iteration X style, a roller that you could keep you shaking for days on end.

It only seems fitting to dedicate this re issue to Simon Copleston, Mr Iteration X. Thank you for the music!

It's dedicated to the 1988 Experimental / Electronic masterpiece by the Italian contemporary guitarist Riccardo Giagni, originally released on Stile Libero (Italy) + a special Balearic Remix by SIMON PETER.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.

Northern Front records 8th vinyl release is The Drowning World (Passive Margins EP) which is Response & Sonic under an alias, the EP consists of 3 atmospheric drum & bass tracks with tenor sax played by Jasper Byrne and 1 house track by Response. The vinyl will have full artwork sleeve by Mark McGuinness and has been mastered by Simon Davey exchange…….

There can be no doubt that Nina Simone was one of the great Black American women who bridged the movement from Blues and R&B to Soul. She was nicknamed 'The High Priestess Of Soul' and spoken of in the same awed tones as the likes of Etta James, Aretha Franklin and Ruth Brown, but in so many ways she trumps all of them with her musicality and versatility. This release emphasizes her bluesier side

1988's Love Hysteria was produced by Simon Rogers, who at the time was also playing with The Fall. It contains eight songs written by Peter with Paul Statham, plus a cover of Iggy Pop's "Funtime". Record Collector said that the album's songs "All Night Long, Indigo Eyes, Dragnet Drag and Blind Sublime managed to combine direct rock power with Murphy's vocal gymnastics and imaginative way with lyrics."

NECHTO returns with its second 12” vinyl compilation, continuing the mission of presenting forward-thinking techno from both rising talents and trusted names. Each of the six tracks adds a unique voice to the raw and honest collection.
Mecha opens the record with “All My Love”, a hypnotic debut techno track shaped by years in drum and bass. Contakt follows with “Peak Jam”, a one-take hardware jam built around the warmth of a signature synth. “16th Symphony” by Human Safari is a jazz-influenced cut intended for special moments in a DJ set. Unspent delivers “Moog Gorning”, a track that shifts from percussive 4x4 to broken rhythm, carrying deep personal emotion. ARGIE’s “Strangers” captures the tension of connection and distance with layered percussion and melody. Franz Jäger closes with “Get Simon to sync”, a rave-influenced hybrid track designed for peak-time impact.
With contributions from the UK, Poland, Malta, France, the Netherlands, and Sweden, this compilation once again highlights NECHTO’s dedication to showcasing both emerging and established artists while pushing the boundaries of modern techno.

Brian Auger, Julie Driscoll and The Trinity are today best known for their hit recording of Dylan’s then-unreleased This Wheel’s On Fire which is included here, together with covers of songs by the Staple Sisters, Nina Simone, Donovan, Mose Allison and David Ackles. Add in some band-written originals and you have twelve cool tracks mixing jazz, r’n’b, psyche and pop. All songs were specially recorded for the BBC, sound quality is excellent throughout.
Comes with full sleevenotes.




d A4 | Why Am I Treated So Bad




d A4 | Why Am I Treated So Bad




d A4 | Why Am I Treated So Bad




[d] A4 | Why [Am I Treated So Bad]




[d] A4 | Why [Am I Treated So Bad]




[d] A4 | Why [Am I Treated So Bad]




[d] A4 | Why [Am I Treated So Bad]

"Paloma mensajera" (featuring members of New Juggler Sound / Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early 70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. This reissue includes bonus tracks and extensive liner notes. DESCRIPTION "Paloma mensajera" (featuring members of New Juggler Sound / Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early 70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. The positive reception albums by artists such as We All Together, Telegraph Avenue and Zulu garnered between 1972 and 1975, marked a change of paradigm and in preferences within the Peruvian rock scene. Eclecticism gained new ground, to the detriment of the sectarian and orthodox, while melody grew more present and visible, moving away from the progressive experimentation that typified underground Peruvian rock up to the beginning of the 70s. For their first single on MAG, included on this reissue, the band adopted a formula in which Beatles harmonies converged symmetrically with folk motifs. 'Dirty Girl' was a hit on the radio. A full album followed but only a fairly small number of copies of the album were pressed, which seems to have been the main reason for omitting it from the historical accounts of Peruvian rock music from the late 90s onwards. In "Paloma mensajera" all compositions were penned by the group, after several years during which cover versions were a staple. Some of the musical resources that the band had at their disposal in terms of composition and arrangements are striking and even surprising, considering that they were a debut band, whose members were under the age of 20. The arrangements included the clever use of a Moog synthesizer which had just arrived at the MAG studio. The success achieved by the Beatles tribute performances played by the members of Grupo Amigos for decades have eclipsed the songs that Edmundo, Andrés Da Ros and Simón Ames composed with youthful enthusiasm and energy between 1972 and 1973 to the point where they have almost been forgotten. This re-release of "Paloma mensajera" should help rectify this major injustice. It includes bonus tracks and extensive liner notes.

next instalment in our ongoing ‘Yearbook’ series – pressed in lovely-lime-green vinyl on a 3-LP set packed with 47 stellar tracks celebrating a brilliant year of pop singles. NOW – Yearbook 1976.



LP1: Kicking off in magnificent style with signature songs from legendary artists: A #2 in 1976, Queen’s ‘Somebody To Love’ is first up, followed by Electric Light Orchestra with ‘Livin’ Thing’, Fleetwood Mac with ‘Say You Love Me’, and 10cc with ‘I’m Mandy Fly Me’. Dr. Hook had a huge hit with ‘A Little Bit More’, and Chicago hit #1 with their all-time classic ballad ‘If You Leave Me Now’, while the side closes with Eric Carmen’s enduringly popular ‘All By Myself’. Flip the LP over for huge hits from the year – including 4 #1s: 14 years after making their UK chart debut, Frankie Valli & The Four Seasons enjoyed their first chart-topper with ‘December 1963 (Oh What a Night)’, whilst Leo Sayer reached #2 in the UK, and #1 in the US with ‘You Make Me Feel Like Dancing’. Pop gems follow from David Dundas, Bryan Ferry, Sailor, Smokie – and Slik, featuring a pre-Ultravox Midge Ure reached the top with ‘Forever And Ever’. Showaddywaddy celebrated their biggest hit and their first #1 with ‘Under The Moon Of Love’, and the UK won at Eurovision, with the winner ‘Save Your Kisses For Me’ by Brotherhood Of Man not only hitting the #1 spot but also becoming 1976’s biggest seller and bringing the first LP to a close.



LP2: Opening with a stellar run of pure-pop classics. Elton John celebrated his first UK #1 single, in a duet with Kiki Dee on ‘Don’t Go Breaking My Heart’, and Cliff Richard with ‘Devil Woman’, ahead of dance-floor favourites – and both #1s in ’76: Tina Charles with ‘I Love To Love’ and The Real Thing with ‘You To Me Are Everything’. More pop nuggets follow from Billy Ocean and Dana, before the side finishes with R&J Stone with ‘We Do It’ and the sublime ‘Midnight Train To Georgia’ from Gladys Knight & The Pips. Over on the second side, ‘Silly Love Songs’ gave Wings a UK #2 and became ‘76’s biggest seller in the US and opens a run of great vocalists; Neil Diamond, Daryl Hall & John Oates with ‘She’s Gone’, Paul Simon’s ’50 Ways To Leave Your Lover’ and a trio of the year’s classic rock smashes: ‘The Boys Are Back In Town’ from Thin Lizzy, ‘Squeeze Box’ from The Who, and closing with the epic ‘Music’ from John Miles.



LP3: Celebrating ‘76’s dancefloor with a stunning collection of disco and soul gold: First up, Donna Summer with her debut smash ‘Love To Love You Baby’ before ‘More More More’ from Andrea True Connection and Candi Staton’s timeless ‘Young Hearts Run Free’. Melba Moore with ‘This Is It’ comes ahead of Diana Ross with the genre-defining ‘Love Hangover’, and the side is completed with huge floor-fillers from Tavares and Barry White ahead of The Isley Brothers with the soul standard ‘Harvest For The World’ and over on the final side country music is represented with Dolly Parton making her UK singles chart debut with ‘Jolene’ three years after it was a hit in the US, but it was a Dutch band, Pussycat, who hit the top with their country-pop track ‘Mississippi’. Bonnie Tyler made her chart debut with ‘Lost In France’, and ‘Forever And Ever’ gave Demis Roussos a ’76 chart topper, and an easy-listening classic, whilst Guys N Dolls had a second Top 5 hit with their cover of ‘You Don’t Have To Say You Love Me’. The LP ends with a trio of the year’s most beautiful ballads: Gallagher And Lyle with ‘Heart On My Sleeve’, ‘Love And Affection’ the stunning singles chart debut for Joan Armatrading, and finishing with a second peerless single on this collection from Elton John with ‘Sorry Seems To Be The Hardest Word’.



NOW – Yearbook 1976 – a celebration of the diversity and wonderful creativity of a truly fabulous year in pop.

Released in September 1974, the album is regarded as one of the band’s finest and featured a new line-up of the band which saw the departure of Robert Calvert and Dik Mik, but the arrival of keyboard player and violinist Simon House.Featuring such classic tracks as 'The Psychedelic Warlords’, 'Wind of Change’, 'D-Rider’, 'You’d Better Believe It’, 'Lost Johnny’ and 'Paradox’, the album was formed of studio recordings and over-dubbed live recordings made at concerts at Edmonton Sundown in London in January 1974. 'Hall of the Mountain Grill’ was another UK Top Twenty hit for the band.This new edition has been newly remastered from the original master tapes and cut at Abbey Road studios and fully restores the original LP artwork. It also features a bonus 12-inch 45 rpm EP featuring four tracks issued as singles in 1974.

Originally released in 1992 (as a single LP), Turns Into Stone pulled together many of the Stone Roses finest non album tracks - early singles, B-sides and extended versions – into one compelling collection. It begins with their first release from their ultimately turbulent tenure at Silvertone Records, ‘Elephant Stone’ and includes perhaps the bands finest moment, ‘Fools Gold.’ An essential companion to their timeless debut album, like the latter it contains some of best British guitar-driven pop/rock of the era, here spread over four sides of vinyl, the better to showcase the stretched-out grooves that helped them to become, for a time, probably the most exciting and influential band in the country.

Brainfeeder stellt Tres Leches vor - ein Trio herzzerreißender Troubadoure, bestehend aus Paul Bender und Simon Mavin von Hiatus Kaiyote, ergänzt durch das tourende Bandmitglied und dem langjährigen Kollaborateur, Alejandro „Silentjay“ Abapo - und ihr kommendes Album, „The Smooth Sounds of Tres Leches, LHCC Mart Vol. 1“, das Mitte August 2025 auf dem Label erscheint.

Liebevoll aufgenommen und abgemischt in verschiedenen Hotelzimmern an den freien Tagen einer Nordamerika-Tournee, drehen Tres Leches die Lichter herunter und interpretieren Hiatus Kaiyote-Evergreens wie „Get Sun“, „Red Room“, „Make Friends“, „Nakamarra“ und mehr neu, um Leidenschaften zu wecken, die Sinne zu entzünden und die wilde Bestie in sich zu beruhigen. Ursprünglich als Soundtrack zu einem imaginären Supermarkt für „Love Heart Cheat Code“ gedacht, nahmen diese schwülen und sinnlichen Interpretationen der Hiatus Kaiyote-Tracks bald ein Eigenleben an. Hiatus Kaiyote - das Quartett bestehend aus Naomi „Nai Palm“ Saalfield (Gitarre, Gesang), Paul Bender (Bass), Simon Mavin (Keyboards) und Perrin Moss (Schlagzeug) - wurde von vielen bekannten Namen gesampelt, darunter The Carters (Beyoncé & Jay-Z), Kendrick Lamar, Anderson .Paak und Chance The Rapper. Außerdem wurden sie von gefeierten Künstler:innen wie SZA, Kehlani, Willow Smith und Virgil Abloh unter Vertrag genommen. Letzten Herbst coverte Doja Cat die „Mood Valiant“-Single, „Red Room“, in der Live Lounge in Los Angeles und spielte den Song auch mehrfach auf ihrer damaligen Tour.

2025 Repress

Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.

A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!

A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Sydney artist Natalie Slade's debut album Control, co-written with Hiatus Kaiyote's Simon Mavin, is now followed-up with a second instalment of Australian future soul in Molasses, an album featuring a range of UK and Antipodean artists. Joined by The Dieyoungs on keys and Laneous on guitar, Natalie's songwriting and vocals are brought to the fore with excellent production by key Melbourne scene driver, Brisbane's Sampology and additional production from guest Dan Kye. Staying true to the debut album's style of Australian future soul Molasses has an emphasis on poetic storytelling, Natalie's lyrics and melodies that are heard against a lush bed of string arrangements and the influence of Sampology’s soulful but gritty sensibility. As well as her amazing eponymous releases Natalie has also featured on tracks from artists as important and diverse as Posy, Plutonic Lab, Parker and Rhodes and Dojo Cuts among others. Sampology is an innovative producer who, for the past 15 years or so, has been a driving force behind Australia's Hip-Hop, Neo-Soul and Broken Beat/Jazz explosion and has worked with the likes of Ron Trent, Tiana Khasi and Charlie Hill as well as releasing his own tracks. This collaboration between Natalie and Sampology on Molasses is a real high-water mark of music, song-writing and production. Releasing on digital and double vinyl LP, Molasses further chronicles the rising stars of Australia's burgeoning and increasingly important neo-soul and future soul scenes.

Bob and Marcia were a Jamaican vocal duo, that consisted of Bob Andy and Marcia Griffiths.

Griffiths & Andy achieved international fame with their rendition of Nina Simone’s “Young, Gifted and Black.” The song resonated deeply with audiences in the UK, selling over half a million copies and earning Bob & Marcia a place on Top of the Pops.

It reached the number #5 spot in the UK charts.

This album is packed with classic tracks & cover versions - gems like “It ain’t me babe” , “Keep the customers satisfied” & “Put a little Love in your heart”.

Their popularity soared, and the duo continued with hits like “Pied Piper,” bringing reggae to European audiences during a time when the genre was still emerging on the global stage. Their success was not just commercial but symbolic,
as they inspired pride and cultural appreciation among Jamaican communities worldwide.

Young, Gifted And Black is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

The Verve Remixed volume debuted in 2002, its concept – inviting top DJs and producers to select songs from the label’s storied vaults – was an instant success, introducing classic jazz recordings to a new generation of listeners and kickstarting a global trend of jazz-electronic fusion.

Now back on vinyl for the first time in 20 years, with the series’ inaugural project VerveRemixed we hear what happens when Master’s at Work meet Nina Simone, and Dzihan & Kamien take on Billie Holiday. Experience the interpretations of renowned remixers with this refreshed physical format.

Jazz Room Head Honcho Paul Murphy kept hearing all these fab versions of some of his favourite tunes.

He couldn't release them all, a year is just not long enough so it was time to put together the first Jazz Room Records Compilation, entitled JAZZ ROOM PRESENTS: COVERS. Snappy & to the point.

Some exclusives and first time Vinyl releases on this Double Vinyl album, ranging from the Psychedelic Jazz Fusion of Helsinki Collective "Saimaa" with their epic LIVE version of the Deodato Classic "Super Strut" to the Japanese Shibuya Jazz Artistry of Quasimode with a Jazzy take on the Galaxy2Galaxy 90's Techno Floor Filler. Jazz meets Dub in the "Slowly" produced "Riot In Lagos" and some finger snapping Cool New York Vibes on Giacomo Gates Hip To The Trip version of Gil Scott-Heron's "Is That Jazz".

There's even a Gospel meets Soul Jazz tribute to Simon and Garfunkel. Oh yeah. Did we say there's a Chip Wickham exclusive too?

Louie Vega says: "This is an Awesome Compilation!"




d 04: Jazzbois - Nutville (Live At Ninety One Living Room) feat. Dom Beats