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The Samosa label gets its Re-Funk Head on once again with Part 2 of the exciting sonic laboratory project.

Opening this outrageously good EP are Samosa alumni Dirty Elements & Drunk Drivers feat E.M.E and their all-powerful and energy blasting ‘Disco Ball’ – a track that never even attempts to hide its sassiness. The brass ensemble fanfare (which is truly one of the best disco riffs in the known universe) acts as a victory parade through Samosa City – all tickertape and confetti raining down on smiling faces. A serious, serious groove which has featured in sets by Art of Tones on his Ultimate Mix Show for Glitterbox Ibiza and by Folamour in his Amsterdam gigs in March 2024.

Track 2 is respected Italian Maestro, Moplen and the wonderful ‘Ain’t No Doubt About It’. There’s an immediate dance floor lure to the disco beats and bongo rhythms here. Take a good helping of ‘pew-pew’ laser bolts, cow bells and hand claps; add a masterful bassline and you have some serious, serious disco business. You could be sipping evening cocktails in Club Coco Bongo or taking in a beach at sunrise - this track would make you want to dance regardless.

On the B-side the disco theme continues with the most aptly titled ‘Sexy Thing’ by Jazzyfunk. At 122bpm, this heads quickly into soaring, heavenly strings and punchy bassline territory, enveloping your ears like a warm duvet. The melody is a dance floor dream – it demands that you join the hands-in-the-air crowd and there really is no point in resisting. ‘Sexy Thing’ is one of those rare ‘moment in time’ tunes that could either kick a night off or act as the grandest of grand finales. Pure, unadulterated disco pleasure.

Closing the EP with Track 4 is DeGama himself and ‘Feel The Groove’. Make no mistake, this is a powerful, brooding beast of a tune that bursts out of the traps in no time at all. At a very deceptive 120bpm, ‘Feel The Groove’ starts with a warm, housey vibe that quickly breaks into a jumping, blues inspirerd guitar battle. The solid beat bounces gorgeously in tandem with the filthy rhythm guitar riffs and sultry saxophone in a knee-slapping, somersaulting, backsliding explosion. A seriously filthy tune from DeGama.

Re-Funk Head Part 2 acts as a perfect companion to its predecessor – featuring an all-star cast of some of the best talents to grace Samosa. A must for all serious record collectors.

Dj Tsygan, an Integral Member of the Skylax Crew, Has Been Making Waves With His Latest Release, "Purple Dreams." He Ventures Into Uncharted Territory This Time, Infusing Elements From New Beat and Ebm, in Homage to the Late '80s Icons, Including Boytronic, Daf, and Visage. the Ep Opens With a Remarkable Track, the Exquisite "Putain," Which Effortlessly Transports Us Back to the Poetic Vibes Reminiscent of Belgian Legend Arno, All the While Seamlessly Intertwining the Aforementioned Influences. Following This, We Are Treated to a Starkly Different Yet Harmonious Piece, the House Anthem "Jestem Twoje," Evoking Memories of the Early '90s at Its Finest, Akin to the Iconic Latour Era (Sharon Stone, Anyone?). Concluding the First Side Is the Enchanting "Grey," a Barely Disguised Tribute to Visage's "Slow Is the New Fast." Flipping to Side B, We Are Greeted With the Aptly Named, Sultry, and Seductive "People Are Still Having Sex." It Instantaneously Conjures Images of Confetti (The Sound of C) but Without the Cheesy Undertones, Delivering a True, Vintage Banger. the Journey Concludes With the Deeply Personal and Profoundly Italian "Never Lost." This 12-Inch Record Is Nothing Short of Breathtaking, a Musical Odyssey That Resonates With Both the Nostalgic and the Contemporary, Promising an Unforgettable Auditory Experience....

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Der legendäre Film The Shawshank Redemption (dt. Titel „Die Verurteilten“) aus dem Jahr 1994 wurde von Frank Darabont geschrieben und inszeniert und basiert auf einer Novelle von Stephen King aus dem Jahr 1982. Der Film erzählt die Geschichte von zwei Sträflingen, die im Laufe mehrerer Jahre eine Freundschaft schließen, um Trost zu finden und schließlich durch grundlegendes Mitgefühl erlöst zu werden. Bei seinem Erscheinen wurde "Die Verurteilten - Die Erlösung" für sieben Oscars und zwei Golden Globe Awards nominiert. Inzwischen ist der Film zu einem der beliebtesten Filme aller Zeiten geworden, steht seit 2008 auf Platz eins der IMDb-Bestenliste und wurde 2011 von der Jury zum besten Film aller Zeiten gewählt. Die Filmmusik wurde von dem mehrfachen Preisträger Thomas Newman komponiert. und 1994 für einen Oscar für die beste Original-Musik nominiert, was Newmans erste Nominierung dieser Art war. In einer zentralen Szene des Films singt die Sopranistin "Briefduett" ("Canzonetta sull'aria") aus Mozarts "Die Hochzeit des Figaro", das auf dem Soundtrack enthalten ist. Das Set enthält außerdem die Original-Songs "Lovesick Blues" von Hank Williams und "If I Didn't Care" von The Inkspots. „The Shawshank Redemption“ ist als 30th Anniversary Edition in einer Auflage von 2.000 einzeln nummerierten Exemplaren auf BLACK/WHITE MARBLED Vinyl erhältlich und enthält einen Druckbeileger.

The Shawshank Redemption tells the story of Andy Dufresne (Tim Robbins), a banker who is sentenced to life in Shawshank State Penitentiary for the murder of his wife and her lover, despite his claims of innocence. During his time at the prison, he befriends a fellow inmate, Ellis Boyd Red' Redding (Morgan Freeman), and finds himself protected by the guards after the warden begins using him in his money-laundering operation.

The film received multiple award nominations (including seven Oscar nominations) and highly positive reviews from critics for its acting, story, and realism. It is considered to be one of the greatest films of the 90s. In March 2011, the film was voted by BBC Radio 1 listeners as their favorite film of all time. The Shawshank Redemption is the highest-rated movie on IMDB with an average star count of 9.3, closely followed by The Godfather.

The Shawshank Redemption score was composed by multiple (Grammy) award winner Thomas Newman. The score was nominated for an Academy Award for Best Original Score in 1994, which was Newman's first Oscar nomination.

A central scene in the film features the soprano Letter Duet' ( Canzonetta sull'aria') from Mozart's The Marriage of Figaro, which is included on the soundtrack. Original songs by Hank Williams and The Inkspots are included as well.

Wisdom Teeth co-founder K-Lone is dropping two EPs on Aus Music: the first instalment nods to UKG and house flavours, landing mid-May, while the second offers a deeper, broken techno vibe, arriving in late June. 'Give It Up' opens Part 1 with a bubbly rhythm and bassline that percolates through the woody, organic percussion. Lush pads and neon lines swirl skyward to silky and seductive effect as various other samples and daubs of colour bring the groove to life. The heady 'Wait 4 U' is a textbook K-Lone house cut with low swinging bass, sultry sax stabs and molten R&B samples that get the juices going next to warm, diffused synth lines.

On the flip, 'What I Want' ups the pace but keeps it deep and smooth with rubbery kicks and gooey bass overlaid with soft-edged chord stabs that will pump the floor. Lastly, 'Own Way' closes down with a tumbling bassline that takes you deeper as muted vocal sounds and glowing chords hook you into an infectious groove suited to the most intimate dancefloors.

UK trailblazer K-Lone heads up the label Wisdom Teeth with fellow producer Facta and has released everything from club-primed garage to innovative home listening records. Whether cooking up kinetic beats and bouncy bass or soundtracking a lazy summer's afternoon with synthesised bird calls and lush marimbas, the London-bred artist is a proven studio wizard. Critical acclaim has come for both his ‘Swells’ and ‘Cape Cira’ albums, and now his ‘Catching Wild’ EPs for Aus Music offer yet another portal into the colourful world of his idiosyncratic, signature sound.

-This is MIA's first single since the hit song "Love Me Right".
-"Love Me Right" has sold 3000 physical copies and garnered over 5 million online streams to date.
-MIA a.k.a. Honey Deux, is known as the Queen of Miami Boogie.
-Crime Of Passion music video release with street date.
-Pressed on black vinyl. Paper inner sleeve in blank die-cut jacket.
MIA is back with her first single since “Love Me Right”. Her 2020 Gil Masuda-produced hit song has sold 3000 7” copies and garnered over 5 million online streams so far. It has become a bonafide funk anthem by top DJs in the West Coast and earned her an invitation to play at Funk Freaks parties and Hittin’ Switches festival. The song even made its way into the intro of a Silk Sonic Radio episode.
Side A’s “Crime of Passion” reveals a sultry story around compassion. The song’s deep bass and groove pick up where “Love Me Right” left off. The up-tempo 80s-tinged boogie of producer Gil Masuda provides the backdrop for the Miami-born singer’s unmistakably silky voice. “Am I your shining diamond, baby, kryptonite?” It’s a line sure to lure you to the dance floor.
Side B’s “Love Bug” is a chill roller skating jam with lush Rhodes chords and warm synth tones that will appeal to anyone who’s ever been in love.

Introducing "The Mesmerizers," a mysterious trio of maestros whose debut 7" record transports you to a bygone era of exotic enchantment. Unearthed from the depths of a forgotten studio and given new life, these captivating compositions beckon you into a timeless realm where the boundaries of sound and imagination blur. Within the sultry grooves of this vinyl treasure, The Mesmerizers weave a spellbinding tapestry of exotica, echoing the seductive rhythms and lush melodies reminiscent of a golden age that refuses to be tethered to any specific moment.

Glasgow’s Somewhere Press return with their inaugural vinyl release, a new album from Madelyn Byrd aka Slowfoam. Mining the seam between ecology and technology, Byrd offsets syrupy, dissociated electronics with sparse acoustic instrumentation and expressive field recordings.

The polyrhythmic pulse of the natural world surges through Byrd’s productions, and though the sounds are mostly electronic and strictly metered, a landscape teeming with insects, birds, and wildlife fills the horizon. We’re languidly ushered through the gates on the opening 'Enlightened Smudge on the Machine', juxtaposing glassy tones with flute (from Berlin-based sound artist Diane Barbé) and skittering percussion that could have been lifted straight off Björk’s 'Vespertine'. "No traffic, under the stem," a stoic voice muses while sounds dissolve into waterlogged ambience. There are hints of vintage West Coast new age music, but Byrds' over-arching theme is one of a contemporary digital reality slowly harmonising with its distant, bucolic past.

Field recordist Pablo Diserens provides some of the album's most arcane material, handing over environmental recordings of sulphur pools, Arctic terns and glacial streams. The lengthy 'Divine Morpho, Shimmering' deploys a swarm of insects, forming a looped, uneven rhythm that counters Byrd's pulsing electronics. Choral stems mesh with uncanny strings, blurring the line that separates artificial from organic sound sources. Byrd uses mutation and reconstruction as a form of "speculative melting" to bring us closer to utopia. On 'Like Phantom Memories In The Slinking Storm’, one of the album's most levitational moments, they tease twangy harp-lyre plucks into dubbed-out smudges, eventually given a reprise on 'Grief Rituals' where the same riffs are stretched into slower phrases, queered against giddy, xenharmonic drones.

Bird calls and tremulous exotica mark the brilliant 'Fragrant Dusking', and ‘Soft Body Virisdescence' takes us to a gurgling, kaleidoscopic climax, with electronic processes thrust into the foreground. 'Of Data & Delight' distills all the album’s sonic elements into a sort of delirious fever dream, using pitched animal calls to signal sensuality. It's not ambient, exactly, even if it shares space with the 3XL crew's sludgy eroticism, and it's not wholeheartedly electro-acoustic either. The record exists at a place of convergence, as one era wrestles with a new dawn, and real life glimpses high fantasy.

2023 marks the tenth year of Music From Memory; a decade of groundbreaking archival releases, cross-generational collaborations and long-standing creative partnerships with our ever-expanding community of artists.

To celebrate this milestone, earlier this year we asked our roster of artists to submit a piece of music for an anniversary compilation. As submissions gradually came in, we were blown away by what we received and slowly began to piece them together into what was to become “10”.

Featuring work from artists who were present during the formation of the label, such as Gigi Masin, Joan Bibiloni and Michal Turtle, as well as artists like The Zenmenn, RAMZi and Dea, who have helped the label expand over subsequent years, “10” serves as a natural bookmark of where we are musically, whilst simultaneously reflecting on the label's rich musical past.

In keeping with the Music From Memory ethos, the music of “10” spans both time and space, with submissions ranging from Vito Ricci's 'Da Hamptons' (1985) to Yu Su & J. Wilson's 'Mitti Atar' (2023). It crosses the globe, with a total of 10 countries represented across 17 tracks. The final result is an immersive musical compilation that flows perfectly from start to finish.

Tragically, during the last few weeks of finalising MFM066, label co-owner Jamie Tiller passed away in a sudden accident. “10” was always intended to be a way to reflect on the journey of Music From Memory. The fact that it is now also one of the last releases that the team all worked on together adds a whole other level of reflection and makes it all the more special.

Deep Inspiration Show Records presents to you the Global Essence Sampler Part 2; created and curated with purpose, these 6 ¦ne delicacies nourish the mind and soul- on the A side we have Barce (Spain) featuring Roger Versey, Dan Piu (Zurich) and Zarenzeit (Valencia), providing a tour de force of style from blissfully jazzy & vocal Detroit House guides to paradise class deep vibes where late Nite Mediterranean meets Chicago auras arise. Melchior Sultana (Malta) introduces the Bside of the ride with instant club magic, remixing A1 in his own elegant & Profound way, followed by Dan Piu traversing the mind and ears through introspective Detroit Techno with soul permeating atmosphere, leading to the conclusion of this tour de force as He and Roger Versey (Ozarks,Arkansas) arrive as Passport bringing an eclectic collage of arcade funk sensibilities and warm analogue House to the occasion for the deeper persuasion. They say there is no genre, just the essence…Welcome and enjoy, the Global Essence Sampler Part 2. Mastered with passion by maestro Sven Weisemann.

The definitive vinyl reissue of the Nancy's 1966 sophomore album contains the hits "Bang, Bang". "Sand" and "How Does That Grab You, Darlin'?". This special Record Store Day Exclusive is pressed on Orange Cream vinyl and features audio freshly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin. It also includes two bonus tracks: "The Last Of The Secret Agents?" and the previously unreleased "If Things Don't Start Picking Up". This beautifully packaged and expanded gatefold LP with 20-page booklet featuring Q&A with Nancy & GRAMMYr-nominated co-producer Hunter Lea also includes never-before-seen photos from Nancy Sinatra's personal archive. Less than two weeks after "These Boots Are Made for Walkin'" made it to the top of the charts, Nancy was back in the studio working on the follow-up. With a newfound confidence and a fresh batch of songs, How Does That Grab You? is a snapshot that captures the fun, creativity, and genius of an artist embracing her moment. The album includes the sparse masterpiece "Bang, Bang," the Boots-esque "How Does That Grab You, Darlin'?" and Nancy & Lee Hazlewood's very first duet, the proto-psychedelic "Sand." Equal parts strong, sultry, and savvy, Nancy Sinatra has long been ahead of her time_both in her choices as an artist and as a businesswoman. Unapologetically, she established her own path early on and paved the way for decades of female artists to come_all while firmly maintaining control over her career, her image, and her music. In 1965, Nancy Sinatra changed the face of music, fashion, and culture.

Die Liverpooler YOBS veröffentlichen ihr selbstbetiteltes Debütalbum am 3. Mai 2024 über Fuzz Club und folgen damit ihrer ersten Doppelsingle "Fortune Teller b/w Cemetery Man", mit der die vierköpfige Band die Szene mit einem herrlich schmutzigen und hedonistischen Feuerwerk betrat.

Das Clash Magazine schrieb über YOBS: "Schädelzerschmetternde Riffs und halluzinogene Effekte". YOBS liefern primitive Garage-Punk/Noise-Rock-Salven, die mit erschlagender Intensität vorbeirasen. Auf den zehn Tracks des Albums und der
rasanten 26-minütigen Spielzeit schwelgt die Band in einem rauen, spaßigen Rock'n'Roll, der deine Knochen genauso zum Vibrieren bringt wie deine Lautsprecher. YOBS, die aus den Trümmern der inzwischen aufgelösten Liverpooler Bands Weird Sex und Ohmns entstanden sind, wurden 2022 gegründet und bestehen aus Joey Ackland (Gesang), Alex Smith (Bass/Gesang), Michael Quinlan (Gitarre/Gesang) und George Gebbie (Schlagzeug).

Ihr Debütalbum, das sie in vier Tagen in den Hackney Road Studios mit James Aparicio aufgenommen haben, ist das Ergebnis eines Jahres 2023, in dem sie mit Bands wie A Place To Bury Strangers, Mark Sultan, C.O.F.F.I.N, Alien Nosejob und anderen raue, ohrenbetäubende Shows gespielt haben.

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

TLM034 will be our 45th release since 1996 and 25th since reforrning the label in 2019. It seemed inevitable that this release would be one of our Best Of Various EPs featuring new and established artists as we have done previously. Starting off this milestone release we have the ever growing Cumulative Collective with AskaFara.

An Epic 10 minute track pushing all the right buttons for listening and the dancefloor alike. Featuring Cormac Fulton, Stefano De Santis, Takashi Nakazato, Ayumi Suzuki and Mitsuru Tanaka, musicians from England, Italy and Japan respectively. All brought together by head of the label Steve Conry who also produced and mixed the track with Stefano De Santis. Track 2 on the A side is by a new name to most, Takahiro Fuchigami with Strange Acquaintance. A beautiful broken beat track with a distinctively Japanese sound.

Onto side AA and that kicks off with Melchior Sultana and The Playground. Melchior has previously released on TLM in 2022 and 2023. For 2024 he delivers a superb jazzy deep house track in his own particular Mediterranean style. Next up is Brazilian multi instrumentalist Fabio Santanna with Melô Da Cuíca, a fantastic Brazilian Boogie track. Fabio came to our attention from his release Chega Mais Lincoln on Joutro Mundo’s superb Brazilian label Onda Boa. Finally rounding off the AA side is The Robinson from Italy with Song 1. A brilliant blues tinged broken beat track that gets better every time you hear it.

Born of Austin's underground musical melting pot; Glassing's 2017 debut album `Light and Death' erupted out of the famously genre-resistant scene. 35 minutes of harrowing blast beats, searing angular feedback and frontman/bassist Dustin Coffman's sandpaper screams that set out to redefine the idea of heavy music to better reflect increasingly heavy times. Two subsequent full-length releases, 2019's `Spotted Horse' and 2021's `Twin Dream', plus especially the band's last release, the eponymous two-track EP, `Dire and Sulk' paved way for the new longplayer. More discordant, more distorted and somehow even angrier than before `From the Other Side of the Mirror', Glassing prove that uncertain times call for decisive measures. Recorded across two years of intense fits and starts, affectionately nicknamed `Hell Weeks' by the band, `From the Other Side of the Mirror' is a metaphysical foray into the fractured, warped impressions of ourselves that exist only in the minds of others. Working again with producer Andrew Hernandez, who the band liken to a fourth member at this point, Glassing pushed themselves harder, faster and more punishing than ever before. As their first full-length release with Osment and their first release on Pelagic Records, `From the Other Side of the Mirror' became an opportunity for a new beginning, free of any pre-existing limitations or thresholds. As Coffman tells us, "This allowed us to forgo a lot of the convention and structure we've relied on in the past, the substitution was for raw expression. Kindred to the emotions that birthed it, this record is spirited, painful and unmethodical." There's an indescribable, beautiful rawness to this album that comes from Glassing throwing everything on the table in plain sight, rather than polishing ideas for the benefit of others until they're unrecognisable, perfect and fake. FFO Portrayal of Guilt, Neurosis, Converge, Botch, Pelican, Unsane, This Will Destroy You, Chat Pile, Old Man Gloom, Départe

Born of Austin's underground musical melting pot; Glassing's 2017 debut album `Light and Death' erupted out of the famously genre-resistant scene. 35 minutes of harrowing blast beats, searing angular feedback and frontman/bassist Dustin Coffman's sandpaper screams that set out to redefine the idea of heavy music to better reflect increasingly heavy times. Two subsequent full-length releases, 2019's `Spotted Horse' and 2021's `Twin Dream', plus especially the band's last release, the eponymous two-track EP, `Dire and Sulk' paved way for the new longplayer. More discordant, more distorted and somehow even angrier than before `From the Other Side of the Mirror', Glassing prove that uncertain times call for decisive measures. Recorded across two years of intense fits and starts, affectionately nicknamed `Hell Weeks' by the band, `From the Other Side of the Mirror' is a metaphysical foray into the fractured, warped impressions of ourselves that exist only in the minds of others. Working again with producer Andrew Hernandez, who the band liken to a fourth member at this point, Glassing pushed themselves harder, faster and more punishing than ever before. As their first full-length release with Osment and their first release on Pelagic Records, `From the Other Side of the Mirror' became an opportunity for a new beginning, free of any pre-existing limitations or thresholds. As Coffman tells us, "This allowed us to forgo a lot of the convention and structure we've relied on in the past, the substitution was for raw expression. Kindred to the emotions that birthed it, this record is spirited, painful and unmethodical." There's an indescribable, beautiful rawness to this album that comes from Glassing throwing everything on the table in plain sight, rather than polishing ideas for the benefit of others until they're unrecognisable, perfect and fake. FFO Portrayal of Guilt, Neurosis, Converge, Botch, Pelican, Unsane, This Will Destroy You, Chat Pile, Old Man Gloom, Départe

Experience the magic of 'Fly Away,' a timeless record crafted by the exceptional vocal talent of Kimberly Brown, renowned for her work with Sounds of Blackness, Produced by Michael, this track has garnered widespread anticipation and is finally set for a full release on Sultra Records, following exclusive publishing clearance from none other than the legendary Stevie Wonder himself.

This captivating single is just a taste of what's to come from Michael's highly anticipated album, 'Optimism,' slated for release this summer. With its soul-stirring melodies and uplifting lyrics, the single is backed with 'Never Let You Down' another slice of House perfection feat Anthony Poteat and LaMay on vocal duties.

Is this the future sound of black American jazz - an inclusive yet rhythmically complex groove based music that owes as a much to black urban culture - predominantly hip hop and trap music rhythms - as it does to jazz improv techniques and rhythms? It's certainly interesting that similar elements swim through the music of Robert Glasper and Kamasi Washington, who along with Scott are currently big box office, pulling-in substantial new audiences for their music. Ruler Rebel is the first album of a trilogy celebrating 100 years of recorded jazz, and will be followed by Diaspora and Emancipation Procrastination later. At the heart of this music are polyrhythmic grooves that might come from jazz, New Orleans black Indian music, trap, Malian rhythm Kassa Soro and the interplay between an SPD drum machine and live drumming. Largely featuring Scott's trumpet, the record introduces his articulate and frequently eloquent voice as the narrator of Ruler Rebel, much like the Persian Princess Scheherazade narrating her tales of the mysterious east to Sultan Shahriar over one thousand and one nights. A key track is `Encryption', a summation of Scott's direction of travel on the album. Here the running rhythm is derived from the New Orleansian Afro-Indian culture married with Malian Kassa Soro. This is in turn is layered with SPD-SX electronic drum machine and sampling machine played by Joe Dyson and Cory Fonsville that introduce rhythmic elements from trap and hip hop. Sounds complex? Well it is, but it works. Other highlights include `New Orleansian Love Song' and `New Orleansian Love Song II' and a celebration of Afro-Indian culture on `The Coronation of K. Atunde Adjuah'.

Is this the future sound of black American jazz - an inclusive yet rhythmically complex groove based music that owes as a much to black urban culture - predominantly hip hop and trap music rhythms - as it does to jazz improv techniques and rhythms? It's certainly interesting that similar elements swim through the music of Robert Glasper and Kamasi Washington, who along with Scott are currently big box office, pulling-in substantial new audiences for their music. Ruler Rebel is the first album of a trilogy celebrating 100 years of recorded jazz, and will be followed by Diaspora and Emancipation Procrastination later. At the heart of this music are polyrhythmic grooves that might come from jazz, New Orleans black Indian music, trap, Malian rhythm Kassa Soro and the interplay between an SPD drum machine and live drumming. Largely featuring Scott's trumpet, the record introduces his articulate and frequently eloquent voice as the narrator of Ruler Rebel, much like the Persian Princess Scheherazade narrating her tales of the mysterious east to Sultan Shahriar over one thousand and one nights. A key track is `Encryption', a summation of Scott's direction of travel on the album. Here the running rhythm is derived from the New Orleansian Afro-Indian culture married with Malian Kassa Soro. This is in turn is layered with SPD-SX electronic drum machine and sampling machine played by Joe Dyson and Cory Fonsville that introduce rhythmic elements from trap and hip hop. Sounds complex? Well it is, but it works. Other highlights include `New Orleansian Love Song' and `New Orleansian Love Song II' and a celebration of Afro-Indian culture on `The Coronation of K. Atunde Adjuah'.

The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.

Reel People Music breathes new life into its gleaming vault of back catalogue classics with brand new series Fusion Moves. The series will offer talented music-makers the opportunity to remix and reinterpret label releases of their choosing, kicking off with soulful progressive Kaidi Tatham in the hot seat.

Tatham’s modus operandi is clear from the get-go. Opening selection Sebb Junior feat. Paula’s All Of My Life flows dreamily upon that trademark Tatham mix of organic beats, polished horns and immersive keys. As Paula rightly sings, “the beautiful can happen.” And keep happening…. Reel People feat. Mica Paris’ reworked I Want To Thank You gains elegant funk and boogie bounce, a bubblin b-line and those upweighted backing vocals adding new urgency and depth, whilst some extended bass-end manoeuvrings on the collective’s 2020 hit Save a Lil Love provide a hugely effective counterpoint to Eric Roberson’s super-smooth vocals.

Tatham switches things up for his re-take of The Realm x Atjazz x Kelli Sae’s deep afro-house burner On The Road, adding wonderfully carefree jazz-funk flow ‘n’ feeling replete with sweet synth solos and guitar licks. The snappy syncopated rhythms propelling Daz-I-Kue feat. Hadiya George’s Pedigree and Monkey Brothers feat. Sean Escoffery’s stunning Losin’ My Head align to the rich broken beat heritage for which most admirers associate him but, true to form, he continues to glide compellingly between mood and moves….

From the loose bass-guitar groove of Eric Ericksson & Reel People feat. Debra Debs’ Don’t Hold Back On Love and sultry strut and swagger of AAries’ Don’t Give It Up to Sebb Junior feat. Muhsinah’s infectiously jammin’ Special – lovingly framed by nimble jazz-piano play – and the liberatingly upbeat dressing applied to Tony Momrelle’s seminal Fly, Tatham’s sonic upholstery right across Fusion Moves is as skilful as it is impactful. One expert body of work built upon another.

Expect to hear further Fusion Moves in the coming months. Fresh twists on quality songs and sounds. Always with soulful authenticity at the heart.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

Technically, Yeah. Detroit artists Eddie Logix and Jo Rad Silver alchemize sonic matter on Real, No. The EP emerges from years of creative collaboration and blends each of the artists’ strengths into a deep-house, hi tech jazz, dubby leftfield assemblage straight from the pulse of today’s Detroit.

Since 2017, the pair has been producing tracks and co-curating Technically, Yeah., an influential monthly happening that encourages (Live) electronic musical expression. The duo’s curation is grounded in community, widely genre-diverse and steadfast in commitment to technological experimentation. The Real, No. EP distills this ethos and puts it on wax.

While Jo Rad is known for techno leanings and Eddie for organic jams (recently on Rocksteady Disco,) the two transform beats into substance with a diverse and thoughtfully constructed release. Glued together with attuned mixing from Salar Ansari and cut loud at Archer Pressing in Detroit, the EP’s range puts deep grooves in the bag for every discerning DJ.

AKKA’s Side: “King David” sticks the synthy deep house groove right in gear with a driving, bubbling bassline and floating effervescent vocal chops from and for a special someone. “Mango Strut” offers a slight island twang and dives into a breaky depth of a bracing cathartic arpeggiated, hand drum ecstasy. A vitamin filled chugger.

BEEP’s Side: The duo recorded “June Buggy” the first time they jammed together on a borrowed Juno. This propulsive Italo-ish conga groover is a mechanical piece of action. The record ends by summoning the ancestry of “Callin’ Dybbs,” a textured hi-tech jazz heater. Kasan Belgrave, young-gun horn of known pedigree, lays down the sax. The sultry brass tones lock in with buxom stabs. For those who know and those who don’t yet. This one holds depths!

“Fierce jazz buggin futurism in outerspace” - Luke Una

“Driving and psychedelic and gorgeous hi-tech.” - Peter Croce

“Perfectly crunchy soul squeezed jams begging to be rinsed” - 2Lanes

“Funky, jackin’, atmospheric, groovy, ravey and ethereal”- Father Dukes

“I’m calling dibs on callin’ dybbs!” - DJ Etta

Transnational Speedway League ist Clutch’s allererste Album Veröffentlichung (1993) und wurde bis dato nie auf Vinyl veröffentlicht. Es ist das nächste Album in unserer Clutch Collector’s Serie. Clutch’s Gitarrist, Tim Sult, war federführend inder Neuentwicklung dieses Albums. Das Album ist remastered und die farbige LP wurde auf 180 gr Vinyl gepresst. Das Artwork ist von Dan Winters (dem ursprünglichen Grafiker) und Tim Sult neu interpretiert worden. Der Hochglanzdruck des Albumcovers auf einem Spezialpapier lässt Teile des Gatefold Covers fast metallisch erscheinen. Wie üblich beinhaltet das Album einen nummerierten und von den Bandmitgliedern handschriftlich unterzeichneter Kunstdruck ist vielleicht das wichtigste Element fuer den potentiellen Käufer. Clutch Fans weltweit werde sich um diese limitierte Auflage von 7,500 Stück reißen.

Voodoo Mambosis And Other Tropical Diseases ist der 2. Teil einer neuen Serie auf Stag-O-Lee. Vier Volumen sind geplant. Die Original Schallplatten stammen aus dem Fundus von unserem geschätzten Duke Jens-O-Matic, seit Jahrzehnten als Grafiker, international gefeierter DJ, Sammler und Jäger unterwegs. Schon damals, als wir Stag-O-Lee das erste Leben einhauchten, war Jens-O-Matic dabei und lieferte vier Volumen der wundervollen Jim Jam Gems 10" Serie ab. Jeweils stilistisch in sich geschlossen. Aktuell arbeitet er an weiteren Jim Jam Gems Volumen, tut sich aber mit den Linernotes schwer, weil, "man hat ja einen pädagogischen Auftrag!". Nun zu dem vorliegenden Tonträger: Was macht ein Freund der obskuren 7", wenn er schon alles im Bereich Rhythm & Blues usw. hat? Er sucht sich weitere Betätigungsfelder. Andere Länder, andere Musik, andere Einflüße. So auch unser Jens-O-Matic. Eine kleine Weltreise hat er für Voodoo Mambosis unternommen, seine neue Liebe den Cumbia einfließen lassen, eine Prise Voodoo drunter gemischt, einige alte Bluesheroen reaktiviert, dazu etwas Exotica - die schadet nie. Die große Kunst ist nun, diese auf Papier disparaten Elemente so zu verbinden, dass etwas einzigartiges, durchweg spannendes entsteht. Voodoo Mambosis And Other Tropical Diseases ist das beste Beispiel dafür! Das Cover, ebenfalls designt von Jens-O-Matic, ist eine Hommage an die wegweisende 84er Compilation Rockabilly Psychosis and the Garage Disease!

Die Screamo-Band Ojne aus Mailand veröffentlichen nach Jahren der Nichtverfügbarkeit ihr erstes Full-Length-Album "Prima Che Tutto Bruci" wieder mit welchem sie direkt zur Kultband der europäischen Screamo-Szene auf. Ojne spielten seitdem mehrere ausgedehnte Europa- und Amerika-Touren sowie weitere Touren in Aussicht.

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

Hailing from Yerevan, Dave N.A. drops his 'Altura EP,' a seamless blend of jungle and deconstructed club. This marks his debut on no•id, the second release on the label. The four tracks showcase Dave N.A.'s nostalgic yet innovative sound, with sharply cut breaks, a lush palette, and vivid effects, solidifying his place in the label's diverse lineup. For the occasion, 'Pulse' and 'Novox' were co-produced with Belgium’s freq444. The DJ’s join forces around a sultry groove: it goes down smooth as cocoa on a freezing winter’s day.

Mit ihrem kommenden, vierten Studioalbum "Daenacteh" erweitert die norwegische Melodic Death Metal-Band DECEPTION ihr kreatives
Songwriting. Das Ergebnis ist ein größerer Sound mit experimentelleren Passagen und mehr harmonischen Inhalten als jemals zuvor im Kollektiv aus Stavanger, während sie versuchen, tiefer in den internationalen Markt einzutauchen, um ihr Publikum zu erweitern. Textlich und musikalisch nimmt "Daenacteh" den Hörer mit auf eine Reise durch die Wüste, auf der er einer jungen Frau folgt, die versucht, in einem brutalisierten Staat während eines nationalen Notstandes für ihre Familie zu sorgen, und trifft damit genau den Punkt des grandiosen, epischen Melodic Death Metal mit der
richtigen Menge symphonischer Einflüsse.

Inspiriert von Bands wie Wintersun, Septicflesh und Blood Red Throne, kreieren Deception brutale, harte, technische Musik, umgeben von dunklen, schönen und majestätischen Klanglandschaften mit dem Einsatz von Orchesterinstrumenten und Synthesizern. Nach zwei ersten Alben war "The Mire" (2021) das erste Album, das in diese Richtung ging und sowohl national als auch international gut aufgenommen wurde. Im Laufe ihrer Karriere tourten Deception im Ausland, waren Headliner mehrerer nationaler Tourneen und unterstützten unter anderem Bands wie Hypocrisy, Insomnium,
Testament und Entombed.

Immerse yourself into the psychedelic electronic pop of Talee, a rising Dutch artist weaving together the tapestry of contemporary indie dance with threads of early 90s British contaminated indie rock.

A multi-instrumentalist, previously championed by Disco Halal, Talee is set to unleash his debut EP “Waiting for Tomorrow” on the esteemed Californian label Underground Pacific, promising an unforgettable sonic journey.

Talee’s music transcends the boundaries of genre, seamlessly blending the warm rhythms and catchy melodies of Watherall’s Primal Scream and the lysergic groove of Happy Mondays with contemporary electronic textures.

This debut EP serves as a powerful statement of Talee’s artistic vision, showcasing his unique neo-romantic wave songwriting and great capturing riffs. The release also features an exciting collaboration with the acclaimed Irish Sullivan brothers SX2, who lend their signature touch to a captivating remix of “How High?” recalling the early irreverent and raving Underworld energy. Joining them is none other than Cantor, the musician and producer behind Underground Pacific himself, ensuring a Burning Man sunrise-inspired remix of “Be Here Now”.

The EP’s visual identity mirrors Talee’s artistic creativity with artwork conceptualized by the artist himself, complementing the music and offering a glimpse into Talee’s vibrant inner world.

Rock & Roll, indeed. Ruth Brown’s sizzling full-length debut — also known by its eponymous title — symbolizes what was exciting, fresh, invigorating, and raw about the burgeoning style in its halcyon days. Originally released in 1957, and reissued here in audiophile quality for the first time in partnership with Atlantic Records’ 75th anniversary, the set remains a testament to one of the most pioneering and talented vocalists to ever command a stage.

Mastered on Mobile Fidelity Sound Lab's renowned mastering system in California, pressed at RTI, housed in a Stoughton jacket, and strictly limited to 2,000 numbered copies, Mobile Fidelity’s 180g mono LP of Rock & Roll plays with an immediacy, vibrancy, and fullness that showcase the reach, power, and emotionalism of Brown’s voice. The sound of her support musicians — brassy horns, swinging rhythm combos, echoing backing vocalists, rollicking pianists, jaunty guitarists — is made clear and vivid, helping the upbeat fare to jump, juke, and jive with newfound energy and exuberance. In a related manner, Brown’s slower, more understated material crackles with an intimacy and passion that let you know you're in the presence of a woman who has lived what she sings. The longtime Rock and Roll Hall of Fame member deserves nothing less.

In an era dominated by big-throated vocalists, few — if any — came grander than Brown. The singer, whose repeat million-selling ‘50s success with Atlantic Records led many to call the then-indie label “The House That Ruth Built,” charted two dozen R&B hits in the span of a decade for the fledgling imprint. Rightly coined “Miss Rhythm,” the extroverted Brown put Atlantic on the national map, became the best-selling female musician of the ‘50s, and established a precedent that would ultimately lead to Grammy and Tony Awards. Her early works have lost none of their fire or flair.

Akin to many full-length LPs of its era, Rock & Roll doubles as a collection. Its 14 tracks comprise some of the more famous sides Brown recorded for Atlantic, beginning in 1949 with the all-time-great rendition of the ballad “So Long,” and continuing through 1956. After the song caught the public’s ear, the Virginia native briefly became known for her smoldering style with lovelorn material and torch songs, approaching them (see “Oh What a Dream,” “Old Man River”) with a combination of pained sadness and hardened resilience that had no contemporary equal. Encouraged to pursue the style by Atlantic Records co-founder Ahmt Ertegun, her R&B-driven material soon made her a constant chart presence.

Demonstrating what fellow legend Bonnie Raitt deemed “sex with class and dignity,” Brown merges blues and jazz, swing and gospel in electrifying fashion. She dares you not to move, dance, and get on your feet. A majority of Rock & Roll explodes with uptempo runs and jaunty readings of hot-blooded R&B numbers. Sweaty and sultry, bawdy and bold, Brown eclipses the anthemic blare of the saxophones and joyful clatter of the 88s, singing with a slight catch in her voice and hurricane-gale force that threatens to blow the roof off whatever room her voice occupies.

Evidence abounds. Listen to her prod the band and encourage the band members to blow a fuse on a sizzling “Hello Little Boy,” complete with cries and wails; stretch her phrasing to the heavens on the swaying “Wild Wild Young Men,” laden with romp-and-stomp beats; plead and persuade on the snaking “5-10-15 Hours,” which flips the script on the age’s notions of dominance; use her raspy tones, high notes, and breath control to mesmerizing effect on the smash “Mama He Treats Your Daughter Mean,” recorded with a group led by Ray Charles; survey the scene and take charge on the steaming “As Long as I’m Moving”; and tap a classy albeit flirtatious vein on “Lucky Lips,” which dented the pop charts as her first crossover hit.

Throughout Rock & Roll, Brown knows the lyrical connotations and spirited architecture of the songs inside-out. Her assertive voice — never harsh, strident, or false — is the epitome of the passionate desires and sonic strains that turned into nascent rock ’n’ roll. Brown played a pivotal role in helping the style develop, the record a timeless reminder of a lasting legacy that will never be forgotten.

Repress!

London based DJ and producer Dan Shake is set to announce details of his new EP ‘Mosquito’, due for release on 13th March 2020 via his Shake Records imprint.

Dan’s latest outing offers three driving, thoughtful Detroit house influenced club tracks: from the synth-heavy adrenaline rush of title track Mosquito, to the jacking, motoric resolve of The Deep
End, and Hide Seek’s kinetic, sample-driven house groove.

Since debuting on Moodymann’s Mahogani Music in 2014 with 3AM Jazz Club / Thinkin About U, Dan made it into a springboard for his ambitions to work crowds the world over. His love of groove – ranging from sparky acid to Brazilian samba, itchy funk to heavyweight house – fuels his drive to make those around him dance as keenly as he does. At a party, Dan Shake isn’t just loaded with peak time weapons: he is one.

This will be the seventh release on Dan’s Shake imprint, following a string of dance floor-igniting releases, the most recent of which continues to scorch the airwaves from Radio 1 to NTS, garnering DJ support from the likes of Annie Mac, Gilles Peterson, Honey Dijon and The Black Madonna, and a searing set of disco-house releases last year on his own Shake imprint and Denis Sulta’s Sulta Selects.

Dan’s infectious charm and expert ear has resulted in a truly international list of shows in locations as far flung from home as Beirut to Buenos Aires, plus armfuls of Balearic visits, including closing the main stage at Dimensions Festival and playing b2b shows with Jeremy Underground, Marcellus Pittman & DJ Boring to name a few. With a never-ending tour schedule ahead, including his debut U.S. and Australia tour, stops at Nuits Sonores, Love International, Printworks, Kingdom Festival, Fly, Boardmasters, Dimensions, Pikes Ibiza and more new music planned for 2020, Dan Shake is set to have an exceptional year.

First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-Super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness. Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)"). Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future." The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice. The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives Copal CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From postindustrial to post-everything, theirs is an art untethered, in the wilds of its own design.