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Jonathan Fitoussi - Poème symphonique 1
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Jonathan Fitoussi - Poème symphonique 2
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Jonathan Fitoussi - Poème symphonique 3
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Jonathan Fitoussi - Poème symphonique 4
Obliques presents Poème symphonique. Electronic music composer Jonathan Fitoussi revisits Symphony No. 1 “Titan” by Gustav Mahler as part of a world creation commissioned by Radio France. Concert recorded live in the large auditorium of La maison de la radio on November 18, 2023, Paris.
Limited Edition clear vinyl LP - No Digital
Tracklist:
A1 - Poème symphonique 1
A2 - Poème symphonique 2
B1 - Poème symphonique 3
B2 - Poème symphonique 4 More
Limited Edition clear vinyl LP - No Digital
Tracklist:
A1 - Poème symphonique 1
A2 - Poème symphonique 2
B1 - Poème symphonique 3
B2 - Poème symphonique 4 More
More records from Jonathan Fitoussi
1
Jonathan Fitoussi - Oceans
2
Jonathan Fitoussi - Rayons Solaires
3
Jonathan Fitoussi - Continent Blanc
4
Jonathan Fitoussi - Dunes
5
Jonathan Fitoussi - Soleil De Minuit
6
Jonathan Fitoussi - Vents Magnetiques
7
Jonathan Fitoussi - Amazonie
8
Jonathan Fitoussi - Corolles
9
Jonathan Fitoussi - Totale Eclipse
1
Jonathan Fitoussi - Aquarius
2
Jonathan Fitoussi - Triangulum
3
Jonathan Fitoussi - Orion
4
Jonathan Fitoussi - Oiseau de Paradis
5
Jonathan Fitoussi - Andromede
6
Jonathan Fitoussi - Cassiopee
Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download
- Jonathan Fitoussi is a French composer and audio engineer working at the Institut National de
l’Audiovisuel – INA - Recorded with EMS Synthi AKS, Sequential Circuits Pro-One, and YC45D electric organ. - Mastered by Rahshad Becker @ Dubplates & Mastering - Seven Aquatints (1973) artwork licensed from Robert Mangold
Tracklist LP:
A1 Aquarius (6:51) , A2 Triangulum (5:39) , A3 Orion (4:43)
B1 Oiseau de Paradis (5:24) , B2 Andromede (6:00) , B3 Cassiopee (6:58)
Short info:
“The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories
we tell.” Rebecca Solnit
The above quote by the American author Solnit inspired Parisian producer Jonathan Fitoussi's debut album for Further Records, Imaginary Lines. He used those words and the concept of Harmony Of The
Spheres to create the six ravishing interstellar evocations on Imaginary Lines, to spin his own intriguing yarns about the cosmos. While conjuring the vastness of space, Fitoussi imbues the journey with profound feelings of awe and beauty. “This idea that the constellations are an imaginary representation that man drew in the sky to serve as landmarks in space and on Earth is greatly appealing to me, and works very well with the story behind this album, on which each song title bears the name of a constellation,” Fitoussi says. “With Imaginary Lines, I wanted to work with this idea as its core; on one hand geometrical and linear, like the shape of the constellations, characterized by the use of repetitive sequences, and on the other hand, through sections of improvised organ to evoke the more spiritual dimension, and l’invitation au voyage.”
Imaginary Lines sounds like it was made with acute academic rigor yet it is also lavishly beautiful and sensuous. “I like having a mixture of a solid base to work from,” Fitoussi says, “which is characterized here by a repetitive sequence, that leaves room for improvisation as well. This is something that recurs often in my work: creating a stable structure which then allows me to create spaces within it. I also love architecture, with its lines and volumes, and I think this influences my work as a composer.”
To manifest Imaginary Lines, Fitoussi mainly employed an EMS Synthi AKS synthesizer and a Yamaha YC45D organ, which he processed through tape echo with two tape recorders. In addition, Fitoussi says, “many of the sounds were also fed back into a large metallic resonator (similar to the Ondes Martenot), which produced beautiful reverberations.”
“Aquarius” starts the album on a spinetingling note, with its windchime and vibraphonelike pulsations reminiscent of Mike Oldfield's Tubular Bells (which, of course, has associations with the soundtrack for The Exorcist). Fitoussi creates a suspenseful foundation over which he drops dramatic bass plunges and cascades of astraldusted and oceanspumed synths. “Triangulum” offers a Philip Glasslike
repetition of lustrous synth chords, but is less manic than most of that minimalist master's work. The track's subtle modulations and gradual intensification foster the sense that something momentous is about to happen—which it does with “Orion,” whose brisk percolation and glassy tones recall Harmonia's Deluxe, but shot into deep space. This is the sort of elegant urgency and streamlined propulsion you might hear on an avantgarde scififilm soundtrack.
“Oiseau De Paradis” and “Andromede” evoke the feeling of effortless ascension through smooth, celestial oscillations, with the latter coming off as slightly more hectic, generating the illusion of pursuit.
“Cassiopee” brings the album to a close with a more downcast, contemplative mood, its swirling tones and cyclical motif spurring you to ponder existential thoughts... or to just marvel at the universe's
mysterious magnificence. Fitoussi connects these farflung dots with éclat.
More
- Jonathan Fitoussi is a French composer and audio engineer working at the Institut National de
l’Audiovisuel – INA - Recorded with EMS Synthi AKS, Sequential Circuits Pro-One, and YC45D electric organ. - Mastered by Rahshad Becker @ Dubplates & Mastering - Seven Aquatints (1973) artwork licensed from Robert Mangold
Tracklist LP:
A1 Aquarius (6:51) , A2 Triangulum (5:39) , A3 Orion (4:43)
B1 Oiseau de Paradis (5:24) , B2 Andromede (6:00) , B3 Cassiopee (6:58)
Short info:
“The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories
we tell.” Rebecca Solnit
The above quote by the American author Solnit inspired Parisian producer Jonathan Fitoussi's debut album for Further Records, Imaginary Lines. He used those words and the concept of Harmony Of The
Spheres to create the six ravishing interstellar evocations on Imaginary Lines, to spin his own intriguing yarns about the cosmos. While conjuring the vastness of space, Fitoussi imbues the journey with profound feelings of awe and beauty. “This idea that the constellations are an imaginary representation that man drew in the sky to serve as landmarks in space and on Earth is greatly appealing to me, and works very well with the story behind this album, on which each song title bears the name of a constellation,” Fitoussi says. “With Imaginary Lines, I wanted to work with this idea as its core; on one hand geometrical and linear, like the shape of the constellations, characterized by the use of repetitive sequences, and on the other hand, through sections of improvised organ to evoke the more spiritual dimension, and l’invitation au voyage.”
Imaginary Lines sounds like it was made with acute academic rigor yet it is also lavishly beautiful and sensuous. “I like having a mixture of a solid base to work from,” Fitoussi says, “which is characterized here by a repetitive sequence, that leaves room for improvisation as well. This is something that recurs often in my work: creating a stable structure which then allows me to create spaces within it. I also love architecture, with its lines and volumes, and I think this influences my work as a composer.”
To manifest Imaginary Lines, Fitoussi mainly employed an EMS Synthi AKS synthesizer and a Yamaha YC45D organ, which he processed through tape echo with two tape recorders. In addition, Fitoussi says, “many of the sounds were also fed back into a large metallic resonator (similar to the Ondes Martenot), which produced beautiful reverberations.”
“Aquarius” starts the album on a spinetingling note, with its windchime and vibraphonelike pulsations reminiscent of Mike Oldfield's Tubular Bells (which, of course, has associations with the soundtrack for The Exorcist). Fitoussi creates a suspenseful foundation over which he drops dramatic bass plunges and cascades of astraldusted and oceanspumed synths. “Triangulum” offers a Philip Glasslike
repetition of lustrous synth chords, but is less manic than most of that minimalist master's work. The track's subtle modulations and gradual intensification foster the sense that something momentous is about to happen—which it does with “Orion,” whose brisk percolation and glassy tones recall Harmonia's Deluxe, but shot into deep space. This is the sort of elegant urgency and streamlined propulsion you might hear on an avantgarde scififilm soundtrack.
“Oiseau De Paradis” and “Andromede” evoke the feeling of effortless ascension through smooth, celestial oscillations, with the latter coming off as slightly more hectic, generating the illusion of pursuit.
“Cassiopee” brings the album to a close with a more downcast, contemplative mood, its swirling tones and cyclical motif spurring you to ponder existential thoughts... or to just marvel at the universe's
mysterious magnificence. Fitoussi connects these farflung dots with éclat.
More
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Coast To Coast - Crack (Instrumental)
Modern soul / disco royalty, written by the talented Mark Beiner and co-writer Ben Iverson about Marks x girlfriend. It is up there with the best modern floaters in the game. I still remember the first time I Heard this on the dancefloor at Prestatyn soul weekender (I cannot remember who played it), I set out on a mission to get myself a copy which failed miserably at every turn. Many years later I finnaly met Mark, he had done a great job looking after the tapes and all the epherma surrounding the band after Ben has passed away.
On the flip, an early new york rap 45 by the band, previously unreleased on vinyl (we did do it digitally with the LP). More
On the flip, an early new york rap 45 by the band, previously unreleased on vinyl (we did do it digitally with the LP). More
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Papillon - Moulongo (Vocal)
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Papillon - Moulongo (Dub)
3
Papillon - Moulongo (Poirier Dub)
Soundway presents Ferdinand ‘Maréchal’ Papillon’s underground club classic Moulongo - recorded in Paris in 1995 and highlighting the Zouk/dancehall/Makossa crossover sound that was then coming out of the city’s studios. Features a new remix from Canadian producer Poirier for a 2024 bassline zouk mover, cut loud and proud on 12” vinyl.
Ferdinand ‘Maréchal’ Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time.
‘Moulongo’ originally appeared on Papillon’s highly sought after 1995 album “Homme fort….je suis sérieux” and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who’s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot. More
Ferdinand ‘Maréchal’ Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time.
‘Moulongo’ originally appeared on Papillon’s highly sought after 1995 album “Homme fort….je suis sérieux” and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who’s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot. More
1
Nala Sinephro - Space 1
2
Nala Sinephro - Space 2
3
Nala Sinephro - Space 3
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Nala Sinephro - Space 4
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Nala Sinephro - Space 5
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Nala Sinephro - Space 6
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Nala Sinephro - Space 7
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Nala Sinephro - Space 8
Caribbean-Belgian composer, producer and musician Nala Sinephro announces her debut album Space 1.8 with lead track “Space 3”. Space 1.8 will be released on 3rd September via Warp Records.
The instrumental “Space 3” is a short clip from a 3 hour improvised session with drummer Eddie Hick (Sons of Kemet) and producer/multi-instrumentalist Dwayne Kilvington on synths bass (Wonky Logic, Steam Down) culminating in a synth driven, particle-splitting, rapture. Speaking about the track, Sinephro explains: “We recorded it in the start of spring, it was a magical day. The day after recording I collaged the drums, added fifteen synths, produced and mixed it at home and it was all done.”
Sinephro’s music fuses meditative sounds, jazz sensibilities, folk and field recordings. Her musical practice is rooted in the study of frequency and geometry and guided by the premise that sound moves matter. Her debut album Space 1.8 takes shape as a metaphysical structure, where each curative space is a womb-like cocoon created by Sinephro in service of relief and affirmative, ecstatic freedom. Space 1.8 was composed, produced, performed, engineered, recorded, mixed by Sinephro at age 22. On the album, she plays modular synths and pedal harp alongside her friends James Mollison, Shirley Tetteh, Nubya Garcia, Eddie Hick, Dwayne Kilvington, Jake Long, Lyle Barton, Rudi Creswick and more.
Following electrifying live performances across the London scene, word of Nala Sinephro’s playing quickly spread throughout the UK jazz scene, consequently landing her performances as part of the celebrated jazz night Steam Down, alongside playing with and supporting the likes of Demae, Eun, Coby Sey, Rosie Turton, Robert Ames, London Contemporary Orchestra, Touching Bass, Spitfire Audio, Nadeem Din-Gabisi. She was touted as one of The Guardian’s artists to watch in 2020, has garnered support from the likes of Gilles Peterson; and is a resident DJ on NTS sharing monthly selections of celestial sounds. In 2021, she joined the innovative Warp Records roster where she continues to weave her unique sound world.
- Specs Black vinyl 12" in printed inner in printed 3mm spine outer with download card insert
TRACKLIST:
A1. Space 1
A2. Space 2
A3. Space 3
A4. Space 4
A5. Space 5
B1. Space 6
B2. Space 7
B3. Space 8
QUOTES:
“A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements” - 8.3 - Pitchfork (Best New Music)
“Space 1.8 is a healing sound bath full of rigorous psychoacoustic knowledge and elegant playing” - The Observer (One to watch)
“Very few records have this capacity to make you temporarily fearless, but on Space 1.8, Sinephro harnesses the power of sound to move and heal the listener in ways that are real, and expansive.” - 9/10 - Loud & Quiet
"What sticks with Space 1.8 is the focus of its vision: precise like mathematics but imbued with a rich cosmic breadth." - 9/10 - UNCUT
'Her debut album sits at a slight angle to anything else you may have heard coming out of the UK in recent years” - Stereogum
"A calming, restorative and mind-expanding blend of jazz and ambient" - Resident Advisor (RA Recommends) More
The instrumental “Space 3” is a short clip from a 3 hour improvised session with drummer Eddie Hick (Sons of Kemet) and producer/multi-instrumentalist Dwayne Kilvington on synths bass (Wonky Logic, Steam Down) culminating in a synth driven, particle-splitting, rapture. Speaking about the track, Sinephro explains: “We recorded it in the start of spring, it was a magical day. The day after recording I collaged the drums, added fifteen synths, produced and mixed it at home and it was all done.”
Sinephro’s music fuses meditative sounds, jazz sensibilities, folk and field recordings. Her musical practice is rooted in the study of frequency and geometry and guided by the premise that sound moves matter. Her debut album Space 1.8 takes shape as a metaphysical structure, where each curative space is a womb-like cocoon created by Sinephro in service of relief and affirmative, ecstatic freedom. Space 1.8 was composed, produced, performed, engineered, recorded, mixed by Sinephro at age 22. On the album, she plays modular synths and pedal harp alongside her friends James Mollison, Shirley Tetteh, Nubya Garcia, Eddie Hick, Dwayne Kilvington, Jake Long, Lyle Barton, Rudi Creswick and more.
Following electrifying live performances across the London scene, word of Nala Sinephro’s playing quickly spread throughout the UK jazz scene, consequently landing her performances as part of the celebrated jazz night Steam Down, alongside playing with and supporting the likes of Demae, Eun, Coby Sey, Rosie Turton, Robert Ames, London Contemporary Orchestra, Touching Bass, Spitfire Audio, Nadeem Din-Gabisi. She was touted as one of The Guardian’s artists to watch in 2020, has garnered support from the likes of Gilles Peterson; and is a resident DJ on NTS sharing monthly selections of celestial sounds. In 2021, she joined the innovative Warp Records roster where she continues to weave her unique sound world.
- Specs Black vinyl 12" in printed inner in printed 3mm spine outer with download card insert
TRACKLIST:
A1. Space 1
A2. Space 2
A3. Space 3
A4. Space 4
A5. Space 5
B1. Space 6
B2. Space 7
B3. Space 8
QUOTES:
“A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements” - 8.3 - Pitchfork (Best New Music)
“Space 1.8 is a healing sound bath full of rigorous psychoacoustic knowledge and elegant playing” - The Observer (One to watch)
“Very few records have this capacity to make you temporarily fearless, but on Space 1.8, Sinephro harnesses the power of sound to move and heal the listener in ways that are real, and expansive.” - 9/10 - Loud & Quiet
"What sticks with Space 1.8 is the focus of its vision: precise like mathematics but imbued with a rich cosmic breadth." - 9/10 - UNCUT
'Her debut album sits at a slight angle to anything else you may have heard coming out of the UK in recent years” - Stereogum
"A calming, restorative and mind-expanding blend of jazz and ambient" - Resident Advisor (RA Recommends) More
1
Rubel - Forró Violento (Instrumental)
2
Rubel - Grão De Areia
3
Rubel - Não Vou Reclamar De Deus
4
Rubel - Toda Beleza
5
Rubel - Put@ria!
6
Rubel - Rubelía
7
Rubel - Posso Dizer
8
Rubel - Vinheta As Palavras
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Rubel - As Palavras
10
Rubel - Forró Violento
11
Rubel - Torto Arad
12
Rubel - Lua De Garrafa
13
Rubel - Na Mão Do Palhaço
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Rubel - Doutor Albieri
15
Rubel - Samba De Amanda E Té
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Rubel - Amor De Mãe
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Rubel - Vinheta As Palavras II
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Rubel - Assum Preto
19
Rubel - Forró No Escuro
20
Rubel - Toda Beleza (Pelos Loirinhos)
Released on 2xLP cut at 45RPM in gatefold sleeve with 6 panel fold-out poster.
Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.
From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.
The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.
The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.
Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.
At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.
Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages. More
Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.
From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.
The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.
The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.
Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.
At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.
Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages. More
1
Donato Dozzy & Tin Man - Test 7
2
Donato Dozzy & Tin Man - Test 3 (Vocal Version)
3
Donato Dozzy & Tin Man - Test 2
4
Donato Dozzy & Tin Man - Test 3
Tracklist
A1. Test 7
A2. Test 3 (Vocal Version)
B1. Test 2
B2. Test 3
The now 10 year old Acid Test 09 sees a special 10th Anniversary Edition repress with a new vocal mix of track “Test 3”.
The original EP saw acid nomad Tin Man team up with techno dreamweaver Donato Dozzy for three slices of deep acid and dubby, bleepy ambient.
In this special 10 Year Anniversary Edition Test 3” comes with a new vocal mix and it’s a welcome return to the mic for Tin Man. Perfectly-placed words sit among chiming bells and are layered deep into the echoes, almost like the synths themselves are speaking.
Acid Test 09 proved to be pairing in 303 paradise, but the results outclassed even Dozzy and Tin Man’s special partnership - they created simply a timeless signal that could broadcast through space ad infinitum.
Mastered and recut by Rashad.
More
A1. Test 7
A2. Test 3 (Vocal Version)
B1. Test 2
B2. Test 3
The now 10 year old Acid Test 09 sees a special 10th Anniversary Edition repress with a new vocal mix of track “Test 3”.
The original EP saw acid nomad Tin Man team up with techno dreamweaver Donato Dozzy for three slices of deep acid and dubby, bleepy ambient.
In this special 10 Year Anniversary Edition Test 3” comes with a new vocal mix and it’s a welcome return to the mic for Tin Man. Perfectly-placed words sit among chiming bells and are layered deep into the echoes, almost like the synths themselves are speaking.
Acid Test 09 proved to be pairing in 303 paradise, but the results outclassed even Dozzy and Tin Man’s special partnership - they created simply a timeless signal that could broadcast through space ad infinitum.
Mastered and recut by Rashad.
More
Cat-No:PPU-108
Release-Date:22.03.2024
Configuration:12"
Cat-No:PPU-108
Release-Date:22.03.2024
Configuration:12"
1
TAMTAM - Doors
2
TAMTAM - Go Down The Mountain
3
TAMTAM - Ramble In The Rainbow
4
TAMTAM - Nue
5
TAMTAM - Distant Look
A four-piece band based in Tokyo.
Initially playing reggae/dub music, the band gradually developed into an innovative fusion of diverse musical influences, such as jazz, soul, psyche pop, new age, and exotica. A sound is based on groove and euphoria, with nostalgic melodies.
They have performed at iconic events in Japan such as Fuji Rock Festival, and also have been looking overseas since they performed in Canada(Toronto, Montreal, and Vancouver) in 2019. The new EP "Ramble In The Rainbow"(2024) is their first international release on the US label Peoples Potential Unlimited.
The work shows their musical maturity, drawing inspiration from Sun Ra, Lee "Scratch" Perry, and Yasuaki Shimizu. More
Initially playing reggae/dub music, the band gradually developed into an innovative fusion of diverse musical influences, such as jazz, soul, psyche pop, new age, and exotica. A sound is based on groove and euphoria, with nostalgic melodies.
They have performed at iconic events in Japan such as Fuji Rock Festival, and also have been looking overseas since they performed in Canada(Toronto, Montreal, and Vancouver) in 2019. The new EP "Ramble In The Rainbow"(2024) is their first international release on the US label Peoples Potential Unlimited.
The work shows their musical maturity, drawing inspiration from Sun Ra, Lee "Scratch" Perry, and Yasuaki Shimizu. More
1
Kosh - Enslaved (Vox Mix)
2
Kosh - Enslaved (Bonus Beats)
3
Kosh - Supernova
4
Kosh - Above & Beyond
Kosh continues to move at his own pace with his label Convergence. Musically, that’s fast, but output wise, careful and considered, with over a year or more apart between each installment. That’s because creating complex worlds within worlds, which the Moroccan artist has a knack for, certainly takes time. Now a trifecta of releases in, the Enslaved EP serves as his most fine-tuned and liberated project for the label yet.
On the title track, split between a vocal mix and bonus beat version, Kosh delivers a cosmic and introspective electro demonstration at its core, with flares of psychedelic and trance inducing sonic fusions. Its lyrical content is trademark Kosh, with its cautiously optimistic reflections on the world intuitively tapping into the current zeitgeist, yet through a universal futurist lens, leaving the listener with a sentiment that’s timeless and expansive.
The flip side sees the filtered house foundation of “Supernova” burst into scorching Detroit style techno stabs before the EP enters into uncharted territory with the interplanetary escape soundtrack on acid that is “Above & Beyond.” More
On the title track, split between a vocal mix and bonus beat version, Kosh delivers a cosmic and introspective electro demonstration at its core, with flares of psychedelic and trance inducing sonic fusions. Its lyrical content is trademark Kosh, with its cautiously optimistic reflections on the world intuitively tapping into the current zeitgeist, yet through a universal futurist lens, leaving the listener with a sentiment that’s timeless and expansive.
The flip side sees the filtered house foundation of “Supernova” burst into scorching Detroit style techno stabs before the EP enters into uncharted territory with the interplanetary escape soundtrack on acid that is “Above & Beyond.” More
Label:Underground Resistance
Cat-No:UR-049
Release-Date:29.03.2024
Genre:Detroit Techno
Configuration:12"
Label:Underground Resistance
Cat-No:UR-049
Release-Date:29.03.2024
Genre:Detroit Techno
Configuration:12"
1
UR - Jaguar
2
UR - Ascesion
Next batch coming in on the 14th of july.
The Aztecs return. UR receives the message. The Aztecs and the Hermanos make the transition from the guitar player. Natives didn’t take the robbery of Mother Earth’s land or her culture lightly. A new warrior culture, the Electronics did not back down when a war broke out with the programmers over this production. Those who know were avenged for the transgression. Strong beautiful music with a stronger beautiful spirit. A first in the history of music: big can lose. Hear it and feel the power of the cats that still prowl the streets of Detroit. More
The Aztecs return. UR receives the message. The Aztecs and the Hermanos make the transition from the guitar player. Natives didn’t take the robbery of Mother Earth’s land or her culture lightly. A new warrior culture, the Electronics did not back down when a war broke out with the programmers over this production. Those who know were avenged for the transgression. Strong beautiful music with a stronger beautiful spirit. A first in the history of music: big can lose. Hear it and feel the power of the cats that still prowl the streets of Detroit. More
Label:Tresor Records / BMG
Cat-No:TRESOR313EP1
Release-Date:13.10.2023
Genre:Techno
Configuration:12" Excl
Label:Tresor Records / BMG
Cat-No:TRESOR313EP1
Release-Date:13.10.2023
Genre:Techno
Configuration:12" Excl
1
Cybotron - Maintain 04:56
2
Cybotron - The Golden Ratio (Version) 04:43
Territory: WORLD
FORMAT 12” 180g vinyl, printed labels,
A4 printed inlay 170gsm, dl code,
black innersleeve, white outersleeve
TRACKLIST
A. Maintain 04:56
B. The Golden Ratio (Version) 04:43
INFO
Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of
"Meta".
By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument
companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan
Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic
particle accelerator) – to be used as a home studio performance music that would change the course of independently produced
and distributed electronic music.
Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic
sound “techno” in reference to Alvin To ler’s concept of unlikely “techno rebels” against technocracy. Techno is music that
sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting
an audio virus into the cultural matrix.
Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition
from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human
senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into
new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world
into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized
mid-stride, dissolving physical and virtual reality into sonic fiction.
Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of
the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500
formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno
music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision
out of sync with our current rave new world.
Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan
Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded
directly into the alleys of your mind.
- The Rhythmanalyst
More
FORMAT 12” 180g vinyl, printed labels,
A4 printed inlay 170gsm, dl code,
black innersleeve, white outersleeve
TRACKLIST
A. Maintain 04:56
B. The Golden Ratio (Version) 04:43
INFO
Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of
"Meta".
By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument
companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan
Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic
particle accelerator) – to be used as a home studio performance music that would change the course of independently produced
and distributed electronic music.
Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic
sound “techno” in reference to Alvin To ler’s concept of unlikely “techno rebels” against technocracy. Techno is music that
sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting
an audio virus into the cultural matrix.
Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition
from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human
senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into
new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world
into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized
mid-stride, dissolving physical and virtual reality into sonic fiction.
Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of
the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500
formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno
music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision
out of sync with our current rave new world.
Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan
Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded
directly into the alleys of your mind.
- The Rhythmanalyst
More
1
Nina Kraviz - tarde (SPF mix) (David Löhlein remix)
2
Nina Kraviz - tarde (Alex Wilcox remix)
3
Nina Kraviz - tarde (Amor mix) (David Löhlein remix)
4
Nina Kraviz - tarde (Bajo el Sol mix) (David Löhlein remix)
Tracklisting
A1 Nina Kraviz - tarde (SPF mix) (David Löhlein remix)
A2 Nina Kraviz - tarde (Alex Wilcox remix)
B1 Nina Kraviz - tarde (Amor mix) (David Löhlein remix)
B2 Nina Kraviz - tarde (Bajo el Sol mix) (David Löhlein remix)
Sales Note
Nina recorded "tarde" in her bedroom 3 years ago and wanted the song to keep the same intimate feeling as when she recorded it.
The result is a dark love song about love so strong, it could almost break you.
David Lohlein and Alex Wilcox delivered perky remixes that are now being released on limited pink vinyl with hand stamped labels.
don't sleep on this one! More
A1 Nina Kraviz - tarde (SPF mix) (David Löhlein remix)
A2 Nina Kraviz - tarde (Alex Wilcox remix)
B1 Nina Kraviz - tarde (Amor mix) (David Löhlein remix)
B2 Nina Kraviz - tarde (Bajo el Sol mix) (David Löhlein remix)
Sales Note
Nina recorded "tarde" in her bedroom 3 years ago and wanted the song to keep the same intimate feeling as when she recorded it.
The result is a dark love song about love so strong, it could almost break you.
David Lohlein and Alex Wilcox delivered perky remixes that are now being released on limited pink vinyl with hand stamped labels.
don't sleep on this one! More
1
Jay Richford and Gary Stevan - A1 : Flying High (3:35)
2
Jay Richford and Gary Stevan - A2 : Going Home (2:46)
3
Jay Richford and Gary Stevan - A3 : Walking In The Dark (4:42)
4
Jay Richford and Gary Stevan - A4 : Fighting For Life (3:37)
5
Jay Richford and Gary Stevan - A5 : Feeling Tense (4:05)
6
Jay Richford and Gary Stevan - B1 : Running Fast (4:42)
7
Jay Richford and Gary Stevan - B2 : Loving Tenderly (3:27)
8
Jay Richford and Gary Stevan - B3 : Fearing Much (3:35)
9
Jay Richford and Gary Stevan - B4 : Being Friendly (2:54)
10
Jay Richford and Gary Stevan - B5 : Having Fun (4:00)
2023 repress
Format Notes: 140g vinyl, remastered from the original tapes
Territories:
Worldwide no restrictions
Track List:
A1 : Flying High (3:35)
A2 : Going Home (2:46)
A3 : Walking In The Dark (4:42)
A4 : Fighting For Life (3:37)
A5 : Feeling Tense (4:05)
B1 : Running Fast (4:42)
B2 : Loving Tenderly (3:27)
B3 : Fearing Much (3:35)
B4 : Being Friendly (2:54)
B5 : Having Fun (4:00)
Release Notes:
More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.
Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.
No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.
Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.
The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.
“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.
The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.
The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.
“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.
“Feelings” is a profoundly appropriate title for such an emotionally funky and genuinely affecting record. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and so, so much more make this one of the finest instrumental soul LPs of the 70s, if not of all time.
The audio for this re-issue of Feelings comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis and cut by Pete Norman. The same care has been taken by the Be With team to restore that glorious original Carosello sleeve. Feelings is almost too good to be true. Feels good all over.
More
Format Notes: 140g vinyl, remastered from the original tapes
Territories:
Worldwide no restrictions
Track List:
A1 : Flying High (3:35)
A2 : Going Home (2:46)
A3 : Walking In The Dark (4:42)
A4 : Fighting For Life (3:37)
A5 : Feeling Tense (4:05)
B1 : Running Fast (4:42)
B2 : Loving Tenderly (3:27)
B3 : Fearing Much (3:35)
B4 : Being Friendly (2:54)
B5 : Having Fun (4:00)
Release Notes:
More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.
Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.
No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.
Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.
The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.
“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.
The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.
The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.
“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.
“Feelings” is a profoundly appropriate title for such an emotionally funky and genuinely affecting record. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and so, so much more make this one of the finest instrumental soul LPs of the 70s, if not of all time.
The audio for this re-issue of Feelings comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis and cut by Pete Norman. The same care has been taken by the Be With team to restore that glorious original Carosello sleeve. Feelings is almost too good to be true. Feels good all over.
More