quête:smooth one

dreamcastmoe is the recording project of singer, songwriter, producer, and DJ Davon Bryant, a lifelong resident of Washington, DC. His music moves freely between moods and modes, hypnotic, romantic, traversing electronic, R&B, funk, soul, and hip-hop... Resident Advisor dubs it "soulful, cross-genre dance music." This ability to adapt and finesse, to twist in different directions while staying true and coherent in vision, can be traced to his home city and its complex cultural history. "Most Black kids in DC don't ever get to this point," he says. "This is what I am making this music for, in the DC tradition of soul and empathy and love that is rooted in this city. My music is for real people dealing with shit every day." A versatile, modern artist and collaborator, dreamcastmoe has thrived in the underground since his first uploads to Soundcloud and Bandcamp in 2017 and subsequent releases with labels like People's Potential Unlimited, Trading Places, and In Real Life Music. Bryant's laid-back personality, emotional honesty, and infectious energy shine through his work and how he talks about it, as Crack Magazine notes in their 2021 Rising feature: "a steady combination of confidence, creativity, and calmness." He grew up playing drums in church; he's worked dead-end jobs, had ups and downs, even sold off all his gear one time, but never stopped reinvesting in himself. He is quick to praise his co-producers, rattle off influences _ the visual feel of NBA 2K, the comedic timing of Bernie Mac, the savvy legacy of Duke Ellington, for starters _ and credit resourceful DC breakouts like Ankhlejohn that showed him the roadmap. His voice, a steady instrument, seemingly connects it all, capable of slow falsetto flow, swaggering talk-rap, and outright croon. His storytelling style is choppy yet fluid, like a mixtape, which is how Bryant sees Sound Is Like Water, his debut on Ghostly's International's freeform label, Spectral Sound. The two-part project culminates as a full-length LP release in November 2022. The first side, released as Part I, opens on the blurred beats of "El Dorado," which dreamcastmoe dedicates to his journey. It's a head-nodder, an off-kilter earworm co-produced by Max D (Future Times, RVNG Intl, etc.), with Bryant harmonizing hooks with synth jabs and a pitched-down presence. "Complicated" is the slow jam, delivered smoothly from a Saturday night crossroads. dreamcastmoe is contemplative and committed... gliding and locking ad-libs into skittering rhythms courtesy of co-producer Zackary Dawson _ but also willing to let something go, "acknowledging that everything in life IS NOT easy." "RU Ready" takes off from the jump as a tribute, challenge, and promise to his partner and his city ("The times you sat with me when I needed you the most / Told me the things that I needed to see / Young black man, really trying to be what I can be / And I'm really from DC). In its potent two-plus minutes, the sonics (co-produced by ZDBT) press the message, all cymbal crashes, breakbeats, and serrated synth lines. "Cloudy Weather, Wear Boots" is a blitzing dance-punk track made in collaboration with Jordan GCZ on Bryant's first trip to Amsterdam. The album's flipside opens on "Much More," the first of two synth-and-beat ballads co-produced by ZDBT. Later on "Long Songz," he claims, "I'm not writing love songs no more," prioritizing the vibe with "all my day ones." He calls it "a cry for more normal moments. Everything doesn't have to be a fantasy love story, more time spent getting to the money, growing, and making a way." He saves two of his most propulsive cuts for the finale, co-produced by Sami, co-founder of DC dance label 1432 R. As their titles suggest, "Take A Moment" and "Make Ya Mind" operate as anthems for movement, with Bryant free-flowing commands above wildly-styled percussion. Per Bryant, the latter is both "wake & bake jam" and a "dance floor bomb." His parting line: "Action / You got to show me action / Reaction." The world of dreamcastmoe straddles virtual reality and the realness of DC, images both imagined and lived-in. Bryant has a knack for unexpected melodies but what makes his music so exciting is his capacity to defy the expectations of genre and image. A fluid ingenuity and vulnerability bottled by Sound Is Like Water, and this is just the beginning.

If every significant artist has an underrated gem in its catalog, then Mirage is that album for Fleetwood Mac. An obvious return to relative simplicity after the dramatic tension of Rumours and experimental ambitions of Tusk, the 1982 album finds the band re-grouping after a brief hiatus and again climbing to the top of the charts. Extremely well-crafted, well-produced, and well-performed, the double-platinum effort distills the group’s hallmark strengths into a filler-free set that never runs short of addictive pop hooks or daft accents.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set presents Mirage in reference sound for the first time. The efforts co-producers/engineers Ken Caillat and Richard Dashut went to capture the splintered albeit formidable band can be heard with stunning accuracy, range, depth, and detail.

Though Rumours understandably gets a permanent spot in the audiophile hall of fame, the smooth, clear, and dynamic sonics on Mirage confirm that the record that stood as Fleetwood Mac’s last effort for five years deserves a place in the same vaunted arena. The presence and imaging of Mick Fleetwood’s percussion alone on this reissue might have you wondering how this slice of soft-rock bliss has gone under-noticed for decades. Other prized aural aspects — separation, definition, impact, tonal balance — are also here in spades.

Like much surrounding Fleetwood Mac in the 1980s, arriving at Mirage was not easy. Caillat searched for studios located outside of Los Angeles on a mission to change up the vibe of the band’s prior recording sessions. Everyone settled on Le Chateau in France, where relations between some members remained icy — and cooperation with the producers strained. Battles with exhaustion, bitterness, and addiction further informed the proceedings at the 18th century complex in the French countryside, where even communal meals were allegedly eaten in silence.

Inevitably, the feelings that co-producer Lindsey Buckingham, Stevie Nicks, Christine McVie, and company harbored — as well as the situations in which they found themselves — drifted into the songwriting. In its rapid ascent to rock-star royalty status, Fleetwood Mac drifted apart, embarked on solo pursuits, and found it was lonely at the top. Emptiness, the illusion of dreams, the longing for love, the want to escape to bygone times of innocence and happiness: Such themes inform a majority of the narratives. Even if the lyrics regularly take a back seat to easygoing arrangements that allow Mirage to come on like a refreshing breeze on a sunny summer afternoon.

Home to three Top 25 singles in the U.S. and having occupied the pole position of the Top 200 album charts for five weeks, Mirage rightfully resonated with the mainstream and attracted listeners on both sides of the pond. And how, via a smart blend of sugary melodies, warm harmonies, interlaced notes, nimble rhythms, taut structures, and passionate vocals. Not to mention the presence of what arguably remains Nicks’ signature song, the biographical “Gypsy,” a meditation on the loss of her close friend Robin Anderson that teems with majesty, mystery, and mysticism — and which gets an assist from Buckingham’s shaded tack piano and richly strummed guitar chords.

Its ranking as an all-time classic aside, that No. 12 hit has plenty of company when it comes to brilliant pop turns on Mirage. On the subject of Nicks, the raspy singer gets a little bit country on “That’s Alright.” Its clip-clopping pace and two-stepping progression complement subtle vocal swells that emerge during the final verse of a tune that is ostensibly about leaving but still conveys forgiveness and grace. And what would a Fleetwood Mac record be without Nicks drawing on the tools of the supernatural — cards, dreams, wolves, and the like — on the twirling “Straight Back.”

Despite the potency of Nicks’ primary contributions, Mirage seemingly unfolds as a tight competition between Buckingham and McVie — and one that ultimately ends in a draw. Buckingham’s salvos include the contagious “Can’t Go Back,” a yearning to time-travel back to the past that’s complete with hall-of-mirrors backing vocals; “Oh Diane,” out-of- left-field ear candy sweetened with hiccupped vocals and salt-and-pepper-shaken grooves; the chiming “Eyes of the World”; and “Empire State,” a delightfully fluttering track whose high-range vocals, lap harp notes, and ringing xylophones hint at the galaxies of sound that would erupt on Tango in the Night.

Then there’s McVie. As elegant, understated, and coolheaded as she’s ever been on record, she pours her heart out on cuts that revolve around her inevitable split with Beach Boy Dennis Wilson. In the process, she punctuates Mirage with a characteristic not always associated with catchy pop music: emotional weight, and the sense of dreaded acceptance in the face of dreams deferred.

“I wish you were here/Holding me tight,” McVie sings over a delicate melody on the album-closing piano ballad “Wish You Were Here.” Though they hoped otherwise, for the members Fleetwood Mac, distance and separation were always close at hand. Believing otherwise, inviting nostalgia, and pretending everything was fine only amounts to a mirage.

Laurin Rinder & W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American Disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius.

During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the Disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others.

Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fuelled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs.

Opening sin “Lust” is an intense, swelling, seven minute blockbuster synth journey. An ethereal Loft/Garage classic, it's a sprawling, brooding slice of epic dancefloor dynamite that remains a firm favourite of discerning disco heads like Harvey. So ahead of its time, it still sounds ridiculously fresh today, drifting through a multitude of melodies over a smooth, lightly percussive mid-tempo beat. A slow-mo sexy killer.

Up next, the sprightly-manic “Sloth” is nothing like its title. A driving, swaggering instrumental incorporating the same Euro-disco elements as our Daft Parisian friends did a few decades on, it's certainly not for the faint-hearted.

A clear highlight, the cosmic, throbbing proto-techno of “Gluttony” gets things firmly back on track. Pure industrial vibes with dark synth bass punctuated by uplifting melodic sequences that brilliantly utilise guitar and horns, is this the sound of Wax! Trax being born? You won't be able to get enough of this.

Opening up the B-Side, “Pride” is a breezy slice of classic late seventies jazz/funk with deft Hammond and clavinet grooves and expansive horn sections. It's absolutely fantastic. The wicked leftfield vocal cut “Envy” provides more disco pump with squelchy acid synth flourishes, funky guitar and neck-snapping percussive breaks.

The dark proto-techno/house cut “Anger” is a fully on top tour de force of drums. With heavy African percussion throughout and a short Afrobeat section towards the end, it was sampled by Carl Craig and Laurent Garnier for their Tres Demented project and was also a massive Ron Hardy / Music Box favourite. The album is rounded out by the hard-grooving “Covetousness”, another driving jazz-funk workout par excellence with liberal use of the syndrum.

As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: “we really had cots, beds and the whole thing, we were just pumpin’ them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer ‘What’s the name of this group?‘”.

Evidently, their prolific output was the result of a crazy cocaine-fuelled production schedule: “The amount of coke we did, to do all this, you can’t even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more.” Looking at the frankly terrifying cover, you'd have never known!

Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The unforgettable cover artwork has been reproduced here at Be With - dare you stare back at it for too long?

Mr. K with two slices of Philadelphia disco, from smooth and slinky on our A-side to all-out floor pounding disco madness on the B.

Janice McClain, rightly adored for her Garage classic “Smack Dab In The Middle” (feat. on MXMRK-2068) but her second single is a real under-the-radar treat. The comfortably laid back groove somewhere between a stepper and simmering midtempo disco, classy and danceable as the finest Philly soul. Originally on a small LA-based label in 1983 (and sounding like it could have come out a good five years earlier), written and produced by McClain’s uncle Milt Tennant and his writing partner Thom Page, the same team responsible for “Smack Dab” — all Philadelphia rooted, so the sound should come as no surprise. Add McClain’s heartfelt and uplifting vocal and we easily have a lost classic. Mr. K’s edit trims the rare 12-inch version down for maximum sonic fidelity for its first appearance in a 7-inch format.

The flip side vibe goes in a completely different direction, although once again has its roots in Philly. The disco remake of the standard “Brazil” was a massive hit for the Ritchie Family in 1975, topping Billboard’s dance charts and getting deep into the Top 20 on the Hot 100. The group itself was a studio concoction led by veteran producer Richie Rome, with legendary trio Sweethearts of Sigma handling vocals — you’ll recognize their trademark harmonies from other huge classics like “Ain’t No Stoppin’ Us Now” and “Love Is The Message", studious listeners will detect a lot of similarities in the vamp section of “Brazil” and “Love Is…” as the MFSB house band launches into their trademark groove. This vamp section is unfortunately truncated on the original 7-inch single, but the always-attentive ear of Mr. K picks this point to begin his edit, starting where the original single faded out and giving us a full four-plus minutes of galloping disco delight.

Two flavors, both as tasty as it gets, all on one compact piece of wax! Another essential addition to your collection.

The Jazz scene pays tribute to one of the greatest artist of all time. This time the IN JAZZ Collection focusses on Paul Mac Cartney with smooth jazz covers of some of the best titles composed by the great Macca !

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.

If the sanguine cedar scent of Cosmic Americana and the bright jingle jangle of Neo-Psych Rock has led you through the last couple of years, then chances are good you’ve had a brush with Silver Synthetic. The members of the New Orleans band ditched the dirtier riffs of their past projects (Jeff The Brotherhood, Bottomfeeders) for a West Coast curl that balanced country twang and honeyed harmonies with a rhythmic stomp that fishtailed through the speakers with glee.

An eponymous full length on Third Man fully distilled the scope of their sound, turning stage-battered ballads and barroom burners into one of 2021’s most promising debuts. They return for a second salvo, honed with a tour-tight symbiosis and some ace drop-ins from southern slingers Luke Schneider (pedal steel) and Rex Gregory (sax, flute). Rosalie finds Silver Synthetic refining their sound, softening their approach, and letting a breeze of ‘70s AOR weave among the country swagger. Between the tanned riffs, the band also balances societal burnout with sunshine, transforming scoffs and sneers into smoke-curled sighs draped in a windows-down aura.

They make their way to Curation Records for the new outing, a welcome home for the band’s sun-streaked Americana, turning ‘Preflyte’ Byrds, JJ grooves, beach-bound Neil, and ‘Water of Love’-era Dire Straits into an album that smooths the seams and steers the listener towards new horizons.

If the sanguine cedar scent of Cosmic Americana and the bright jingle jangle of Neo-Psych Rock has led you through the last couple of years, then chances are good you’ve had a brush with Silver Synthetic. The members of the New Orleans band ditched the dirtier riffs of their past projects (Jeff The Brotherhood, Bottomfeeders) for a West Coast curl that balanced country twang and honeyed harmonies with a rhythmic stomp that fishtailed through the speakers with glee.

An eponymous full length on Third Man fully distilled the scope of their sound, turning stage-battered ballads and barroom burners into one of 2021’s most promising debuts. They return for a second salvo, honed with a tour-tight symbiosis and some ace drop-ins from southern slingers Luke Schneider (pedal steel) and Rex Gregory (sax, flute). Rosalie finds Silver Synthetic refining their sound, softening their approach, and letting a breeze of ‘70s AOR weave among the country swagger. Between the tanned riffs, the band also balances societal burnout with sunshine, transforming scoffs and sneers into smoke-curled sighs draped in a windows-down aura.

They make their way to Curation Records for the new outing, a welcome home for the band’s sun-streaked Americana, turning ‘Preflyte’ Byrds, JJ grooves, beach-bound Neil, and ‘Water of Love’-era Dire Straits into an album that smooths the seams and steers the listener towards new horizons.

Repressed Blood Red Vinyl of NECK DEEP's sencond full lenght proper, originally from 2015. Kerrang!: "Life's Not Out To Get You" is a must-listen for any fan of pop-punk." #31 Greatest Pop-Punk Albums of All Time - Alternative Press: "Neck Deep have solidified their position as one of the leading bands in the new wave of pop-punk. Top 10 Essential Records of 2015" - - NME: "Neck Deep have produced an album that is both anthemic and emotionally resonant." - Rock Sound: "Neck Deep have delivered their most mature and accomplished album to date." #3 on Rock Sounds Top 50 of 2015 Following "Wishful Thinking," with their second studio album, "Life's Not Out To Get You", Neck Deep, released what is easily one of their most career defining albums and one of the largest albums in the pop-punk genre. - Featuring fan favorite songs: "December," "Can't Kick Up the Roots," & "Serpents" - DIY wrote the "full-length feels both quintessential and refreshing, a modern classic_The hooks are glorious, the bounce is addictive and it's a little rough around the edges for good measure." In the little over a decade since Neck Deep formed in the Barlow brothers' spare room in Wrexham, Wales, a lot has changed. From the scrappy, naively hopeful beginnings that define the starting of so many teenage bands, the pop-punks have gone on to be one of British Rock music's most successful global exports in recent memory: top 5 records in both the US and UK, global touring, viral hits and over a billion plays, just some of the fruits of ten years spent mastering their craft. - For Fans Of | Blink-182, Green Day, & State Champs

Soul Station is a masterpiece of melodic improvisation, rhythmic interplay, and emotional depth and showcases Hank Mobley's ability to create music that swings hard but remains accessible and lyrical

The album remains a classic in the jazz canon, essential not only for understanding Mobley's contribution to jazz but also for appreciating the broader hard bop movement of the late 1950s and early 1960s. Released in 1960 it is widely regarded as one of his finest works and a classic in the hard bop genre: Hank Mobley was part of the first wave of musicians who helped shape the hard bop sound, a style that blends bebop with blues, gospel, and R&B influences. Mobley was known for his smooth, melodic playing, and while he didn't receive the same level of fame as contemporaries like John Coltrane or Sonny Rollins, he was respected for his consistency and lyrical improvisation. The album features an exceptional quartet of jazz legends: Hank Mobley, Art Blakey, Wynton Kelly and Paul Chambers: this quartet is especially notable because Mobley recorded with Art Blakey's Jazz Messengers and the rhythm section (Kelly and Chambers) was a part of the classic Miles Davis quintet at the time. Their tight interplay and experience shine throughout the record. "Soul Station" stands out because it encapsulates Mobley's mature, melodic sound and his ability to craft memorable, emotionally resonant music without relying on flash or pyrotechnics. It's a must- listen for any jazz enthusiast, and it's often recommended as a starting point for those exploring Mobley's extensive discography.

Sound the alarm, we’re back! PAGER15 is our first VA since 2020, and it’s a special one— dropping soon with four tracks, four unique voices, and enough groove to shake your neighbor’s picture frames off the wall!

First up, our homeboy Phil Evans, aka "the coach” aka daddy cool, with Chocolate Funk. Imagine warm pads, crispy drums, and a bassline so addictive it should come with a warning. Add his signature offbeat stabs and a swing smoother than the creamy drizzle on kimchi fries, and you’ve got a groove that lingers long after the needle lifts.

Fresh blood incoming! Wavelength Infinity marks the Pager debut of the Parisians Aline Umber & Maxime dB, and they’re making waves. Deep, undulating basslines meet shimmering pads in a hypnotic blend of rhythm and texture. It’s a groove-roller that pulls you in faster than a free drink at the bar.

Flip it over, and California Sunshine Boy Rocky delivers debut number two with Aquatic Maneuvers. Flowing pads and bubbling percussion weave together a lush, evolving soundscape. Organic and intricate, it shifts like underwater currents, with each layer wrapping around you like the warm embrace of an after-hours vibe you never want to end!

And then there’s the Gude-Launebär himself—Markus Sommer, aka Frau Hommer, answering the eternal question: Does it Funk? Spoiler: absolutely. Rolling basslines, sharp percussion, and cheeky melodic twists come together. This is Hommer energy at its peak!

You know the drill: Either you grab it while it’s hot, or you’ll be left watching it spin on someone else’s deck. PAGER15 is calling—don’t let it go to voicemail!

The original track came back in February and proved an immediate hit. Next to the original, versions from the likes of DJ Spen & Gary Hudgins also helped make this a breakout tune in the first quarter of 2021. Now comes the turn of Kenny Dope, one half of Masters at Work, the most seminal house duo of all time. Kenny Dope is an obsessive record collector, studio wizard and all-round musical encyclopedia whose influence on the scene cannot be overstated. He has been involved with numerous projects, from The Bucketheads to running his Dopewax label and never fails to impress.

This new remix from the Brooklynite is a glorious one baked in the sun's warming rays. It's built on a loose, Latin-tinged beat with big chords, expressive xylophone stylings and plenty of irresistible syncopation. The buttery smooth vocals bring the soul up top and help make this a timeless tune that will unite all dance floors. An instrumental mix is also included that strips things back, shows off the track's effortless musicianship, and draws out the beats for extra dance floor impact.

These two vital versions are the sort of life-affirming, and feel-good house sounds the world is desperate to hear right now.

Possessing lyrics heavily focused on political and social justice, inspired heavily by West Coast gang culture and Islam, Da Lench Mob made waves throughout the hip-hop scene when they first appeared on the track "Rolling With Da Lench Mob", off Ice Cube's famed 1990 solo record AmeriKKKa's Most Wanted. Initially, the titular "Lench Mob" of the track namesake referred to Ice Cube as well as the other participating rappers, but J-Dee, Shorty, and T-Bone would adopt the name for their own in time. Their standout appearance on the Ice Cube track would earn the trio critical interest, (as well as shout-outs on Ice Cube's 1991 follow-up Death Certificate) and generate palpable anticipation for a studio album of their own. Guerillas In Tha Mist, their 1992 debut record, was recorded in the wake of the Rodney King riots, taking its name from infamous comments made during the riots. The record was uncompromising and confrontational in its depictions of urban decay and an unjust system wreaking havoc on an economically disadvantaged Black population. It was starkly realistic (bordering on abrasive) in the content of tracks like the armed revolution-advocating "Freedom Got An A.K.", the kill-your-idols style of "You And Your Heroes", and the anti-pusher anthem "All On My Nut Sac." These harsh manifestos were made all the more smooth via Ice Cube's jazzy G-funk and Bomb Squad-influenced production, which sampled heavily from classic songs by Parliament, Kool & The Gang, The Incredible Bongo Band, and even Vangelis. Cube himself would make guest appearances throughout the record, as well as an appearance by B-Real of Cypress Hill on the track "Ain't Got No Class." Guerillas In Tha Mist was a Billboard success upon its release, reaching #24 on the Billboard 200, and rendering rap radio hits out of its title track and "Freedom Got An A.K.", but Da Lench Mob would fall into obscurity over the years, eventually going their separate ways after creative differences, financial rifts, and the life conviction of rapper J-Dee for suspected murder in 1993. Despite their loss of commercial fortunes, Guerillas In Tha Mist would develop a strong reputation as an unheralded gem among hip-hop heads, and would be considered one of the great lesser-known releases of the era among critics (in 2018 Complex would declare the title track as one of the 100 Best L.A. Rap Songs). Decades after its initial release, and in tribute to the memory of Da Lench Mob member Shorty, who passed in 2019, Get On Down now presents an exclusive LP reissue of Guerillas In Tha Mist, which previously was only released officially on wax in Europe. The LP is pressed on a deluxe Green and Orange Splatter-colored vinyl, and features remastered audio and a painstakingly recreated full color jacket.

This new 12" on US label Season Limited brings together two of deep house's most accomplished and tasteful names in French legend Franck Roger plus Arnold Jarvis who he last collaborated with in 2007, while UK mainstay and Freerange label boss Jimpster remixes. It is one the label has been cooking up for a while but proves more than worth the wait. 'Living My Life' is the one original collab and is smooth, buttery deep house with lush vocal tones. Jimpster brings a little more bounce and a fat bassline on one mix, then dubs things out to prefect for the second. A timeless set of grooves that will level-up any collection.

Grammy-nominated artist, producer and label-head TOKiMONSTA and prolific composer, producer and songwriter, Suzi Analogue have officially released their collaborative mini-album, Analogue Monsta: BOOM via Young Art Records. Originally released in limited quantities exclusively on vinyl in 2012, the 11-track project has now been remastered. Analogue Monsta: BOOM serves as a time capsule to the eclectic sound of the early 2010’s beat scene, which both TOKi and Suzi’s futuristic production styles helped champion out to a broader audience outside of the world of “bedroom producers.” Suzi Analogue's smooth R&B vocals pair perfectly with TOKiMONSTA's glitchy beats and pulsating bass, demonstrating their versatility and flair for pushing sonic boundaries. The album lays one of the early foundations to the fusion of future bass, alternative R&B and electronica, highlighting the pioneering spirit of two acclaimed female artists.

Analogue Monsta: BOOM marks an important milestone for the two as they reflect on the prescient nature of their early collaboration. “This special project with Suzi Analogue is one of my favorites. It never had a formal release so it feels right to share it with the world a decade later with fresh ears,” states TOKiMONSTA. Both Suzi and TOKi’s journeys converged early in their careers as the two paved the way for a groundbreaking era of femme-identifying producers and songwriters within the music industry. Speaking on the project’s significance Suzi Analogue adds, “​​The Analogue Monsta project was truly ahead of its time. We felt a strong calling to propel it into the future, recognizing the trailblazing potential it held. It provided a vital space for femme-identifying producers and songwriters to fearlessly explore beats, lyrics and tempos with us. This experimental journey not only influenced the current musical landscape but is poised to leave a lasting mark on the soundscape of the future."

The result is a record that very much is its own world. Where chaos is carefully organized, where being able to ever actually chill out is totally illusory, a trick mirror.

Repress!

Glitterbox resident Dimitri From Paris and remixing pioneer Tom Moulton present their retouched mixes of Ron Hall & The Muthafunkaz modern day soul classic 'The Way You Love Me' now available on 12' vinyl. Initially released in 2006, Marc Evans provides velvet-smooth vocals complimented by background harmonies and timeless disco production. For his iconic T.S.O.P. remix Dimitri From Paris enlisted the help of Salsoul Orchestra founder Vincent Montana, Jr. for fresh strings as well as a new full orchestra arrangement in his version, and here he gives it an update with his previously unreleased 'Dim's T.S.O.P. Version - Dimitri from Paris Glitterbox Retouch'. Tom Moulton's retouched sweet-sounding 'Philly Re-Grooved Remix', previously released on Harmless in 2013, comes laden with guitar riffs, dreamy harps and xylophone for even more instrumental glory. Two disco legends come together under one stunningly soulful Glitterbox release leasing new life into this timeless record.

Reissue of the 2nd full length by Thomas Bücker aka Bersarin Quartett.

“It's rare that I'm able to give an album my fullest recommendation without trepidation. (...) Bersarin Quartett is one such album. There's nary a misstep, every potential danger has been avoided and smoothed out to present the optimal audio experience for your dollar. (...) Something this good can't possibly be real." The Silent Ballet (8.5/ 10)

Almost all reviews concerning Bersarin Quartett’s self titled debut album from 2008 chorused this paean. In 2012 he returned with his long awaited 2nd album called “II”. After turning Bersarin Quartett with two befriended guest musicians into a band project in 2011 and some successful and interesting live experiences in several countries it was time to bring the fragments of songwriting of the past years together to a new 13 tracks journey. Someone mentioned “This music could be written on a lonely island or onboard of a spaceship looking on our planet. Time becomes a new unit and feelings become more weight.” That’s exactly the feeling Bersarin Quartett "II" delivered. References to Stars Of The Lid, Ulver's Perdition City, Bohren & Der Club Of Gore and Cinematic Orchestra are fully justified.

Slam poetry, rap battles, singing, song writing and drumming. The hit album “Say Yes” by Iyeoka is now being released as a high quality vinyl version (180 g) in gatefold. The YouTube hit “Simply Falling” received over 216 Million clicks.

Iyeoka (read: ee-yo-kah) is well versed in many expressive arts, but in essence she is a storyteller and poet. "My goal is very simple", says the US Nigerian American, "I want to move the world, one poem at a time". She does this enchantingly well with her album "Say Yes (R)evolved". In poems set to music Iyeoka Ivie Okoawo (her full name) reveals herself to be a strong, self-confident woman of the modern world. She tells tales of love and relationships in the 21st century and philosophizes about the daily struggle of life and being a woman in a post-feminist world digging deeply and personally into her African roots.

Musically Iyeoka handles expertly a wide variety of styles from electronic soul "Break Down Mode" to technofied R'n'B "Broken Hearts Anthem (Walk Away)", from energetic dance inducing grooves "The Yellow Brick Road Song", to a more jazzy "Happily Ever After", from melodic soft rock "Say Yes", to pop "Soundtrack to Life" and reggae "Testify". She certainly has presence and shines out with a silky smooth elegance reminiscent of Sade "This Time around", "Simply Falling". This woman has real all-round talent, and she knows how to use it!

Drivetrain, a.garcia & M.Kretch are techno monsters. Our music is what we eat, sleep, and drink. Our passion is our uncompromising style. This E.P. is a dedication to those artists that know and bet on themselves.

Cryovac #29 starts off the A side with Drivetrain’s 3am; an electro bass smoothie that claps waves of funk to warm a sexy spine. Track 2 “Discipline” is a dark fantasy, slapping bottom bass breaks pinch and twist synth to climax receding into an afterglow of rhythm.

Garcia and Kretsch open the B side with an epic tale of lost souls howling behind a spiritual synth devining a path for rocking minimal percussion progression. It is a heart felt yearning that rocks through pain that defines this track’s soul. B2 squeaks into a raucous groove of rhythms acting as one and defining themselves throughout a deforming heroic classic techno stomp.

MC Fats was a beloved figure in the drum and bass community, known for his smooth vocals and infectious energy on the mic. With a career spanning over two decades, he collaborated with some of the biggest names in the genre, including DJ Hype, Calibre, Alix Perez, and of course the multi genre chart topping Chase & Status!

Sadly, MC Fats passed away in March 2023, leaving behind a legacy of incredible music and unforgettable performances. But his influence lives on, and his music continues to inspire and uplift fans around the world. One of MC Fats' final releases is a new single called Anytime, in collaboration with Drum and Bass legend and producer partner Cool Hand Flex.

As one of Suburban Base original artist roster we were delighted to welcome them ‘back home’, and Fats was excited to see the reaction and plays the Anytime was already gaining. Having discussed with Flex, his dear friend and long-time collaborator, we together feel that it's appropriate that this release goes ahead as a tribute to our brother.

The track features MC Fats' signature soulful vocals, layered over Flex's classic jungle beats and modern production techniques. The single also includes an incredible remix from up-and-coming producer FreezeUK, adding a stunning version to the package which is already gaining maximum play nationwide.

Anytime is a testament to MC Fats' enduring talent and passion for Drum and Bass music. It's a reminder of the joy and energy he brought to the scene, and a tribute to his unforgettable voice and spirit. As we mourn the loss of MC Fats, we celebrate his incredible legacy and the impact he had on the Drum and Bass community.

His music will live on, inspiring new generations of artists and fans alike. Don't miss your chance to own this essential piece of Drum and Bass history - pre-order your copy of ‘Anytime’ now, and join us in celebrating the life and music of MC Fats.

ANYTIME will be released on vinyl & digital formats April 2023

Russian vinyl botherer and producer DJ Vadim has pulled in some serious reggae talent on his 11th album.

It all kicks off with a double whammy of Demolition Man’s classic pipes on the rootsy Fussin N Fighting and the dubby Sometimes, featuring Inja shouting out to the people struggling to rise from dark situations. The mariachi trumpet, married to the smooth chorus vocals, provide a subtle counterpoint to the rapper’s imploring flow. Sultry dancehall’s the order of the day for Call On Me, with Eva Lazarus pushing out a proper earworm of a chorus that plays beautifully off the Jamaican-accented Brummie spit of Serocee. Three tracks in, and Vadim’s already traversed several decades of musical development whilst keeping the narrative pleasingly consistent.
Murder Murder channels the spirit of Damian Marley for a politically-charged reggae hip hop rampage, then the unmistakable voice of Max Romeo pops up on Judgement, a fire and brimstone cut in the great tradition of such offerings. It also showcases one of the main themes of this release: the bringing together of cultures and musicians. Abstract Rude and YT provide rap responses to the veteran, with the production lightly upgrading the familiar sonics with a few echo-electro flourishes here and there.

With the release of Love (the) Ominous World, Blu & Exile have returned with an album that brilliantly builds on their soulful, reflective foundation with stunning musicality and sharp songwriting. Their shared history as one of hip-hop’s best duos continues to grow, especially as they venture into new territory while embracing and refining what made them special.

“This album is our most unique work to date,” Blu says. “We took a different approach with the direction while still staying true to the culture our music has built with our fan base.” That direction is one that finds the two California natives crafting records that would sound right at home on the radio and hip-hop charts. Like “Suga & Butta,” for example, which features recent Def Jam signee Rae Khalil and rising star Ahmad Anwar. Every element of the track is as sweet and smooth as its namesake, from the lyrics to the production. There’s also the raw G-funk banger “Chucks,” a snarling collaboration with West Coast stalwarts KXNG Crooked and Kurupt.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings

Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.

" Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson´s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus.

But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment."

While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha.

Over the past decade, she´s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson´s 2016 breakout single "Work." Additionally, she´s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there´s no sound Wilson can´t adapt to and sprinkle her cyan-colored magic over.

Analog cut from "Lovers Covers J-Pop 2", a reggae cover compilation of J-Pop hits.

Side A is a reggae cover of Judy and Mary's "Sobakasu,"(1996) which was used as the first opening theme for the anime Rurouni Kenshin and reached number one on the Oricon Singles Chart, sung with an ennui voice. Side B features R-Crown's smooth and touching R&B rendition of Every Little Thing's classic song "fragile" (2001), which was the theme song for the romantic variety TV show Ainori.

Soul Crooner David A. Tobin is no stranger to the game. The singer, songwriter and one of the Cool Million vocalists was born and raised in the NYC neighbor state New Jersey aka Brick City, which ever since had a massive influence on the US music scene. “Fallin’ in Love” already became a global pushed radio banger and features a classic Soul vibe that elaborates the strong connection of David A. Tobin and Rob Hardt as a songwriting team. Deep and truthful vocals embedded in a grooving and shiny production that will warm hearts and touch souls. The double AA-side “Turnin’ Me On” complements this release and is no less a radio smash and is a smooth up-tempo dancefloor compatible classic Soul tune. This new release on SEDSOULCIETY RECORDINGS is an unreleased exclusive full cover vinyl 45!

Music To Varnish Owls By. Does Geoff Bastow have a claim for the best album title of all time? It's certainly up there. It's also one of the hardest to find library funk records. But don't let the eye-catching name fool you into thinking this isn't serious business.

As a key member of Giorgio Moroder's team, the legendary Geoff Bastow shouldn't need any introduction. You'll be familiar with his singular brilliance as the brains behind the much-sampled boogie/disco classics "You Don't Like My Music (Hupendi Muziki Wangu?!)" and "Don't Stop", released by his group, K.I.D.

But 1975's Music To Varnish Owls By is where it all began for our hero.

It's packed with incredibly soulful, soothing music that - despite being utilised a few times by Knxwledge - remains still largely un-mined. So, beat-makers, get cracking. And instead of that hyper-rare original, spend that £300 on something else.

Born in 1949, Bastow was a Munich-based English songwriter and record producer. Originally working as a guitarist and pianist in dance bands around his home county of Yorkshire, he moved to London in the early 1970s and then Munich in around 1976. He was one of the main architects of the Munich disco sound of electronic innovator Giorgio Moroder and also released heaps of killer library records for legendary labels like Bruton (with brother Trevor), Impress, JW Music Library and the Munich-based Sonoton between the 1970s-2000s. Bastow died tragically young, in Berlin, Germany on 16 March 2007, at the age of just 57. But he left behind a truly incredible electronic music legacy. He deserves to be much better known and this reissue should bring him to a fair few more ears. Let's see why...

Light-hearted opener "The Rough With The Smooth" contains a killer open drum break and is basically guitar-drenched flute-laced piano-funk. However, the first genuine highlight, "Beautiful People", is just majestic. Reflective, pastoral and silky smooth - as the title suggests, it's just straight beautiful; a chiming, deeply soulful instrumental that has to be heard to be believed. Sampled by Knxwledge but nobody else of note, which is crazy. Slo-mo soul beat "Tumbleweed" is another stone cold track just desperate to be laced by a skilled MC. Laconic, lysergic funk with nostalgic overtones, the guitar is prominent but the flute and glock really elevate it to perfection.

"Bits And Bats" is clav-enhanced Blaxploitation-esque street-funk with tough bass and crunchy drums that, despite its hardness, manages to flirt with breeziness. All in all, sumptuous, pounding wah-wah brilliance. Another huge one, up next. The insistent piano-funk head-nodder "A Change Of Pace" is a total sleuth-funk jammer, with a wonderfully soft snare and more hypnotic, melancholic flute lines. Man, we'd love to hear Alchemist chop this up. It even sounds a bit like Bastow was keeping things thoro with this one. Closing out Side A, the bright and breezy Bossa of "Janelle" makes it a perfect run of six untouchable gems. As elegant as it is sleazy, it sounds like it could've been on the classic KPM greensleeve, Piano Viberations.

Side B opens with the Ramsey Lewis-inspired "Time And A Half", a deceptively simple bass, drums and piano workout, decorated with stylish percussion with some great chord changes and hints of drama via a great bass solo. The heavy "Supersplash" is a doped-out drama suite with fuzzy wah-wah guitars, electric piano and glock. "Fillet Of Soul" is a catchy wah-wah propelled shuffle with piano and vibes, super dynamic but also incredibly chill.

"Well Above Average" is exactly that, a funky instrumental that serves as a straight ahead guitar-soul workout. Oozing bass-driven class, it gets better with every listen. Some open drums for your delectation, too. The fuzzy clav-and-vibes funk of "The Clan" - also understandably sampled by Knxwledge - is a monster head-nod slow jam whilst, seeing us out, the uber-relaxed "Sing Song" rounds things off in bright fashion with its slow but insistent clav, electric piano and glock greatness. Swoon.

As ever, the audio for Music To Varnish Owls By has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Emilia Sisco's debut album on Timmion Records, "Introducing Emilia Sisco", takes you on a smooth ride in the world of vintage soul, featuring 10 beautifully crafted original songs written by Sisco in collaboration with the renowned Cold Diamond & Mink band. The album showcases this young talent's unique ability to blend classic soul influences with contemporary flair, building mesmerizing harmonies by layering her voice, and through these channeling a sound that is both timeless and fresh. From the opening track "Say Yes" - grooving like an independent gospel soul jam that somebody discovered in dank Midwest cellar - to the closing "Secretly," each song is a testament to Sisco's deep connection to the emotional core of soul music. As one of the album's highlights, "Don't Let Nobody," stands out as a sweet anthem of love and encouragement for your fellow human. With its heartfelt lyrics and Sisco's gently floating vocal performance, the song displays the essence of the album_soulful, sincere, and deeply moving. The Cold Diamond & Mink band provides lush, downtempo arrangements throughout the record, perfectly complementing Sisco's voice and bringing her compositions to life with a rich, organic sound. In "Introducing Emilia Sisco" the singer's signature style of downtempo soul shines brightly, offering listeners a blend of introspective ballads and uplifting grooves. After her string of exquisite and well-received singles on Timmion, this album documents the impressive progress of a formidable new voice, one that is sure to resonate with fans of classic and contemporary soul alike.

The sudden and unexpected passing of one of NYC’s cornerstone producers has inspired a double A Sided sophomore offering of the Tribute Series. This time, the A Side takes you down Player’s Lane with a memorable twist on this mafioso masterpiece. Those funky stabs instantly hit you alongside that kick ass beat to create yet another essential bit for DJs and collectors alike. The AA side beams you sky high, with a notorious blend of a true Big Apple classic. The smooth lead vocal runs effortlessly into the rhymes of Brooklyn’s finest and gives hip hop heads a real delight for their cases and bags. R.I.P

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo "exploration of visionary California."

Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band's lushest and most elevated creations to date: Time Enough For Love. Inspired by the "groove and mood" of Harry Nilsson demos, as well as its wider 70's wavelength - Rhodes, Wurlitzer, wood paneling - Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo's smoothest and most multi-sensory voyages. "Sail Across The Moon" delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. "Messengers" echoes the cosmic lounge of Air's Moon Safari, shuffling, weightless, and ethereal, while "Falling Deep" reaches for the stars, pure cascading bliss, the ecstatic moment writ large.

The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. "Like A Grain Of Sand" opens with a spoken sample by the celebrated late American poet Rachel Sherwood ("The children watch, breathless / with the birds / They feel an emanation / from this shuddering place"), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the "life enhancing" nature of the band's time in Los Angeles - sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city's mystic sprawl glittering beneath purple dusk.

The classic X-Static EP gets the remixes treatment from three huge talents in the scene: When released, Murderous Style was way ahead of its time, and these remixes bring showcase its strengths as both an early jungle track and old skool rave masterpiece.

Danny Styles, one of the original jungle dons, gives us a smooth and deep remix, with lush basslines and rolling breaks. Dj Terrace takes a ruffer approach with a remix that leans into the harder side. Meanwhile, Kniteforce regular Paul Bradley smashed a more stab laden remix of Ready 2 Go, a track that leans more uplifting than jungle but still takes no prisoners!

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2006’s ‘Starless And Bible Black Sabbath’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what "Brainwashed" had to say upon it’s original CD only release back in 2006 …

“The title track is the meat of the beast, beginning with a minute of booms and gongs reminiscent of a thunderstorm before launching into some slow, heavy Sabbath-esque riffs. Squealing guitar and synth effects accompany the vocals of bassist Tabata Mitsuru, whose voice captures some of the sound and feeling of Ozzy's more than it does the melody. The pace is slower than most AMT fare, but things speed up considerably around the eight and a half minute mark. The group convincingly imitates the Sabbath guitar sound here and the rhythm section is particularly tight, giving listeners something on which to hang their ears or even providing them with a chance to gasp for air during Makoto's guitar explorations. Around the sixteen minute mark, everything comes to a wailing halt before the band returns to the dirge-like tempo that started the song. This pattern continues for the duration of the piece, until a couple of minutes before the ending, when the group makes a smooth transition to acoustic guitar and processed vocals to cool down.

Clocking in at nearly thirty-five minutes, the length alone may tax some listeners. However, the second track, "Woman From A Hell, "provides relief, which with a running time of six minutes is uncommon in the Acid Mothers canon for its brevity. This one condenses many of the ideas of the title track, and accomplishes much of the same evocation of Sabbath, but with the vocals in a more prominent role. The disc comes full circle, ending with thunderstorm sounds much like theones which started the album. Though the title track could have been shortened and perhaps an additional track included, this album remain some of the group's more accessible releases in some time and should please fans old and new alike.

According to the group's website, Makoto is reviving the Melting Paraiso U.F.O. line-up after a year of recording and touring with the Cosmic Inferno. This is a shame of sorts, since the Cosmic Inferno infused a much-needed vitality to the group that it had lacked since the departure of vocalist Cotton Casino. Yet the reformed Melting Paraiso U.F.O. has the potential to be even better since, if anything, Makoto seems to be the Mother of Reinvention.”

Acid Mothers Temple & The Cosmic Inferno are: Tabata Mitsuru - Bass, Vocal, Maratab - Hiroshi Higashi - Synthesizer, Dancin' King - Shimura Koji - Drums, Latino Cool - Okano Futoshi - Drums, God Speed - Makoto Kawabata - Guitars, Speed Guru

Tenderlonious follows up his essential 'Tek-88' EP with three deep, dream house tracks that nod to mid-90s Larry Heard and smudged, jazzy beatdown vibes in a Theo Parrish/Rick Wilhite/KDJ style - only 200 copies available on 12" vinyl, in a hand-stamped sleeve 'Underworld' kicks things off on side A with a ten-minute deep house journey filled with classic sounding synth leads and sweeping strings, held together by rolling 808 drums. This one is a sure-shot winner for the dancefloor. Side B starts with 'Wild Horses', with clapping 808s, a smooth bass line and lush analogue pads that clear the decks for a touching piano solo. Side B finishes up with 'Ur Love', influenced by the noughties London club scene. Rolling drums intertwine with an arpeggiated piano line, which builds to a slick lead solo.

For Moxy Muzik’s 6th birthday, we’re excited to present Moxy Editions 008—a collection of tracks that perfectly encapsulates the label’s signature sound.

The first track comes from none other than Detroit techno pioneer Stacey Pullen. Darius Syrossian, Moxy's founder, has been a fan of Stacey since the '90s, and this track captures the essence of Moxy’s vibe: techno energy infused with disco and house influences. This track was a peak-time staple in Darius’s sets all summer, igniting dance floors from DC10 and Amnesia to festivals across the UK and Europe. The buzz is palpable, with daily requests flooding in for the track ID whenever a clip surfaces on Darius’s social media.

Next, Darius brings his own twist to Audiojack’s “Get Down,” capturing the spirit of DC10’s late 2000s terrace sound. Tribal percussion, a deep groove, and a massive drop make this remix a dance floor weapon. Videos of this track’s electric energy have surfaced from epic nights at KOKO London, Space Miami, and Solid Grooves DC10, showcasing its undeniable impact.

Kicking off the B side Vincent Caira contributes a refined US house and garage track that’s bound to resonate with purist house heads. This sophisticated production by the Canadian producer is as smooth as it is engaging—a true gem for those who appreciate the finer details of house music.

Rounding out the release is a track by Buckley, the legendary Back to Basics DJ from Leeds. This one’s a tribute to the old-school Todd Terry sound, perfect for fans of classic, raw house beats. If you’re into that vibe, this track is sure to hit the mark.

This collection brings together iconic artists and authentic sounds that will resonate with Moxy’s long-time fans and newcomers alike. Enjoy the journey!

Indulge in the smooth vibes of Luke Beats' latest album, 'Cream', dropping now on Little Beat More.
Inspired by the Italian saying 'ci sta una crema' ('as good as cream'), which indicates the utmost satisfaction, this work is the perfect dessert for your musical gluttony, kneaded by the skilful hands of Luke Beats for all hip hop lovers. In a world where the saying 'Cash rules everything around me' (once again: C.R.E.A.M!) still resonates loudly from the days when Method Man and the Wu-Tang rapped it, the love and passion for music can continue to shine.
With nods to sounds that have defined this genre in its origins, especially in the melodic and synthesiser parts, 'Cream' blends tradition and novelty, love for the classic and curiosity for the contemporary, creating a dreamy, mellow atmosphere that takes listeners on a creamy journey.
The 18-track album features the collaboration of drummer Federico Romeo on '404 Fun 4 Days' and guitarist Danny Bronzini on 'JamDilla', while Luke Beats himself played bass parts on 'P.T.H', 'JamDilla', 'Cookin' and 'The D'.

Once again, Matteo Baracco's artwork adorns the EP, with a closed but squashed tube of tempera, which perfectly complements the nostalgic yet fresh sounds within, telling of an approach to production and beatmaking still anchored in the “old school” sound craft principles in which getting one's hands dirty is the prerogative needed to shape a sound that is personal and respectful of its history.

A further tribute to the golden era of hip hop is provided by the format of the release, in an iconic timeless audio cassette to dust off your ghettoblaster!

First Word Records areproud to present a new double-AA sided collaboration from K S R and Konny Kon (Children of Zeus) - 'Part of the Plan / Faded from the Jump', available on 7" vinyl and digital.

Two of Manchester's finest r&b ambassadors, the duo team up for two tracks displaying very different styles of soul music.

'Part of the Plan' has a timeless classic feel, nodding back to the likes of Stax and Atlantic, akin to the contemporary sound of Daptone artists like Jalen Ngonda or Thee Sacred Souls. Waves crash on the dock of the bay, with [ K S R ]'s soulful tones and Konny's laidback production (accompanied by Son of Zeus, Tyler Daley on the backing vox).

'Faded from the Jump' is another three and a half minutes of bliss, taking on a sound that's more signature to the duo's previous work, individually and collectively, sitting somewhere between future r&b, neo-soul and classic Manny street soul. [ K S R ] again takes the lead on this smoothed-out cut, with Konny behind the boards on production.

[ K S R ] hails from Moss Side and has been steadily building a strong rep for himself over the past few years with a slew of releases, including an EP and several singles via First Word. He was named "R&B act to watch" by Complex, and hand-picked by Mahalia to perform an event she curated personally at London's Jazz Cafe. He's toured with artists including Pip Millet, Etta Bond, Mica Miller & The Mouse Outfit, and also collaborated with various d&b artists, such as Zero T, Lenzman, Searchlight and Makoto. Music aside, [ K S R ] has also been creative ambassador for New Balance, Foot Locker, Nike, Size? and Manchester United.

Konny Kon is best known for being one half of hip hop soul duo, Children of Zeus. With performances for Colors and Soulection, and support from peers Jazzy Jeff, Jazzie B, Loose Ends & countless others, Children of Zeus have released two highly-acclaimed albums and two EPs on Worldwide Award winning-label, First Word. Additionally to writing, performing and producing, Konny is a formidable DJ, hosting a popular monthly show on NTS Radio, and performing at numerous events; most recently supporting Mercury Award-winner's Ezra Collective at every date on their European tour, culminating in a show with Children of Zeus at Wembley Arena, London.

Both artists have had wide support across the board from numerous tastemakers, including 1Xtra, BBC Radio 1, BBC 6 Music, Rinse, Represent, Unity, Mixmag, Notion, Hypebeast and tons more. The duo have previously collaborated on 'All on You' (from the CoZ album 'Travel Light') and single 'CGWY' (from [ K S R ]'s EP 'Peace + Harmony').

This single showcases the vocals of [ K S R ] and the production of Konny Kon to a degree that exudes pure quality and class, exemplifying the power of modern British soul music.

'Part of the Plan / Faded from the Jump' is released on 7" vinyl and digital, 22nd November 2024.

Deep Inspiration Show stands for quality deep house, returning with “One More Wax” as part of their international artist series. Zarenzeit (Zürich) featuring Roger Versey (Arkansas) opens with “So Smooth,” offering rich keys, a sensual bassline, soulful loops, and dynamic vocals. Next, Melchior Sultana (Malta) delivers “Nothing Like It Seems,” featuring silky chords and a shuffling house rhythm, perfect for late-night vibes. On the B side, Jan Kincl (Zagreb) brings “Sugar,” blending house and cinematic disco over organic drums. Finally, Barcé (Spain) closes with “Stigma,” fusing Deep House and Techno into a melodic, rejuvenating experience. These 4 tracks offer deep house fans an exquisite selection, bringing them closer to perfection.

London-based DJ and producer Steven Julien’s career has always been about contrasts. Across a decade of releases on labels including Eglo and his own Apron Records, as well as club sets around the world, he’s consistently mixed light and dark, soft and heavy, yin and yang. From rough-edged house and techno to laid-back soul and boogie, or meditations on his familial and musical heritage with 2018’s Bloodline LP Julien’s music has always moved between moods, styles and emotions.

That eclecticism also defines Julien’s upcoming instalment in !K7’s iconic DJ-Kicks mix series. Featuring a broad spectrum of artists including Ryuichi Sakamoto, DāM-FunK and Todd Edwards, alongside a selection of his own exclusive productions, Julien takes us on an imagined journey from day to night: from a bucolic afternoon in nature to heady domestic vibes before a big night out, and finally the euphoric embrace of the dancefloor itself.

Julien describes his creative approach to DJing in general, and this mix in particular, as letting his energy and intuition guide him - it’s only on listening back to the finished session that he realised how often he mixes tracks in key, creating smooth transitions from one moment to the next.

That instinctive approach, where seamless mixing becomes second nature, speaks to Julien’s decade of appearances in DJ booths around the world: he cites sets at Ormside Projects in London, Doka and De School in Amsterdam, or Mitsuki in Tokyo as specific inspirations for this mix. Julien describes the feeling he’s tried to capture on tape as an out-of-body energy: just letting loose, and being yourself. “When you get in that position of doing what’s true to you, playing what’s true to you” he says, “people just resonate with that.”

Emilia Sisco's debut album on Timmion Records, "Introducing Emilia Sisco", takes you on a smooth ride in the world of vintage soul, featuring 10 beautifully crafted original songs written by Sisco in collaboration with the renowned Cold Diamond & Mink band. The album showcases this young talent's unique ability to blend classic soul influences with contemporary flair, building mesmerizing harmonies by layering her voice, and through these channeling a sound that is both timeless and fresh. From the opening track "Say Yes" - grooving like an independent gospel soul jam that somebody discovered in dank Midwest cellar - to the closing "Secretly," each song is a testament to Sisco's deep connection to the emotional core of soul music. As one of the album's highlights, "Don't Let Nobody," stands out as a sweet anthem of love and encouragement for your fellow human. With its heartfelt lyrics and Sisco's gently floating vocal performance, the song displays the essence of the album_soulful, sincere, and deeply moving. The Cold Diamond & Mink band provides lush, downtempo arrangements throughout the record, perfectly complementing Sisco's voice and bringing her compositions to life with a rich, organic sound. In "Introducing Emilia Sisco" the singer's signature style of downtempo soul shines brightly, offering listeners a blend of introspective ballads and uplifting grooves. After her string of exquisite and well-received singles on Timmion, this album documents the impressive progress of a formidable new voice, one that is sure to resonate with fans of classic and contemporary soul alike.

One of the Most Exhilarating Live Albums Ever Released: Santana’s Lotus Documents 1973 Performances Distinguished by Passionate Soulfulness, Chemistry, and Inventiveness

Mobile Fidelity’s 180g 33RPM 3LP Set Features Reference Sound and Deluxe Trifold Packaging Faithful to That of the Original Japanese Import: Strictly Limited to 5,000 Numbered Copies, Includes Four Photo Inserts and Two Fold-Out Posters

The bizarre legacy of Lotus transcends its status as both the definitive onstage document of Santana’s career and one of the most spectacular live albums ever released. Originally issued in 1974, the triple LP contains exhilarating performances of the band recorded at two shows in early July 1973 at the 2400-seat Osaka Kosei Nenkin Kaikan concert hall. It bears witness to the eight-piece collective playing with a chemistry, inventiveness, cohesiveness, and soulfulness no other Santana lineup would ever surpass. Featuring seven previously unreleased tracks as well as remarkable renditions of material from Santana’s first four albums and the Carlos SantanaJohn McLaughlin collaboration Love Devotion Surrender, Lotus simultaneously suggests and inspires, dreams and delivers.

Transferred by original engineer Tomoo Suzuki, strictly limited to 3,000 numbered copies, and housed in deluxe trifold packaging faithful to that of the original pressing, Lotus benefits from reference audiophile treatment on Mobile Fidelity’s 180g 3LP set. Featuring rich tones, smooth dynamics, excellent separation, deep soundstages, and involving presence, this reissue pays tribute to both the virtuosic lineup and the magnetic fusion of Latin- and Afro-Cuban-influenced jazz, rock, psychedelia, R&B, and blues. The complexity of the spiritual passages, demands of the crescendos, delicacy of the calm transitions, electricity of the solos: everything is rendered with superb balance and free of the harshness, compression, and fatiguing peaks that would otherwise distract from the presentations at hand. Black magic, indeed.

Repress!

You know it's going to be a heavy record when DJ / collector Mr Thing asks you to keep a look out for a copy on your next digging trip to Brazil. Add on top of that, being sampled by Madlib on the track 'Curls’ on his Madvillain album!

Taken from Waldir Calmon's 'Waldir Calmon E Seus Multisons' album on Copacabana (1970), from looking at this unassuming record cover featuring a middle-aged man sporting an impressive pair of glasses you wouldn't expect it to become the fabric to one of the songs from the iconic 'Madvillain’ album. But… like many things in life, you shouldn’t judge a book by its cover. 'Airport Love Theme’, like its name suggests, falls into full-on lounge territory. It’s feel-good music made to be the soundtrack for a utopian world that never really was. Yet behind the silky-smooth groove is an addictive earworm waiting to be heard.

'Afro Son' taken from the same album, pushes things in a different direction towards a sound that is more firmly rooted in the Brazilian tradition. This quirky 60's-breakbeat-funk groove is reminiscent of French artist Jean Jacques Perrey's 'E.V.A.', also from 1970, in its melody and backbeat, where the Moog synthesizer of Perrey is replaced with a more orchestrated sound by Calmon. This track is magical, cinematic and breakbeat-laden with a hidden unknown exoticism.

Waldir Calmon had an active career in music working from the '50s right up until his passing in 1982. His career started early, forming his first ensemble at the age of fourteen, originally working in bands in nightclubs and writing jingles. He progressed in the early '50s to a long-running career working in television. In addition to his television work, he had success with his recording vocation, mixing in the same musical circles as greats such as Tom Jobi, João Gilberto and Doris Monteiro.

• Next installment in BRAZIL 45 Series.
• Sampled by Madlib on the track ‘Curls’ from his ‘Madvillain’ album.
• Quirky, cinematic, breakbeat-laden exoticism.