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"Contamination" is a 1980 horror / sci-fi movie directed by Luigi Cozzi,
who has collaborated with Dario Argento for some time, author of many underground movies that have been very popular
Its soundtrack was entrusted to Goblin during a hectic period for the band (Squadra Antigangsters, Amo Non Amo, Patrick, Buio Omega) who had various line- up changes: abandoned by guitarist Massimo Morante and keyboardist Claudio Simonetti, brothers Marangolo (Agostino on drums and Antonio on saxophone), Fabio Pignatelli (bass guitar) and Maurizio Guarini (keyboards) with Roberto Puleo on guitar, wrote one of the best scores of that time showing a wide
range of music styles (Jazz, funk, rock, electronic) and once again showcases Goblin's ability in creating very original film scores. The album has some extra tracks from the "Buio Omega" soundtrack, which was the first full release (fans would have to wait 1997 for a full CD release). Agostino Marangolo: Drums & Percussions Antonio Marangolo: Sax Roberto Puleo: Guitars Maurizio Guarini:
Keyboards Fabio Pignatelli: Bass guitar

There is a perfect match between Dario Argento's film and Goblins' music
in "Profondo Rosso" (Deep Red), both made in 1974 - and then released
the following year - when both artists were living in a period of maximum
creativity: their fortuitous meeting produced two masterpieces, one
cinematographic and one musical, a source of inspiration in the decades
to follow
The music of "Profondo Rosso" was originally commissioned to jazzman Giorgio
Gaslini, a former Dario Argento's collaborator who wrote the songs on side B of
this LP, but was soon entrusted to four young musicians from Rome: Claudio
Simonetti (keyboards), Massimo Morante (guitars) , Fabio Pignatelli (bass guitar),
Walter Martino (drums). The legendary theme and sinister melodies of the title
track set a new standard at the time for film music, not just in the thriller / horror
genre, and thanks to their dazzling debut Goblin enjoy international fame and
respect until today. An essential masterpiece for any lover of soundtracks and
cinema, Italian music, progressive rock, jazz- rock and much more. A piece of
History, reissued in a faithful reproduction of the original 1975 version. 180gr.
clear purple vinyl edition.

Originally released in 1979 on Mistlur Records in Sweden, Nyanser is widely considered Thomas Almvqvist’s masterpiece.

It's almost unspeakably beautiful.

With his adventurous, virtuoso guitar technique to the fore, the album explores a unique path through world music, folk, jazz and acoustic experimentation, whilst retaining a very personal vision.

It’s aged very, very well indeed and is now rare and immensely sought-after, coveted for many years by collectors of all musical genres. This Be With re-issue, remastered from the original analogue tapes, shows off just why this deserves to be back in press.

The majority of the album is a solo exercise with Thomas playing Rhodes, flute, synthesizer and percussion as well as his idiosyncratic guitar on all tracks. Alongside Thomas in the studio were an array of young, experimental Swedish musicians in the nascent stages of their careers including the much lauded Swedish composer Ann-Sofi Söderqvist, vocalist Turid Lundqvist and perhaps the key contributor to the album, Hans Peter Andersson, whose alto, tenor and baritone saxophone contributions shift the album from into the realms of jazz, most notably on “Horisont” and “E.M.”

The whole ensemble comes together on the centrepiece of the album, the joyous aquatic harmony of “Coral Reef”, one we've been playing out for the past 5 years to dropped jaws. The album presents a very visual aesthetic, each track evoking images of landscapes and far-flung corners of the earth. Almvqvist himself considered the visual aspect of his sound very important, describing his approach as “picture music.”

Nyanser is considered one of the earliest examples of a fusion of world music, jazz and folk traditions, certainly from a Scandinavian artist. Despite its impact on release being minimal outside of those aficionados tuned into such sounds, over the years the album has become something of a "lost" cult classic and a fine example of the experimentalism going on in Scandinavian music at the time. The English translation of nyanser - ‘shades’ - is a particularly apt description of the sounds contained within.

Thomas very sadly passed away in 2008 at the age of 55. We hope this reissue will go some way to bringing his unique output to a wider audience and secure the legacy he deserves as one of Sweden’s great guitarists and musical visionaries. It sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost whilst the beautiful artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every record collection.

Red Vinyl

Nach ihrem Top-30-Hit-Album "Posh Pop" und ihrem Auftritt beim Isle of Wight Festival, veröffentlicht Toyah eine Rhythm Deluxe Edition des 2019er Studioalbums "In The Court of The Crimson Queen", das als Prequel zu "Posh Pop" präsentiert wird. Die endgültige Version des Albums enthält jetzt Toyahs Interpretation des legendären Songs „Slave To The Rhythm“, mit Ehemann Robert Fripp (King Crimson, David Bowie etc.) an der Gitarre und produziert von Simon Darlow, Co-Autor des Originaltracks.
Das Album enthält außerdem drei brandneue Remakes von „Sensational“, „Heal Ourselves“ und „Latex Messiah“. Dazu ein exklusiv überarbeitetes Artwork und Texte für das Album.
2LP-Set und rotes Vinyl runden diesen exklsusiven Release der englischen Ausnahmesängerin ab.

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions Jamaican Rare Groove From the beginning of the 60s to the end of the 80s, Jamaica had a worldwide influence with ska, rocksteady, dub and reggae, but the small Caribbean island did not escape the global trends of funk, soul and disco. This mix of influences has given birth to unique groove songs, highlighted by this Jamaican Rare Groove. Double vinyl Jamaican Rare Groove From the beginning of the 60s to the end of the 80s, Jamaica had a worldwide influence with ska, rocksteady, dub and reggae, but the small Caribbean island did not escape the global trends of funk, soul and disco. This mix of influences has given birth to unique groove songs, highlighted by this Jamaican Rare Groove.

”Brightside” heißt das 4. Album von Wesley Schultz und Jeremiah Fraites, alias The Lumineers. Produziert wurde es von den längjährigen Partnern in Crime Simone Felice (The Felice Brothers) und David Baron, der auch für Engeneering und Mixing zuständig war. Das Album präsentiert die erste neue Musik der Lumineers nach mehr als 2 Jahren. Nach dem sehr düsteren und sehr konzeptionellen Vorgängeralbum wird schon durch den Titel klar, dass es sich hier um ein sehr frohes und spontanes Album handelt.

Die 9 Songs-Collection spielten Schultz und Fraites zusammen mit Baron in dessen Studio in New York ein und wurden dabei u.a. bei den Backing Vocals von Simone Felices’ Tourmitgliedern Byron Isaacs und Lauren Jacobson, Cindy Mizelle (Bruce Springsteen, Dave Matthews Band), James Felice (The Felice Brothers) und Singer-Songwriter Diana DeMuth unterstützt.

New TTJ with special reworks. ESSENTIAL ITEM. NO REPRESS

2023 Repress

* Nothing Lasts But Nothing Is Lost was the 3rd incredible installation of the Shpongle epic released in 2005 on Twisted Records. Now remastered for 2019.
It proved to be yet another masterclass in the psychedelic fusion of the worlds between musical genre and sonic geometry.
Simon Posford & Raja Ram interweave an impossible myriad of melodies on guitars, vocals, oud and horns with hifidelic sounds of masterfully manipulated glitchy synths and Raja’s inimitable Flute and otherworldly vocal mutations to create these majestic musical soundtracks.

The album famously features 20 tracks (which on vinyl appear as 8 separate tracks) designed so that every one flows seamlessly into another, continuously evolving like a musical hologram. Each new sonic world reflecting a psychedelic spectrum of the uniquely altered states of audio reality that Shpongle are renowned for.

With every track opening doors to new musical vistas, we are blessed to witness the ever changing sonic scenery that constantly shapeshifts in tone, timbre, tempo and time signature.

Opening with kaleidoscopic mandalas of a mythical music box that morphs into psychedelic funk on “Botanical Dimensions”, we know when Raj’s twisted vocal breaks that we are deeply in “Outer Shpongolia”. The diversity of musical sound surfing is unparalleled, touching on both established and newly invented genres such as latin glitch funk, arabic trance, psyfidelic dub, psychedelic samba massive with massive brass band riffs in “The Stamen of The Shamen” and even snake charmer techno- breaks on “Turn Up the Silence”. Nothing Lasts But Nothing Is Lost effortlessly and seamlessly emerges from one to the next and is a musical journey of such gargantuan portions that they barely fit into a 1 hour epic audio adventure!
On the third fantastical instalment of the Shpongle story, Raja & Simon tickle the synapses and kicking up the dust as evolutionary psychedelic textures and other worldly spaces meld with an irrepressible 4 to the floor of the Kickdrum liberally sprinkled throughout the album.

The mystical maestros undeniably delivered another astounding audio adventure, flipping the sonic switch for tripping without a hitch and earning its rightful place of any psychedelic connoisseur. 

Recorded in 1973 at the Church of Saint Mary Magdalene in Paddington, London, Unfinished Picture is Rupert Hine's second LP. The songs where all composed by Hine with lyrics by David McIver and Simon Jeffries. On its sessions, Hine was surrounded by a host of outstanding musicians that included Simon Jeffes (Penguin Cafe Orchestra), Mike Giles (Giles, Giles & Fripp / King Crimson), Mick Waller (Cyril Davis, The Steampacket, Jeff Beck Group), Ray Cooper (Eric Clapton, Elton John) among others.



Rupert Hine's recording adventures started with the release of a 7" 45 by the folk duo Rupert & David "The Sounds Of Silence". In 1971 he was approached by Purple Records for the release of his debut solo LP Pick Up A Bone, which despite its lack of commercial success featured a strong collection of critically acclaimed compositions that made Purple Records want him to record a second album - Unfinished Picture, on which Hine showed a fantastic evolution to a more conceptual, cinematic approach. Echoes of Ray Davies, Kevin Ayers or hints of Nick Drake taken to a more 'happy' territoire mix with beautiful strings by The Martyn Ford Orange Ensemble and even some ARP synth explorations to build a fantastic collection of sounds that take the listener on a trip through the worlds of folk, psych and prog.



Hine's career would soon take off as a famed producer, he did work with Kevin Ayers, Milla Jovovich, Jonesy, Steve Tilston, Anthony Phillips, Camel, Saga, Rush, Tina Turner, Howard Jones, Bob Geldof, Suzane Vega, and many others.

Keyboardist and composer Weldon Irvine is among the most celebrated Jazz-Funk artists of all time. He was Nina Simone's bandleader for years, and wrote the lyrics for her iconic civil rights anthem To Be Young, Gifted and Black'. Throughout the 1970s, Irvine released a series of seminal albums full of deep, soulful, funky grooves. The Sisters is a collection of lost tracks and demos from his late-1970s studio sessions with fellow Jazz-Funk luminary Don Blackman. Featuring the hit single Morning Sunrise' (later famously sampled on Jay-Z's Dear Summer'), the album contains a mix of instrumental and vocal tracks that stand up with the best work in Irvine's impressive catalog. Courtesy of Nature Sounds, this rare collection is finally back in stock on limited-edition vinyl. Order this official reissue of The Sisters now while supplies last.

2023 Repress

Shpongle came to light 20 years ago, emerging from the burgeoning Trance music scene. Simon Posford aka Hallucinogen and Raja Ram aka The Infinity Project were already leading lights on the pioneering new sonic realms of Trance music.

The Shpongle sound was formed out of the desire to share another side of the psychedelic spectrum of music and in doing so established themselves as important innovators and arguably, inventors of genres we now know as PsyChill, Psybient, Psydub or Psybreaks.

Are you Shpongled? contains 7 tracks of epic audio adventure. Each one taking the listener on a journey, with sensurround sounds emerging from the caves of tribal reality. Across the globe, both seasoned aficionados and new sonic surfers alike take delight in the original worlds of sound explored by these visionary pioneers on their debut album which still takes pride of place in many collections.

The Shpongle sound planted sonic seeds in fertile imaginations across the world and over the past 2 decades their fanbase has grown exponentially, creating an unforgettable impression on the minds ear of all who listen. With a full live band to compliment their studio origins, Shpongle have been headlining large scale concerts and festivals across the globe, most notably two sell out shows at The Roundhouse London in 2009 and more recently their legendary performance at Red Rocks in Colorado where Shpongle performed to a sell out crowd of 1000. They have also completed numerous tours of the USA with stateside crowds showing huge love for the band and establishing a loyal following. 

2023 Repress

* Tales of the Inexpressible” was released on Twisted Records in 2001.

It was a much anticipated and well loved successor continuing in the pioneering spirit of the debut album and in this exceptional follow up they gave us plenty more multi-dimensional surprises and new sonic realities to explore and immerse ourselves in.
From the opening sounds on “Dorset Perception”, the first track featuring flamenco guitar and Latin percussion, we can tell we are in for some incredible planetary as well as interplanetary trips on this musical voyage as Si & Raj take us for a spin though their musical worlds, full of influences garnered on their travels to the 4 corners of the earth.

As the Star Shpongled Banner unfurls, the immeasurable beauty of the album is illustriously illustrated with blissful cascades of Indian Flute washing over the minds ear and achingly beautiful synths rippling with dimensional dub effects throughout. As the Shaman’s voice resonates through the digital dream, the Shaman’s drum begins to beat leading us to a vedic celtic crescendo.

By the time Room 23 emanates from the loudspeakers, Shpongle have confirmed their position as the true pioneers once again, shining a light on the deeper development of the Psybient and Psychill sound and unmistakably elevating the consciousness of the listener to previously unheard of heights by bringing the eddying currents of Raj’s magical flute lines and Simons mellifluous keyboard riffs and genius production style together in an extraordinary hallucinogenic mix.

The album holds 9 gems glistening in hyperspace, gems of unmistakable brilliance and radiant beauty in which every composition contains worlds within worlds, as explored by Raja and Simon on their epic voyages into the depths of musical exploration and recounted in these tales.

They have been the soundtrack to innumerable visionary voyages for the neuronaut cognoscenti, because of the multi layered sounds, shapeshifting focus and awe inspiring depths of the advanced Shpongle production techniques. Tales of the inexpressible is quite literally, beyond description and has been a part of creating so many beautiful moments that its absence from our lives is unimaginable. 

Red Vinyl

Initial LP copies pressed on opaque red vinyl! As its name suggested, the intimate and sultry Cuntry Covers Vol. 1 was always going to have a follow-up. Led by the brooding vocals of Bria Salmena, Cuntry Covers Vol. 2 is every bit as potent as its predecessor whose noir-inflected alternative country-rock stood in sharp contrast to the singer's commanding delivery as leader of post-punk revivalists FRIGS. Debuting the project in 2021, the languid, reverb-drenched Cuntry Covers Vol. 1 saw her artfully collaborating with multi-instrumentalist Duncan Hay Jennings and reimagining a carefully picked collection of Americana anthems. Vol. 2 pushes the envelope further and harder. Encompassing feverish takes on tracks by Gillian Welch, Paula Cole, Mary Margaret O'Hara, Robert Lester Folsom, Glenn Campbell - by way of Nick Cave - and the late, great Loretta Lynn, Bria's deliciously dark approach shimmers through these six startling songs. Created during a break from Salmena and Jennings' work in Orville Peck's world-conquering backing band, Vol. 2 was recorded directly after Peck's second album and Bria's US tour supporting Wolf Alice. Embracing contrast, the sunny circumstances in which Vol. 1 was made were flipped on their head. Instead of a bucolic barn in the Canadian countryside, they recorded the new tracks in chilly Toronto, huddled together in their tiny makeshift home studio, with Jennings at the controls. They enlisted the help of local Toronto musicians Lucas Savatti (FRIGS), Simone Baril (US Girls, The Highest Order, Darlene Shrugg, Partner), Andrew Manktelow, and frequent collaborator Jaime Rae McCuaig. While Vol. 1 was Bria's attempt at subverting country music's conservative roots and primarily white and heterosexual agenda, here the emphasis was on experimentation. While Vol. 2 might be less personal, it's just as idiosyncratic, with half of the reversions staying true to the originals and others taken to a different universe entirely. Building on the tried-and-true/bold-and-new duality of Cuntry Covers' first offering, Vol. 2 delivers a deeper dive into the duo's brilliant alchemy of traditional and contemporary reinterpretations. The added experimental flourishes, from dizzying electronica and pulsing bass to sax-driven soul, take Bria's new EP into previously uncharted territory, signalling a thrilling new step in Bria's adventurous evolution.

Re-Discover mythical 60"s Hits sung by Soul, Funk, Rock & Folk Icons in the unique double Vinyle!

Recorded in Austin at Vine Studios with Kyle Crusham (Paul Simon, Edie Brickell and the New Bohemians), Cactus Lee has returned with a six song album titled “Perfect Middle Hall.” This album signals a change in approach to Dehan’s previous self recorded albums and yields a fuller sound. In addition to Dehan on guitars and vocals is John Bush (New Bohemians) on conga / percussion / drums and Alice Stewart (Shinyribs) with added vocals.

Some 30 years after first putting on a slab of vinyl in front of an audience Belgian DJ mainstay Red D presents his debut album called ‘Fantasize Then Realize’ under his Red Basics guise. An experienced and versatile DJ if ever there is one, it was logical that his album takes in a wealth of influences from around the house and techno block and features some of his best musical friends and inspirations. From his ‘go to’ singer Lady Linn, to his musical friend and partner in FCL San Soda via Belgian stronghold Lefto, to his Detroit buddy Reggie Dokes: these are the people Red D has been working with and learning from for years on end.

The music ranges from the dreamy beatless title track to the sleazy spoken word ‘Just Like Hercules’ up to the Larry Heard-inspired deepness ‘Compelled’ and including the melancholy of ‘The Larkin’.

Locked down during the first months of the Covid 19 madness Red D had no more ‘I’m too busy to get into the studio’ excuses and all the inspiration gathered during the countless hours of DJ’ing and listening to records in the last 30 years simply poured out. Making track after track was daily (and nightly) business and after a while the idea of a full album simply came naturally. The next lockdowns were spent fine-tuning the tracks, coming up with lyrics and finalizing the tracklist.

The result is ‘Fantasize Then Realize’, Red D’s debut album and a testament to his sound and attitude.



DJ FEEDBACK:

Mousse T:”22 Shoulders, hell yeah!”
Laurent Garnier: “Thanks a lot for these tracks. There’s some lovelyyyyyyy deeeeeepness in there. Love it.”
Levon Vincent: “I gave the LP a listen, nice one! I thought ‘Devious Monday’ was captivating and I liked the work with Classy Lassy as well. Congrats!”
Ka§par:"When a guys knows what he's doing, it sounds like it's real. Great tracks, loving it more and more the further we go."
Roberto Rodriguez: "Classy album! Red D quality!"
Nacho Marco: "Loving it, hard to pick a favorite. Thanks!!"
Kong: "Big up Bart, well done. Belgium = house = Red D!!"
Melon: "House music represent! Love it, feel it & gonna drop it. Great stuff :)"
Simon Caldwell: "Some really special house music on this album. Many thanks!!"
OOFT!: "Yes! This sounds amazing! Authentic underground house music just the way I like it :)"
Massimiliano Pagliara: "Nice tunes!"
Tomaz: "We all knew Bart knows where it's at but this is ridiculously good. Hard to pick a fave. The collabs are great, so are the ‘solo’ tracks. I picked the single with Lien as fave because that'll hopefully draw the deserved attention to the rest of the album. Top marks !"
Juliano: "Congrats for your album Bart ! love the deepness of the tracks and the authenticity you brought. Thank you"
Harri: "Liking these a lot, will play and support."
Alex Barck: "That's a great piece of work"
Quintessentials: "All around fantastic album! Congrats!"
Lauer: "Respect, amigo!"
Darko Esser: "Beautiful album, congrats mate great work!"

Clear Vinyl Repress

A true Balearic / Cosmic classic LP - Columbian brothers Elkin & Nelson's 1974 debut double album 'Angeles Y Demonios' is the perfect blend of traditional latin music, psychedelia, fuzz, glam, ethnic rhythms, progressive rock leanings and everything else in-between! The album had been received quite well on it's release, enabling the brothers to move to Spain and explore their ideas and melodies full-time, but it wasn't until the late 1980's Balearic explosion that the brothers unique musical vision struck a chord with those outside of Spain whose interests were rooted in the more esoteric corners of the record shop racks. Possibly the most well-known track from this LP was 'Jibaro (Enrolle)' that featured on the closing side of the set. This track was picked up and subsequently covered by Paul Oakenfold and the burgeoning wave of UK DJ's who had become enamoured with the white isle and her many sounds, thus birthing the term 'Balearic Beat'. 'Jibaro (Enrolle)' is perhaps one of the benchmarks of that particular microcosmic scene and sound but that doesn't mean the rest of this amazing LP should be ignored. A truly wondrous trip through the rock underground, not traditional by any means, if you dig the Balearic sound, psych-rock, funk and all of it's orbiting planets then this will certainly flip all the right switches for you. A very original set. This classic has been legally reissued by Above Board distribution in conjunction with the legal rights holders - Sony Music Entertainment. This high quality 2 x LP repress features original 1974 gatefold sleeve and label artwork and has been remastered from Sony's original sources by Optimum Mastering, Bristol UK.

Some records just stop you in your tracks. They resonate with you and feel instantly familiar like an old friend, even on the first listen. SOYUZ's third album ‘Force of the Wind’ is one of those records. It holds all the trademarks, beauty, and eccentricities of classic Brazilian recordings, from the 60s and 70s, that we have come to love. Think artists such as Milton Nascimento, Lô Borges, Burnier e Cartier, Arthur Verocai et al. But this record wasn’t made in Brazil and is in fact a brand-new release.

SOYUZ (which translates as 'union') is a creative collective from Minsk, Belarus, led by composer, arranger, and singer, Alex Chumak, multi-instrumentalist, Mikita Arlou, and drummer, Anton Nemahai. SOYUZ's previous albums explored and reimagined the legacy of jazz-oriented, non-English-language pop music of the 20th century. For their third album, there is a stronger focus, and it is influenced by 70s Música popular Brasileira and building bridges from it to present-day Belarus. Alex notes that from the moment he first encountered Brazilian music, he found in it a kind of concentrated emotion that felt as if it were familiar to him from his childhood. This non-verbal emotion and connection between the listener and musician echoes in the music, regardless of understanding of the language the album is recorded in.

‘Force of the Wind’ includes songs sung in Russian and Portuguese as well as instrumental compositions. Its musical palette is both acoustic and electroacoustic: rich warm Rhodes piano, soaring string arrangements, and a controlled drum swagger sounding both relaxed yet super tight. Alongside Alex's sublime vocals, that grace the majority of the tracks, the album features guest performances by multi-talented musician and vocalist Kate NV and rising Brazilian star, Sessa. Alex also recently arranged a number of tracks on Sessa's highly praised 2022 album 'Estrela Acesa'.

On the album, the trio is joined by a cast of friends; NY-based musician of Turkish origin percussionist, Cem Mısırlıoğlu, classically trained composer, Simon Hanes, who aided with string arrangements and conducting the string players, Netherlands-based Brazilian multi-instrumentalist, Gabriel Milliet, on flutes. With the collaboration of these friends SOYUZ have created nine songs/suites that are subtle and plenitude and like the best albums, leave you aching for more.

‘Force of the Wind’ is an enigma, Brazilian yet not Brazilian, vintage yet still contemporary, out of sync with modern culture yet completely relevant and necessary.

Über 70 Minuten einer Sammlung von Pendragon-Songs, die seit über 10 Jahren nicht mehr erhältlich waren. Diese überarbeitete Version von 'The Rest Of Pendragon' enthält des Weiteren Titel von den zwei Mini-Alben 'As Good As Gold' und 'Fallen Dreams And Angels', die beide seit fast 20 Jahren nicht mehr erhältlich waren!

- Passend zum Vibe dieser Songs aus den 90er Jahren wurde Simon Williams engagiert, um eine brandneue Cover-Illustration zu gestalten - ein Artwork, das Pendragon-Fans lieben.
- Die werige Doppel-LP kommt im Gatefold Sleeve inkl. bedruckten, schweren Inner Sleeves.

Fly Me To The Sun is a breathtaking German library gem from the hallowed Coloursound label. Originally out in 1983 it features two Polish composers, Andrzej Marko and André Mikola. If outré synth-funk is your thing, you need this record.

Almost blindingly luminous with positive vibes and radiant optimism, Fly Me to the Sun is a collection of funky, sun-dappled compositions for synthesizer and live instruments like drums, bass and guitar. A dope blend of beatbox driven future jazz and electro pop.

The wonderfully sleaze-adjacent opener "Dhamma" includes some grandiose piano chords amid floating ambient sounds a la Steve Hillage with slick drums entering the fray at a languid pace. "Circulation" sounds like Bowie ran into Chaz Jankel during an extended stay in Los Angeles, the Thin White Duke emerging out of a studio at 6am, bleary-eyed and clutching this filthy, bleepy instrumental of sonic smut. "Magic Scenery" is as delicate and astounding as the title suggests, a deep ambient movement conjuring halcyon images of rolling fields with abundant fauna and flora; acid-tinged visions of intense colour and natural beauty. Cool, slo-mo breaks adorn the strutting melancholy of “Longing for Tomorrow” and “Nocturnal Flowers” to close out Side A.

Skip the title track, which opens up Side B, and head straight to “Birth of a Butterfly” for a slice of creeping digi-dub-soul niceness. This should've been front and centre of that Personal Space compilation a decade ago. Raising both the tempo and the temperature, “Riding on a Sunbeam” continues in the mesmerising cosmic funk style before "Osmosis", one of the clear stand-outs, presents a fine vintage synth solo over a mellow funky rubberband beat. The closing track, "Solar Heating", warms things up with slapped bass and bold drum machine beats and the synth lends Sci-Fi vibes to the dark dub-funk-reggae rhythm.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Fly Me To The Sun comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Heads have been after Otakar Olšaník and Jan Martiš's Advanced Process for a long time. That's because "coincidentally-cosmic disco" packed with spaced-out, smacky-synth dynamite tends to become sought-after. Originally slipping out on the mighty Coloursound in 1986, the label described the sound as "contemporary synthesizer underscores played by computers; depicting future technologies in today's process." If they'd just added "acid-drenched", they'd have been closer to nailing it.

The A-Side is totally beatless. It's also totally perfect. "Atomic Plant 1" is a pulsing synth epic and could've easily soundtracked a stylish 80s thriller such as Thief or To Live And Die In LA. It's a narcotically enhanced meeting between John Carpenter and Steve "Lovelock" Moore. "Atomic Plant 2" adds extra squelch and proper early computer synth squiggles. This stuff is addictive and truly ace. The 3 part "Fusion Point" showcases a dramatic and insistent industrial mood via a gripping sequencer pattern mixed with effects and accents. Menacing and magnificent. The trio of "Nuclear Radiation" tracks veer majestically from a hypnotic sequencer pattern with a heavy dramatic tune to hectic patterns without much of a tune, managing nevertheless to maintain a hold on the listener.

The drums enter proceedings on Side B and they're absolutely outstanding. Coming on like a slicker, heavier Johnny Jewel production, 20 years before Italians Do It Better, "Regulators 1" marries the smoothest head-nod beat you can wish for, with a murky mechanical rhythm and phasing effects. After the stunning beatless version ("Regulators 2") the suuuupppper slo-mo "Data Load" sounds like its wading through the heaviest K-Hole and is all the more thrilling for it. "Modem" is a brief and breezy funky bass and synth squiggle wonder, of the beatless variety. "Robot Masters", would you believe, actually sounds like something those Daft Parisians would've sampled on Discovery, over 15 years later. An uptempo, optimistic track with a real strut; propulsive rhythms with dramatic synths, what can only be described as "very-80s sounds" and digi-handclaps. The breathless "Digiheart" double bill rounds things out, one with a dynamic driving rhythm and more slick-as-hell beats and the other without drums. Mental, brilliant and completely essential.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Advanced Process comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Emotionally, crafted by Brainislave Zivkovic and Andre Tschaskowski in 1986 for Coloursound, is arguably the most beautiful library album ever produced. A start-to-finish masterpiece of powerfully melodic music for reflection and introspection. It is, indeed, deeply emotional.

Branislave Zivkovic handles the majority of Side A. Opener "Morning Light" evokes exactly that feeling, with a gorgeous and plaintive acoustic guitar solo combining with alto flute to stunning effect. Its immediate counterpoint, "Sundown", in no less arresting but brings with it an after-dark drama of almost Lynchian proportions, again drawing upon guitar and flute but with a slightly more melancholic, even sinister edge, also calling to mind Ry Cooder's score for Paris, Texas. It truly captivates when the strings arrive. Remarkable.

The reflective cello solo with swelling strings at the heart of "Pastoral Walk 1" ensure this track is aptly titled, with parts 2 and 3 adding more agitation - via keys and percussive elements - to great effect. "In The Garden 1" presents an elegiac cello solo whilst its second part elevates the romance. The four-part "Soft Thoughts" suite invites further introspection via reflective alto flute and guitar. Fans of The Durutti Column will need to seek this.

Andre Tschaskowski enters proceedings with three tracks at the end of the Side A. All of them aces in the pack. "Grief", whilst sorrowful, uplifts in its second half through beautiful keys. Equally hopeful are the two-part "Personal Mood" sketches, both dreamy exercises in optimistic ambience.

Tschaskowski controls the entirety of Side B. "Woodland Mood", with its pastoral flute and cor anglais and "Reminiscence", with its classical, emotional strings, both beguile. The piano and strings-heavy "Sentimental View" suite is one of the most beautiful, atmospheric things you will ever hear, particularly its second part. "Moonset 1" with it's wonderful Joe Pass-esque guitar is tense yet easy, the beauty elevated further with the introduction of strings and horns. The more restrained "Moonset 2" is pared back to its divine, sweeping essence and should surely have been sampled by now. To close out an album of almost impossible refinement, the brief 2-part "Emotional Tension" salvo brings both increased stress before resolving itself and the LP with a piano motif and atmosphere of serenity. Blessed relief.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Emotionally comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

Steve Moore's Lovelock is back with Washington Park, a gorgeous suite of instrumental lounge music that can only be described as synth exotica. A real departure for Steve, this is a more mellow, soothing sound and can be regarded as Lovelock's response to these dystopian times.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. Yet his Lovelock alias has been quietly blowing minds and warming hearts for a decade plus now. His latest effort, Washington Park, was not initially meant to be a Lovelock album. But Steve was posting little snippets of his work on Instagram and people started asking him: "is this new Lovelock?" It was at this point that Steve had an epiphany, of sorts. "It occurred to me that Lovelock can be whatever I want it to be. So yeah, maybe this new lounge/exotica record is, in fact, Lovelock."

Washington Park creeped out in a very low-key, early lockdown fashion and there wasn't much of a reaction. Says Steve, "I just self-released it and all my usual suspects were down with it, but it didn't really make it outside of my own circle." Yet many of the Balearic heads in Europe were indeed on it and Be With were most certainly listening. So, when we struck a deal to do the vinyl version of Burning Feeling, we couldn't resist asking about Washington Park.

Gentle opener "It Means Love" grooves along in the laconic style, conjuring carousel innocence and complimented by dreamy, spiritual sax and syrupy synth strings over a digi-soul beats. Title-track "Washington Park" glides smoothly in much the same vein, almost like a slightly more acidic, squelchier version of the preceding track with more insistent organ. Swoon. Closing out Side A, steady ambient gem "We'll See" is all gorgeous, soft pads with plaintive guitar and organ giving way to soaring digital strings over that metronomic drum machine soul.

Flip for the eerily brilliant "Seduction", a track which starts like a minimalist slice of Tommy Guerrero-esque guitar and drum machine soul but soon takes on a more menacing bent as Steve leans into his long-held predilection for horror by creating a slow-mo haunted house jam. The tempo (and temperature) rises with "Center Square", a Latin rhythm section and a sensual sax rubbing up against hot and heavy organ and string action. Steamy! To round things off, the ominous creeping groove of "Rhythm 77" feels like exotica-in-excelsis.

Washington Park was recorded over the first few months of the pandemic, during the spring of 2020, against the backdrop of his kids being out of school which meant daily walks and bike rides through Washington Park in Albany. It was during these moments of family activity and gentle movements, trying to make sense of the chaos engulfing his world, that Steve formed the ideas that led to this album. To make it manifest, he used all his old Roland beat boxes (CR-78, Rhythm 77 and Rhythm 330, Rhythm Arranger) plus a Chamberlin Rhythmate for all the percussion. Basslines were usually performed with his Moog Source or Minitaur and for pads and brass he used his Sequential Prophet 600 and Roland Juno 60. Strings came via a variety of old stringers - Korg Polysix, Elka Rhapsody, Crumar Orchestrator and Solina String Ensemble - and he also used his Fender Strat and Yamaha Custom saxophone.

Steve is a huge fan of exotica and that's clearly where this album is coming from. The likes of Martin Denny, Les Baxter and Henry Mancini can all be discerned here. As Steve explained, "I spent a lot of time listening to that stuff in the 90s and I figured it was time to let those influences show." You're going to be glad he did.

Mastering for the Washington Park vinyl edition was overseen by Be With regular Simon Francis before being cut by Cicely Blaston of Alchemy Mastering at AIR Studios and pressed in the Netherlands by Record Industry.

Following up last year's orchestral album opus “Overtones For The Omniverse", Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as "Goosebumps Per Minute, Volume 1" on classic vinyl and digital. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and 70’s analogue synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "GPM" (the tempo at which music transmits Goosebumps) - and on top of a multitude of summery bass, drums & strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence”. Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths" or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" - his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw & funky.

The songs were also inspired by his time hanging out at the Goldline bar in LA’s Highland Park. “Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts - and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately … It reminded me of my time in Tokyo's vinyl bars so "Goosebumps Per Minute" owes a lot to that inspiring culture as well“.

About Mocky:
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums and co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder". In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011 Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney. Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. IIV. After co-producing and co-writing Feist's "Pleasure" and Kelela's "Take Me Apart", in 2018 Mocky released two albums: "Music Save Me (One More Time)" and "A Day At United", an instrumental jazz album, recorded in a single day. In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards. In 2020 he started a new Single series with 2 releases featuring the portugese singer Liliana Andrade and in 2021 he released his orchestral album "Overtones For The Omniverse" and started a series of funky instrumentals under "Goosebumps Per Minute".

Having co-produced Duran Duran’s acclaimed fifteenth studio album, ‘FUTURE PAST’, Erol Alkan returns to recent single ‘ALL OF YOU’ to deliver a very special Extended Rework. Paying tribute to the band’s pioneering ‘Night Version’ remixes that tipped their earliest material towards the dance floor, this grandiose reimagining equally recalls Alkan’s beloved reworks from over the years.

Recorded with founding members Simon Le Bon, Nick Rhodes, John Taylor and Roger Taylor, ‘All Of You’ also features lead guitar from Graham Coxon and backing vocals by Barli. Blessed with the raw material, Alkan distills each element into a glorious disco odyssey totalling nearly ten minutes, an epic but sensual dance floor trip that already ranks amongst his finest work. 

Phantasy is proud to release 'ALL OF YOU (Erol Alkan's Extended Rework)’ (backed with an instrumental version) on a limited run of 12” vinyl.

Known for their dynamic sound and complex song structures, De Beren Gieren deliver an extravagant blend of polyrhythmic soundscapes and elitist twists, showing an ability to change mood in a way that constantly holds the listener’s attention. They effortlessly shift from more rigidly styled compositions to improvised sections and thus reveal the pulsating and ominous futuristic sound of a new world.

Produced by Dijf Sanders and Frederik Segers, ‘Less Is Endless’ is an ode to a universe teeming with life. Seen as an extension to the critically acclaimed 2017 album ‘Dug Out Skyscrapers’, it searches for vents through which life can emerge and evolve. The secret of communicating creativity can be found in the cultivation of the unfinished; the missing piece of the puzzle tickles the imagination more than the perfect end result.

From the psychotropic opener ‘A Funny Discovery’ and off-kilter piano rhythms of ‘Animalcules’ to the impressionist melodies and harmonic soundscapes of ‘Tuin’, De Beren Gieren give the music the space to breath and grow with every unexpected twist and turn. Elsewhere, ‘Guggenheim House’ is a lesson in the avant-garde, while ‘Gentse Leugentjes’ is a far cry from the traditional piano-bass-drum set-up, before the affecting ‘Moments Never a Moment’ and 18-minute ‘A Random Walk’ is an adventure in improvisation and electronics that defies any logical convention.

Forming in 2009, Fulco Ottervanger (piano, fx, synths), Lieven Van Pée (double bass, electric bass) and Simon Segers (drums, fx) quickly built a reputation across the Benelux region with their ‘must-see’ live shows and have since taken their transcendental live energy across Europe, Morocco and Japan and have performed at North Sea Jazz, Jazz Middelheim, Trondheim Jazzfestival, Ljubljana Jazz Festival, Moers Festival, Gent Jazz, Kanazawa Jazz Street and Eurosonic.

The trio’s breakthrough came with second album ‘A Raveling’ (2013) which received rave reviews, and the following year, a live recording with Portuguese trumpet player Susana Santos Silva was released as ‘The Detour Fish’ (2014) on the Clean Feed label, gaining De Beren Gieren further widespread recognition. Their 2015 release ‘One Mirrors Many’ was lauded by Dutch magazine Jazzism and signalled the beginning of their electronic quest, finding its maturity in ‘Dug Out Skyscrapers’ (2017). In 2019, they celebrated their 10th anniversary, releasing the limited edition ‘Broensgebuzze EP’.

De Beren Gieren have collaborated with renowned jazz artists including Louis Sclavis, Ernst Reijseger, Joachim Badenhorst, Marc Ribot, Jan Klare and Jean-Yves Evrard.

Tresa Leigh is the reflection of St. Simons Island, Georgia teenager Teresa Laxamanna (né Leggett).

Wooed by a classifieds listing to audition for Philly funk and soul imprint Lyndell Records, the aspiring 15 year old dragged her father, guitar, fender amplifier and microphone to perform her convincingly mature folk tales of first time heartbreak. Winning the support of label owner Walter L Rayfield, the fresh recruit cut two originals in a makeshift motel studio on the neighbouring Jekyll Island, backed by a band of unhurried session players. The 1970 recording yielded her debut 45, pairing I Remember’s endearing juvenile jangle with the heartsick Ghost Riders cornerstone Until Then.

After a car accident prevented Mr. Rayfield from fulfilling his release plans, an unswayed Tresa responded to Great World Of Sound’s newspaper advert, baiting the prospect of gold records, major label connections and sales of a million copies. With family and friends crowdfunding the $1,200 that the company required to produce a follow-up 7”, she jetted to Nashville, recording a slicker, emotionally elevated update on Until Then, and the symphonic slow dancer I Miss You. In another unfortunate career misfire, the dubious label failed to deliver on any of their promises, with the artist volunteering the only surviving copy for restoration.

Collating all four recordings, this brief anthology immortalises the innocent small town dreams of a genuine original, inadvertently echoing the likes of Nora Guthrie, Bonnie Dobson and Patti Whipp.

Paris, 1965. Pianist François Tusques laid the foundation stone of French-style free jazz with his first, soberly titled, album “Free Jazz”. Also in the team were several future key names of the French scene, (Michel Portal, Bernard Vitet, Beb Guérin, Charles Saudrais and François Jeanneau) all of whom honed their skills at the beginning of the decade in Jef Gilson’s groups, although he was none too fond of the turbulent new face of jazz at the time.

Ten years later, Jef Gilson had obviously changed his tune, as the label Palm that he had created in 1973 was now the launch pad for what would become the cream of French and international avant-garde jazz. This would notably be the case for François Jeanneau and “Une Bien Curieuse Planète”. His first album as leader (after briefly erring into pop with Triangle) was recorded in 1975, a few months after “Watch Devil Go” by his old friend Jacques Thollot, and with more or less the same casting: Jeanneau on sax of course, Jenny-Clark on bass and percussions, Lubat replacing Thollot on drums and Michel Grailler (plucked out of Magma) was called in as a reinforcement for his completely ‘out of space*’ synthetiser sounds. Thus began a strange trip to a very strange planet, at the border of experimental jazz and swinging avant-garde.

From 1960 to nowadays, from Georges Arvanitas to Laetitia Shériff, from Manu Dibango to “Mama” Béa Tékielski, everyone has wanted to play with François Jeanneau at some point. There is a good reason for this. The saxophonist is a formidable improviser, but also a solid composer, as he demonstrates on this record with, for example, the monumental “Droit d’Asile”, the spooky “Theme For An Unknown Island” or the Coltranesque “Mr J.C. For Ever”. Over half a century later, the planet seems far more familiar to us. And François Jeanneau is always on the front line for a guided tour.

Jérôme « Kalcha » Simonneau

Just over a decade on from the launch of Leng Records, the Simon Purnell/Paul ‘Mudd’ Murphy-helmed label is set to release its’ 50th 12” single. Fittingly, it’s the first of a series of sampler EPs that form part of the imprint’s belated 10th anniversary celebrations.

Later in 2020, label fans will be treated to a celebratory compilation featuring a mixture of Leng classics, overlooked favourites and previously unheard material. Some of this music will also be released on a series of vinyl EPs, with this first volume focusing on unreleased material from long-time friends of the family Q&A and Lex.

Q&A is a collaboration between Phenomenal Handclap Band founding member,
Quinn Luke, and long-time friend and musical associate Alexis Georgopoulos, formerly of San Francisco dub disco/punk funk heroes Tussle. The pair worked together extensively at the tail end of the 2000s, but only ever released one single: 2009’s “Tumbling Cubes/Trap Door” on celebrated NYC label DFA.

The two tracks showcased on this Leng Records sampler were recorded during the same period as that celebrated single but are only now seeing the light of day. “Revolving Mirrors” is a typically low-slung and percussive affair that sees Luke and Georgopoulos wrap bubbly electronic melodies and glassy-eyed aural textures around a suitably weighty dub disco groove. In contrast, “Pulse” is a deliciously hypnotic, mind-altering affair: a bona-fide late night throb-job in which trippy electronic motifs, chiming melodies and crunchy Clavinet riffs vibrate attractively atop another killer punk-funk bassline and locked-in drums.

Tasteful double album with outstanding female singers. When it comes to vocal art alone, the jazz world is firmly in the hands of women. Just think of Billie Holiday, Ella Fitzgerald or Nina Simone. But singers of younger days, such as Sarah Vaughan or Diana Krall, are no less impressive with their enchanting voices. Reason enough for the French label Wagram to unite the most renowned female singers of the last decades on a double album.

Second release for Simon Heslin aka SY on RAWAX.
We are very happy about this future retro classic!
Highly recommended!

Captain Planet has teamed up with 2 long-time collaborators (Zuzuka Poderosa & Raphael Futura) for a new Brazilian disco funk song, "Moqueca." The song harkens back to Brazil's legendary funk parties in the 70's and early 80's - where soundsystems bumped legends like Tim Maia, Sandra Da Sa & Gilberto Gil - while infusing some fresh contemporary energy and extra thump for today's dancefloors. Zuzuka's bright vocals bounce over a bubbly bassline, syncopated percussion and wormy vintage synthesizers, while an additional punch is brought in the form of horn arrangements by the prolific maestro Todd Simon, another frequent Captain Planet collaborator.

"Moqueca" takes inspiration from the Brazilian dish of the same name, a nationally famous fish stew that varies across the regions of Brazil. In her lyrics, Zuzuka talks about the origins and variations of Moqueca, starting with the style from Espirito Santo, her home state, and continuing to Moqueca Baiana, from Bahia, which incorporates African influences and ingredients. The result is a song that is as much an homage to Brazilian music as it is its food, culture and people.

Behold! Yes, Blue Butterfly, one of the absolute stunners on the revered Selected Sound, is finally available for all the beat-heads. Heavyweight library funk with a psychedelic touch, the super in-demand Blue Butterfly from *deep breath* Hardy's Jet Band, Orchestra Klaus Wuesthoff, Jan Troysen Band and Orchestra Gary Pacific - was originally released in 1971. Incredibly ahead of its time, it's been rare and sought-after for decades.

For many aficionados, this is the best Selected Sound release. Loaded with fuzzy wah-wah guitar, deep flute-lines atop soulful psych-rock breakbeats and huge organ action, its uncompromising funk will blow you away. Sampled for many hip hop beats and dropped by well known rare groove DJs around the world, one jewel in particular from this glorious German vault needs little introduction. The intro to Orchestra Gary Pacific's mesmeric "Soft Wind" rides the illest, crispest drum break you've perhaps never heard - like, the drum break to end them all - alongside a smooth, deep bass line from the heavens. It featured notoriously on the beloved Dusty Fingers comps of the 90s and was brilliantly sampled by Pacewon for his eternal "Sunroof Top". Just listen and be dazzled.

Beyond this mini-masterpiece, the other killer tracks offer brilliance in abundance. Hardy's Jet Band take control of the full A side, and it's full of dynamic psych-funk bombs. Hard, "big city" industrial groovers. In particular, the initial one-two of "Sorry, Doc!" and "Wind It Up" provide thrilling funky-blues rock instrumentals showcasing relentless guitars, flutes, sax and organ, the latter containing gorgeous, hypnotic breakdowns; these tracks just slay. The title track, "Blue Butterfly" is a real deep strut of a track with fantastic soloing from guitar and flute over crisp drums whilst the highway banger "What You Call To Be Free" certainly sounds a lot like unbridled, rhythmical liberty.

On the flip, the ghost-riding "Lady In Space" is a string-drenched acid-western foxtrot. Yep. “Pop Happening” by Jan Troysen Band is a heavy, druggy psych-fuzz organ groover whilst their slow beat-organ-flute gem "A Blue Message" is a gorgeous psych floater conjuring deeply strange frontier lands. Preceding their monster "Soft Wind", the soulful, uptempo groover “Ghetto Gap” by Orchestra Gary Pacific contains solo piano and flute whilst closing out the set is the free-and-easy samba beat of "So Far".

Founded in the late 60s by German composer and musician Klaus Netzle (who recorded under the alias Claude Larson for Sonoton) Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

The audio for Blue Butterfly has been remastered for vinyl by Be With regular Simon Francis whilst Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.

WITH THE MEN & WOMEN COLLECTION, FIND THE GREATEST FEMALE AND MALE ARTISTS OF FUNK, SOUL, JAZZ AND BLUES IN A DOUBLE VINYL AND BLUES IN A COLLECTION OF DOUBLE VINYLS

'Atlantis' is a smouldering jazz-funk, cinematic excursion courtesy of the Brazilian maestro, Daniel Salinas. A conductor, pianist, arranger, and producer, he has worked across several genres within Brazil’s rich musical tapestry, including the Beatles-inspired Jovem Guarda movement, jazz-funk, and MPB to name just a few. He featured on records by Franco, Célia, Perfume Azul Do Sol, Wilson Simonal, Juca Chaves and a whole host of Brazilian greats.

Released in 1973 on Top Tape Records, 'Atlantis’, features one of Salinas’ best-known recordings (at least in Europe), his much-loved interpretation of 'Also Sprach Zarathustra’ entitled 'Straussmania’. It was inspired by Eumir Deodato's global hit of the same year and went on to be adopted by various scenes becoming a classic within rare groove circles as well as amongst breaks and beats diggers.

Other highlights include the only original Salinas composed track on the album; the driving, orchestrated Brazilian groover, 'Baião', and an epic, head nod breakbeat interpretation of Donovan's folky 'Atlantis'.

'Atlantis' was also issued by the American record label Cadet in 1974 with alternative yellow sleeve artwork; this re-issue is a replica of the original Brazilian Top Tape version from 1973.


• Smouldering jazz-funk & cinematic excursions from the Brazilian maestro Daniel Salinas.

• Featuring his much-loved interpretation of 'Also Sprach Zarathustra' entitled 'Straussmania'.

• Replica of the original Brazilian Top Tape version from 1973.

"We Belong Together" is one of the most iconic soul albums of all time, primarily thanks to the endurance of the timeless rare groove classic "Give Me The Sunshine". That song was composed by Johnny Simone at the time he was working with Stevie Wonder at Motown. Others in the group were Johnny Simone and Alvin Few, this trio all born under the Leo star sign. Kenny worked as a songwriter at Motown and lived in the same house as Marvin Gaye at the same time as "What's Going On". He co-wrote "Inner City Blues" but was only given a credit by Marvin some years later. Johnny Simone passed away before the album was fully complete which is why it's a mixture of fewer tracks but with additional versions. Alvin Few instigated the original released on Lyon's Records in 1978, the album later acquired by Expansion but not repressed for over a decade. This release restores the original label and is repressed on limited edition,

Still Life, the new album from vocalist Sachal Vasandani and pianist Romain Collin, continues the sound trajectory of their deeply emotive and intimate 2021 acclaimed album 'Midnight Shelter', reworking classic and modern songs interspersed with spellbinding and memorable originals. 'Still Life' is an album of intimate delicacy and tender lyricism with a brutal honesty at the centre. It’s beautifully emotive and deeply compelling. Featuring up-close and personal re-workings of classics by outstanding songwriters Billie Eilish, Paul Simon, Sam Smith, Peter Gabriel and others, alongside unforgettable originals.

 Crime & the City Solution’s fifth studio album,
‘Paradise Discotheque’, is reissued on transparent
orange vinyl. This is set to be released alongside
‘Shine’ and ‘The Bride Ship’.
 A band out of time, Crime and the City Solution
were perennial outsiders who could not rest in their
native Australia, and instead found inspiration in
the colder climes of London and Berlin. Their
mesmeric, expressive music evolved through
many incarnations and a great deal of adversity.
 The first incarnation of the band appeared in
1977/78, in the midst of Australia’s nascent punk
scene and re-grouped in London in 1984. The later
line-up of singer Simon Bonney, Einstürzende
Neubauten’s guitarist Alexander Hacke, DAF’s
synth player Chrislo Haas, jazz bassist Thomas
Stern, violinist Bronwyn Adams and Bad Seed’s
Mick Harvey on drums recorded three studio
albums in quick succession.
 Crime and the City Solution’s freedom of
expression and adventurousness reached an apex
on 1990’s ‘Paradise Discotheque’ and its epic ‘Last
Dictator’ saga, which spanned four songs laid out
like chapters at the album’s conclusion. The album
and the variety of styles used on it, from the
metallic sounds of ‘I Have The Gun’ to the magic
realism of ‘The Last Dictator’ quartet, were
influenced by Bonney and Adams’ move to Vienna.
 Unavailable on vinyl since 1994.