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viewing 1 To 23 of 23 items
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AR 115CD
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Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing Liquid Love (2017), a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your Magic Polaroid as proof that this wasn't an impossible project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an Afro-funk quintet or merely described as a lively tribute to the artists which have influenced them; their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances. No one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic space-age yet to come, with a few key words serving as mantras (focus, patience, tears, and creation). This is an invitation to drive off the information superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.
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AR 115LP
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LP version. Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing Liquid Love (2017), a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your Magic Polaroid as proof that this wasn't an impossible project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an Afro-funk quintet or merely described as a lively tribute to the artists which have influenced them; their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances. No one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic space-age yet to come, with a few key words serving as mantras (focus, patience, tears, and creation). This is an invitation to drive off the information superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.
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ASH 101LP
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"Jackson C. Frank's eponymous album is the embodiment of folk legend. Issued in late 1965 on the UK Columbia label, it was for many years more famous for its producer (Paul Simon) and the musicians who would go on to cover its songs (Nick Drake, Bert Jansch, Sandy Denny) than for the hauntingly beautiful music contained inside. Frank's backstory certainly adds to the legacy: born in Buffalo, New York, he used the settlement from a childhood accident to sail to London where he quickly became a fixture of the bustling folk scene. Performing a mix of blues standards and originals, he met fellow ex-pat Paul Simon who would put up the money to record Frank's only LP. For such a sparsely recorded work, Jackson C. Frank covers a lot of ground. From the rugged, world-weary opener 'Blues Run The Game' to the stunning melancholy of 'Milk And Honey,' Frank's nimble acoustic guitar and passionate howls are all that is needed to power such authentic songwriting. Captured in a single-day session, these ten tracks are stark, gritty and seemingly out-of-place with time. There may be no '60s folk record that is simultaneously as rare and influential as Jackson C. Frank's self-titled debut."
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ASH 103LP
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"Few albums define a genre as succinctly as Simon Finn's Pass The Distance does for psychedelic folk. Not even landmark recordings by Pearls Before Swine or Skip Spence can stand up to the sheer madness of Finn's sole LP, originally released in 1970. After moving to London in 1967, Finn busked around town for a couple years before entering Camden's Chalk Farm Studios, best known for producing a string of reggae hits. Pass The Distance, however, would become more than a solo-acoustic project. Backed by free-improvisation innovators David Toop and Paul Burwell, Finn's dark, personal songs unravel lysergically over 40 minutes. Toop's sinewy electric guitar and Burwell's broad percussive palette lift up Finn's ardent strumming and snarling vocals, making this one wild ride in catharsis, introspection and raw merriment. As Finn tells journalist Dave Segal in an interview for this vinyl reissue, 'The songs were about alienation and loneliness. 'Jerusalem' came to me in one shot. I wrote it on mescaline and was playing it over and over and one of my flatmates wrote it down.' Pass The Distance remains a 'cult record' in the best sense of the term, possessing a hypnotic beauty all its own."
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ASH 709LP
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"Double Seven, released by Trojan in late 1973, was the last album Lee 'Scratch' Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track 'Kentucky Skank' sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel's KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden's Chalk Farm studio, also prominently featured on U-Roy's double-tracked, stereo-panned gambling ode 'Double Six.' David Isaacs' 'Just Enough' was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic 'In The Iaah' sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry's own 'Jungle Lion' has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green's 'Love and Happiness. Overall, Double Seven melds the soul, funk, reggae and dub elements that were constant in Perry's work during this phase. His enhanced audio spectrum and endless reference points would keep his music continually apart from that made by his peers.' --David Katz (excerpt from the liner notes)"
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BEWITH 041LP
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Be With has worked with original label KPM to re-issue ten albums from across the KPM 1000 Series and the Themes International Music catalog, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. And don't worry! Those KPM stickers aren't stuck directly on the sleeves! This is classic work from Alan Parker, Alan Hawkshaw, Brian Bennett, Nick Ingman, James Clarke, Francis Coppieters, Keith Mansfield, David Snell, and John Fiddy.
Be With Records presents a reissue of Keith Mansfield and John Cameron's Voices In Harmony, originally issued in 1973. Voices In Harmony was released in 1973 as "a selection of contemporary pop titles featuring voices, brass and rhythm." This collection of works by Mansfield and Cameron can also be described as "a string-laced, harmony-drenched KPM classic". From the bright, lilting harmonies of "Liquid Sunshine" to the melting flutes of "Loving Touch" and "Gentle Persuasion", this is warm, effervescent soul music for dreamy, idyllic moods. The supreme "Husky Birdsong" is so, so smooth, with its unrelenting bossa bassline and warm keyboards. "Half Forgotten Daydreams" is a gorgeous wordless groove. As with all ten re-issues, the audio for Voices In Harmony comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, with carefully reproduced original art in handing the reproduction duties over to Richard Robinson. 180 gram vinyl.
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BEWITH 042LP
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Be With Records presents a reissue of Nick Ingman's Distinctive Themes/Race To Achievement, originally released in 1976. Distinctive Themes/Race To Achievement is legendary arranger Ingman exploring the two distinct ideas of "impressive themes varying in style from Basie to Elgar" and "a study in the pressure and rewards of achievement". Distinctive Themes is a veritable indulgence of variously-tempoed, full orchestra, big band workouts, from relaxed swing to more propulsive themes. The progressively building "Expanding Markets" is a true highlight, with its rolling pianos, contemplative electric guitar solos and moody horns over skipping beats. The dramatic "Against The Odds" is another stand-out. Race To Achievement is all rugged funk with stabbing chords and strutting horns. One has to acknowledge the fantastic "Tense Preparation", sampled by Prince Paul and Dan The Automator for Handsome Boy Modeling School's seminal "Magnetizing" with Del Tha Funky Homosapien. But the whole side's range from tense underscores to fast and punchy chase themes makes this a gem of the KPM catalog. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.
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BEWITH 043LP
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Be With Records presents a reissue of Alan Hawkshaw/Brian Bennett/John Fiddy's Hot Wax, originally issued in 1976. Hot Wax is an assured KPM masterclass from a dream team line-up of Bennett, Hawkshaw and Fiddy. This is what happens when all three decide to explore the latest trends in production music. The latest as of 1976, of course. Fiddy's numbers are sumptuous, string-led and light. Floaty soft-psych underpinned by a solid groove, particularly on "Taste For Living" and "Fresh Start". If one is into Koushik and those early Manitoba/Caribou records -- and one should be -- these will be appreciated. The Bennett and Bennett/Hawkshaw stuff is on another level. "Capitol City" oscillates between driving funk and downbeat sentiment. "Name Of The Game" is tough, smokin' funk, famously sampled in 2007 by Madlib for Percee P's "Who With Me". "Bop On The Rocks" knocks hard and "Full Throttle" features a guitar solo with some of the nastiest, about-to-explode fuzz one is ever likely to hear. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.
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BEWITH 044LP
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Be With Records presents a reissue of Keith Mansfield/Alan Hawkshaw/David Snell's Big Business/Wind of Change, originally released in 1973. Big Business/Wind of Change is mainly the work of the great Mansfield but there's a killer cameo each from Hawkshaw and Snell to help deliver "a thematic suite, diverse in mood, applicable to dramatic and environmental situations". The Big Business of side A is all Mansfield; it's heavy on the suspense and features the vital "Hot Property", an insistent groove that Madlib sampled it to add to Lootpack's "Long Awaited", with Dilated Peoples. "Sleeping Giant 1" is a more fleshed-out version of the equally-dazzling "Fatal Error", evoking David Axelrod. Complete with guitar fills that recall Paris, Texas-era (1985) Ry Cooder, this record is needed for this piece alone. The horn-and-flute-led "Tycoon" is a head-nodder and "Power Complex" has some fantastic percussion. On Side B is the more expansive Wind Of Change, which includes the Snell and the Hawkshaw contributions. But these ain't no filler. Snell's shuffling "International Flight" sounds like a smooth Dorothy Ashby track tossed from the heavens. Hawkshaw's "Road And Rail" is about as luxurious and strung-out as the great man gets and it might just be the highlight of this whole set. Not to be outdone, if Mansfield's "Balance Of Power" doesn't make one feel like king of the world then one must be playing it wrong. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.
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BEWITH 045LP
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Be With Records present a reissue of Francis Coppieters's Piano Viberations, originally issued in 1975. Piano Viberations' "small group jazz featuring piano and vibes with rhythm" makes for a gorgeous Coppieters showcase, and is surely one of Belgium's best-kept musical secrets. Piano Viberations is arguably the most low-key of the KPM and Themes records Be With is re-issuing, but is easily their current favorite. "The Open Highway" is the appropriately-named opener, and immediately demonstrates Coppieters' dexterous interplay between piano and vibes in assured, joyous fashion. The shuffling bossa of "Sales Notes" is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break that is "Funky Chimes" brilliantly demonstrates Coppieters' quiet majestic side with its slow-motion funk rhythm with beautifully reflective notes throughout. The upbeat and joyful "Cross Talk" closes out side A. Vibes and piano are definitely at the heart of the arrangement here. The quick cut movement of "Piano In Transit" is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, "To Shearing With Love" is a warm, slow, romantic piece in the style of George Shearing. It's plaintive and sublime. Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was first released. Piano and vibes with rhythm indeed. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.
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BEWITH 046LP
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Be With Records presents a reissue of Alan Hawkshaw and Brian Bennett's Synthesis, originally released in 1974. The "vivid contemporary sounds for a fresh visual image" make up the now-canonized Synthesis. These two greats go deep; the end result is a synth concept record of sorts. It's an essential companion piece to their Synthesizer And Percussion LP (1974). Like most of Be With's favorite library records, Synthesis has that gloriously funky "weird electronic music" vibe without ever being inaccessible. With the ARP Odyssey at the fore, Hawkshaw and Bennett have created a blissed-out soundscape laid back in all the right places and somehow also heavy on the funk. It's a throbbing, proto-G-Funk sound that's found on many of these low-lit basement workouts. Take the ice-cool "Alto Glide", a sunset-funk highlight with an electro-flute refrain that conjures those dreamier Dre/DJ Quick instrumentals from '91 to '92. Stereolab, Koushik and all those Ghost Box artists were clearly listening closely. The equally relaxed "Mermaid" glides effortlessly with soft, shimmering piano, understated percussion and kaleidoscopic synths. With these two soft-focus closing tracks allowing the LP to float away over the horizon, the preceding ten tracks have a more insistent, neck-snapping rhythm section to back the synth overload. Highlights include the head-nod funk of "Getting It Together" and the synth break in "The Executive", which informed classic video game soundtracks. For once Be With really is stuck for words to describe just how good this record is; best just to listen. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.
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BEWITH 047LP
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Be With Records presents a reissue of Alan Parker's The Sound Of Soul, originally issued in 1976. When Parker recorded the killer library soul-funk LP The Voice of Soul (BEWITH 048LP, 2018) with session vocalist Madeline Bell in 1976, some bright spark at Themes decided to also release all of the backing tracks as a separate, and equally innocuously title LP called The Sound of Soul. Thank goodness for bright sparks. Released as a collection of "unobtrusive musical backings in various rhythmic styles", the LP's original description dryly explains "these tracks have been issued without melody and are therefore particularly suitable for use behind commentary." Bell was backed by The Rhythm Section, who were for all intents and purposes the Themes International Music house band. So what here is presented here is an entire album of instrumental work-outs by a band comprised of the formidable talents of Alan Hawkshaw on keyboards, Parker on guitars, Barry Morgan on drums, Les Hurdle on bass guitar, and Frank Ricotti on percussion. Without Bell's vocals these backing tracks are given all the room they need to breathe; each one more than stands up on its own. The Sound Of Soul is a real diggers' delight and, a must-have counterpart to The Voice Of Soul. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.
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BEWITH 048LP
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Be With presents a reissue of Alan Parker and Madeline Bell's The Voice of Soul, originally issued in 1976. Veteran library musician Parker recorded with session vocalist Bell for his Themes International Music label and the result was The Voice of Soul. The sensational uptempo dancer "That's What Friends Are For" is probably the most well-known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end. Its once generic-sounding title is now deservedly definitive; the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn film. Indeed, parts of it did. "Love Is All" and "You've Got What It Takes" both featured on the infamously banned Pretty Peaches (1976). As is usual with library records, The Voice of Soul was hard to get even when it was first released; it's next to impossible now. So here's an opportunity to own what is one of the finest rare soul albums of the late '70s, and a superb example of Bell's superlative vocal talents. But that's not the whole story; all of the backing tracks from The Voice of Soul were concurrently released as The Sound of Soul (BEWITH 047LP, 2018); Be With couldn't re-issue one without re-issuing the other. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.
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BEWITH 049LP
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Be With Records presents a reissue of James Clarke's Mystery Movie, originally released in 1974. Mystery Movie was originally billed as "modern, small group compositions in various moods. Ideally suited to the new Americanized style of T.V. and cinema film where music is used to create the mood and carry the action". So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to finish. Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme "Car Patrol", the fuzz riffing and ARP soloing of "The Heavies" and the slow-mo strut of "Mystery Moll". "Study In Fear" and "Empty Streets" are horror soundtrack fodder of the finest sort. However, it's the understated, plaintive pieces that are the most rewarding. Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies, this is music that evokes the "downlifting" Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand (1976), as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. One might also recognize "Waiting Game" from being sampled by melodic downbeat masters Express Rising. Check "Relaxed Theme", "Quiet Girl", "Routine Procedure" and "Quietness Sustained" for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.
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BEWITH 050LP
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Be With Records present a reissue of Alan Hawkshaw and Brian Bennett's Synthesizer and Percussion, originally released in 1974. Released in the same year as Synthesis (BEWITH 046LP, 2018) on KPM, 1974's Synthesizer and Percussion is its companion piece. "This record features the many distinctive sounds of the ARP Synthesizer plus percussion in various moods and tempos" is the even-more-underwhelming-than-usual library record sales pitch for Hawkshaw and Bennett's second collection of what is basically minimal G-funk, with overtones of primitive acid house. This is ridiculously good. Synthesizer and Percussion is one of Hawkshaw and Bennett's wilder joints and eons ahead of its time. Bennett's tough drums provide the underpinnings for the prominent bass, keys and bubbling synths high up in the mix, alongside Hawkshaw's deranged clavinet-funk-rock. There are heavenly break loops galore. Opener "Mon Amour" is ultra-smooth funk, all inter-weaving melodic lines whilst the seminal "Oddball" is an incredible hard electro strut with a knocking break. "Mile High Swinger" is a tranquil Spaghetti Western whistling theme over double tempo rhythmic movement and the pulsating "Auto Pilot" has a percussive groove elevated by electric piano and synthesizer. Check "Driving Force", "Home Run" and "Pacesetter" for electroid prog-funk dripped in acid squelch. All five final tracks are beatless synth workouts, because they can. Be With has worked with the hallowed KPM to re-issue ten of our favorites from across the KPM 1000 Series and the Themes International Music catalogue, currently under KPM stewardship. Whether it's killer soul-funk, sweet jazz-samba, scuzzed-up guitars or accidental Balearic beauty, these records include some of the most innovative work from some of the most talented composers and musicians of the 20th century. These records were never readily available, being originally released as a ready-made, affordable alternative to commissioning music for television and radio. Consequentially the originals have been unobtainable for decades by all but the most dedicated collectors. The audio for all ten re-issues comes from the original analog tapes and has been remastered for vinyl by Be With regular Simon Francis. The same care has been taken with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity. 180 gram vinyl.
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BEWITH 051LP
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Alan Hawkshaw (piano/Hammond) and Shadow's drummer Brian Bennett are responsible for some of the slickest, funkiest and most sought-after library records ever made in the UK, particularly ones recorded on the legendary KPM label. Their work has now become the go-to place for sampling in music today. Artists such as Dilla, Nas, and the xx, right through to the billion-selling Kanye and Drake have taken Hawkshaw's and Bennett's immaculate beat-driven soundscapes for their own usage. Their new album, Full Circle, in a full, iconic KPM cover, is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves, and thrills with a flair these two have perfected over years. Standout tracks such as "Hole In One", "In The Clouds", "Interchange", "Oasis", "On The Nile" and "Corcovado" are no mere excursions in nostalgia, for they carry lots of deft studio work for which many a producer would give their right arm. Hawkshaw's arrangements allow the drums, guitar, bass, strings, Hammond, flute and brass to swirl elegantly around the 12 original tracks; a masterclass in recording. Cut by Pete Norman, housed in a beautifully designed Richard Robinson sleeve and pressed by Record Industry in Holland, this release has been afforded the care and attention it rightly deserves. Essential. 180 gram vinyl.
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3CD
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ACME 339CD
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"No composer had a greater appetite for revolution than Stockhausen, who was embarking on a quest that would occupy him for more than half a century, and which would take in a whole gamut of constantly re-defined objectives - among them 'point music', 'spatial music' and 'multi-formula composition'. His early electronic compositions such as the Studies were painstakingly and meticulously constructed using magnetic tape, to be followed over the ensuing decade by the works which ranked among the masterpieces of electronic music, Gesang der Jünglinge (Song of the Youths) and Kontakte (Contacts). All of these unprecedented early electronic works are included in this three CD box set presentation which also incorporates such visionary creations of intellect and sensitivity as Pierre Boulez' orientally flavored Le Marteux Sans Maitre, recorded under the baton of Robert Craft, Xenakis' brilliant explorations of the dramatic and coloristic properties of Concrète sound, Poème électronique, Edgard Varèse's extraordinary response to a commission from Le Corbusier for music for the pavilion of the 1958 Brussels World Fair, and Ligeti's 'conversation without words', Artikulation, alongside the audacious Cartridge Music, for 'amplified small sounds' constructed by John Cage, using phonograph cartridges inserted with feathers, lengths of wire, toothpicks, pipe cleaners, small twigs, wire coils and nails to make audible otherwise indiscernible sounds."
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12"
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HOS 612EP
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Silent Servant's Harm In Hand 12" single, includes exclusive bonus track "Death Of Decadence" for destroying the club. Juan Mendez has evolved to more aggressive and stripped-down acid punk electro dance attacks on Silent Servant's equally vital follow-up, Shadows Of Death And Desire (HOS 613CD/LP, 2018), from which "Harm In Hand" comes.
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LP
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FREUD 101LP
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"The Heartbreakers' D.T.K (Down To Kill) is the incendiary live 1977 companion to L.A.M.F. (Like A Mother Fu). Originally released in 1982 as a ten-track album, it was remixed in 2005 and five more tracks were found on the 2" multi-track tapes. Now the album has the entire two sets played that night, 15 unexpurgated tracks in all. Limited edition in deep red and white, color-on-color vinyl. The sleeve has notes by journalist Kris Needs and contemporary photos."
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CD
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GG 281CD
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"All-new album by Robin Storey aka Rapoon. Founded in 1992 after Storey left Zoviet France, Rapoon soon became an outstanding ethno-dark ambient project that has gained a cult following all over the world. More than 50 albums have been released over those 25 years, some more beat-driven, others more playful and with ambient sounds and ethnic influences. Rapoon has never stopped evolving - think of Cultural Forgeries, an album full of unplugged acoustic music. Or Downgliding, full of compositions on the piano. Little Rocket Man was inspired by the political situation in 2018 and is classic Rapoon. Heavy beats meet drone soundscapes, long evolving tracks make up this new album."
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CD
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MIG 1892CD
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'Re-release of the sought-after Klaus Schulze album 'Cocooning', previously released as part of the strictly limited and long exhausted 5CD Boxset Contemporary Works II (2002). Track 'Easy Listening' is well-defined by the relaxed loops of Tom Dams and the filigree guitar play of Michael 'Mickes' Luecker. The mysterious sounding 'And She Is Kind And Gently' don't need any rhythm -- a dialogue between Klaus and Tobias Becker, whose oboe and English horn is pleasing the ear on almost all Cocooning tracks. The third track 'I Just Have To Sing My Hymns' brings back further well known companions of Klaus Schulze: singer Julia Messenger and Thomas Kagermann on violin, flute and vocals. The last five songs are a song connected cycle of 'It Still Is Now', 'Blowin' Thru The High Grass', 'Many Dreams Have Faded In', 'Many Fears Have Vanished' and 'As Years Went By'. A worthily and impressive continuance of 'Easy Listening' full of atmosphere. The title Cocooning is program and coats the listener into soft sounds and relaxed rhythms - real 'easy listening' without getting fiddling or even boring. Another pearl from the huge Schulze Cosmos."
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CD
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SDBANU 007CD
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Ghent's Steiger are a piano trio, but not in the classical sense. With their versatile style, influenced by different musical genres such as jazz, rock, pop, classical, and electronic music, they try to find a balance between composition and improvisation through the use of experimentation and electronics. Considered pioneers of the Belgian jazz crossover scene, Steiger have been active for six years and have recently found themselves performing at major jazz venues in Flanders, picking up numerous accolades along the way. The trio's highly anticipated sophomore album Give Space was recorded at seven different locations, with the music composed to fit and fight these locations within a dialogue of acoustics, atmospheres and appetition. Field recordings, reverbs, and ambient sounds are all collected within the search for the unpredictable, given space within this dialogue as an essential part of the encounter. As a result, the locations emerge somewhat as a fourth member of the trio. The music, sometimes fixed, sometimes completely free, thus becomes an ever-changing journey into their multi-faceted world.
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2LP
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SPHERES 023LP
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The Spheres announce the double-LP reissue of Current 93's classic Soft Black Stars. Originally released in 1998 in a vinyl edition of just 2000 copies, and on CD, this is the first official vinyl reissue. Remastered by The Bricoleur, this album contains all the released versions of the album's final track, "Chewing On Shadows" -- the original album track, as well as the two different versions used on the expanded CD release of 2004. Comes in a full-color sleeve, reproducing the original paintings by David Tibet, and a two-sided full-color insert.
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