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Last in: 13.04.2022
Cat-No: bewith099LP
Release-Date: 13.08.2021
Genre:Soul/Funk
Configuration: 2LP Excl

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Last in: 13.04.2022
Cat-No: bewith099LP
Release-Date: 13.08.2021
Genre:Soul/Funk
Configuration: 2LP Excl

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Lewis Taylor - A1 : Lucky (6:34) (00:00) Lewis Taylor - A1 : Lucky (6:34) (00:00) 1 Lewis Taylor - A1 : Lucky (6:34)
Lewis Taylor - A2 : Bittersweet (5:36) (00:00) Lewis Taylor - A2 : Bittersweet (5:36) (00:00) 2 Lewis Taylor - A2 : Bittersweet (5:36)
Lewis Taylor - B1 : Whoever (4:31) (00:00) Lewis Taylor - B1 : Whoever (4:31) (00:00) 3 Lewis Taylor - B1 : Whoever (4:31)
Lewis Taylor - B2 : Track (5:11) (00:00) Lewis Taylor - B2 : Track (5:11) (00:00) 4 Lewis Taylor - B2 : Track (5:11)
Lewis Taylor - B3 : Song (4:56) (00:00) Lewis Taylor - B3 : Song (4:56) (00:00) 5 Lewis Taylor - B3 : Song (4:56)
Lewis Taylor - C1 : Betterlove (5:25) (00:00) Lewis Taylor - C1 : Betterlove (5:25) (00:00) 6 Lewis Taylor - C1 : Betterlove (5:25)
Lewis Taylor - C2 : How (3:59) (00:00) Lewis Taylor - C2 : How (3:59) (00:00) 7 Lewis Taylor - C2 : How (3:59)
Lewis Taylor - D1 : Right (4:27) (00:00) Lewis Taylor - D1 : Right (4:27) (00:00) 8 Lewis Taylor - D1 : Right (4:27)
Lewis Taylor - D2 : Damn (6:01) (00:00) Lewis Taylor - D2 : Damn (6:01) (00:00) 9 Lewis Taylor - D2 : Damn (6:01)
Lewis Taylor - D3 : Spirit (3:16) (00:00) Lewis Taylor - D3 : Spirit (3:16) (00:00) 10 Lewis Taylor - D3 : Spirit (3:16)
Territories: Worldwide no restrictions

Format Notes: 2021 re-issue as a double LP, 140g vinyl

Track list:

A1 : Lucky (6:34)
A2 : Bittersweet (5:36)

B1 : Whoever (4:31)
B2 : Track (5:11)
B3 : Song (4:56)

C1 : Betterlove (5:25)
C2 : How (3:59)

D1 : Right (4:27)
D2 : Damn (6:01)
D3 : Spirit (3:16)


Release Notes:
D’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

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Last in: 21.01.2022
Cat-No: CAM022
Release-Date: 08.10.2021
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Last in: 21.01.2022
Cat-No: CAM022
Release-Date: 08.10.2021
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MLD - A1. Perpetual Motion (00:00) MLD - A1. Perpetual Motion (00:00) 1 MLD - A1. Perpetual Motion
MLD - A2. Camouflage (00:00) MLD - A2. Camouflage (00:00) 2 MLD - A2. Camouflage
MLD - A3. Dance With Shadows (00:00) MLD - A3. Dance With Shadows (00:00) 3 MLD - A3. Dance With Shadows
MLD - A4. Invisible Beats (00:00) MLD - A4. Invisible Beats (00:00) 4 MLD - A4. Invisible Beats
MLD - A5. The Hole (00:00) MLD - A5. The Hole (00:00) 5 MLD - A5. The Hole
MLD - B1. Dynamo (00:00) MLD - B1. Dynamo (00:00) 6 MLD - B1. Dynamo
MLD - B2. Night March (00:00) MLD - B2. Night March (00:00) 7 MLD - B2. Night March
MLD - B3. Micro Vibration (00:00) MLD - B3. Micro Vibration (00:00) 8 MLD - B3. Micro Vibration
MLD - B4. Storm PT.1 (00:00) MLD - B4. Storm PT.1 (00:00) 9 MLD - B4. Storm PT.1
MLD - B5. Burning (00:00) MLD - B5. Burning (00:00) 10 MLD - B5. Burning
MLD - B6. Vortex (00:00) MLD - B6. Vortex (00:00) 11 MLD - B6. Vortex
LP

MLD (Minimal Lethal Dose) was a Japanese project lead by Takayuki Shiraishi after his first mythical release with BGM on Vanity Records in 1980.
Made with the help of Jun Sonohara it was active between 1983 and 1986 in Tokyo.
This compilation collects nine unpublished tracks from the original tapes and confirms his unique offbeat style ranging from Post-Punk, Dub, and Industrial.
It's completed by "Perpetual Motion" and "Dynamo" previously released in 1983.
With his quirky approach, this record unveils another piece of Japanese experimental music history.
All these tracks have been carefully remastered by Krikor Kouchian.

A1. MLD - Perpetual Motion
A2. MLD - Camouflage
A3. MLD - Dance With Shadows
A4. MLD - Invisible Beats
A5. MLD - The Hole

B1. MLD - Dynamo
B2. MLD - Night March
B3. MLD - Micro Vibration
B4. MLD - Storm PT.1
B5. MLD - Burning
B6. MLD - Vortex

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Altaïr EP (Damon Jee Remix)
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Last in: 20.09.2021
Cat-No: CTZ049
Release-Date: 24.09.2021
Genre:House
Configuration: 12" Excl

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Last in: 20.09.2021
Cat-No: CTZ049
Release-Date: 24.09.2021
Genre:House
Configuration: 12" Excl

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John Lord Fonda - A1. John Lord Fonda - They Will Fight For You (00:00) John Lord Fonda - A1. John Lord Fonda - They Will Fight For You (00:00) 1 John Lord Fonda - A1. John Lord Fonda - They Will Fight For You
John Lord Fonda - B2. John Lord Fonda - Les Dunes d'Altaïr (Damon Jee Remix) (00:00) John Lord Fonda - B2. John Lord Fonda - Les Dunes d'Altaïr (Damon Jee Remix) (00:00) 3 John Lord Fonda - B2. John Lord Fonda - Les Dunes d'Altaïr (Damon Jee Remix)
John Lord Fonda announces a new album and returns to Citizen Records after a ten-year absence with a new EP, featuring two hard-hitting unreleased tracks.

A decade after his last album Supersonique, the Dijon-born artist is back with a vengeance, showcasing more than ever his dark side, and the least we can say is that it was worth the wait. Releasing once again on Citizen Records, the label founded by Vitalic, Fonda has dug deep into his psyche, channelling his experiences into strong, metallic, dreamlike rhythms.
Like a steel machine, the deep baseline of They Will Fight For You, with its slow, heavy, mechanical beat sets off at the pace of a long-distance run and keeps us locked into a deliciously brutal alternate reality. Early fans of the artist will go crazy for this dark, cerebral techno!

Les Dunes d'Altaïr offers a warmer, more mystical voyage thanks to its oriental tinges, and is a fitting homage to Plastikman's Spaz and Spastik monikers.
Despite being an ode to the power of rhythm, it's the image and delicate feel of a desert wind that wafts towards us, and the track keeps listeners breathless for nearly eight minutes, oscillating between these two worlds.
Guest of honour Damon Jee has remixed Les Dunes d'Altaïr, delivering a disco-flecked minimal rework perfect for accompanying the sun as it sets, or indeed rises.
The return of John Lord Fonda is definitely the comeback no-one should miss in 2021.
The Altaïr EP is the first taste of the artist's next album, due this autumn.

Tracklist

A1. John Lord Fonda - They Will Fight For You

B1. John Lord Fonda - Les Dunes d'Altaïr
B2. John Lord Fonda - Les Dunes d'Altaïr (Damon Jee Remix)

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Last in: 20.09.2021
Cat-No: DELICIEUSE025
Release-Date: 24.09.2021
Genre:House
Configuration: 12" Excl

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Last in: 20.09.2021
Cat-No: DELICIEUSE025
Release-Date: 24.09.2021
Genre:House
Configuration: 12" Excl

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Tracklist :
A1. Keep It Moovin' (feat Smashish)
A2. Ayé
A3. AKA (feat Cobrawolfshark)
A4. June Shine
B1. Keep It Movin' feat. Smashish (Bosq Remix)
B2. Keep It Movin' feat. Smashish (Uptown Funk Empire)

Release Info:
Newcomer Izzy Wise delivers a wonderful funk and afrobeat upcoming EP Keep It Movin’, right before summer, on french label Délicieuse Records. After releasing on japanese institution Mule Musiq, the producer hits us with four serious disco-house burners.

"AKA", one of his most disco afro-beat tunes, is a straight-up boat party anthem with happy vibes. Huge brass instrumentation, strong 4/4 beat and a vocoded vocal are raising a tension towards the entire track which is bridging the gap between Fela Kuti and Moodymann.

On remix duties, french legend Uptown Funk Empire, the man of many projects (Voilaaa, Mr President, Patchworks) brings a dirty disco touch to the Keep It Movin’ single. On the other hand, Colombian sensation Bosq brings a latin flavoured take to the record single.

The San Francisco-based multiinstrumentalist and DJ has spent the last two decades literally exploring a world of music. Between working-out dance floors with the rotating door of eclectic musicians in Afrolicious, Braza, and his own global dance party Hi Life, to his own far-flung adventures DJing, playing in groups, and making recordings with people around Latin America, Africa and the Caribbean. His passion for live percussion and horns brings excitement and warmth to the sound system.

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Last in: 30.07.2021
Cat-No: ELA001
Release-Date: 10.09.2021
Configuration: LP Excl

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Last in: 30.07.2021
Cat-No: ELA001
Release-Date: 10.09.2021
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J. Walker - 01. Acne Dusk (02:40) (00:00) J. Walker - 01. Acne Dusk (02:40) (00:00) 1 J. Walker - 01. Acne Dusk
J. Walker - 02. Resentment Rose (03:45) (00:00) J. Walker - 02. Resentment Rose (03:45) (00:00) 2 J. Walker - 02. Resentment Rose
J. Walker - 03. Salmon (03:31) (00:00) J. Walker - 03. Salmon (03:31) (00:00) 3 J. Walker - 03. Salmon
J. Walker - 04. Burnt Orange (03:32) (00:00) J. Walker - 04. Burnt Orange (03:32) (00:00) 4 J. Walker - 04. Burnt Orange
J. Walker - 05. Amber (2:44) (00:00) J. Walker - 05. Amber (2:44) (00:00) 5 J. Walker - 05. Amber (2:44)
J. Walker - 06. Metallic Spit / Silver Place (4:12) (00:00) J. Walker - 06. Metallic Spit / Silver Place (4:12) (00:00) 6 J. Walker - 06. Metallic Spit / Silver Place (4:12)
J. Walker - 07. Chalk Apple (3:23) (00:00) J. Walker - 07. Chalk Apple (3:23) (00:00) 7 J. Walker - 07. Chalk Apple (3:23)
J. Walker - 08. Basted Salami (3:10) (00:00) J. Walker - 08. Basted Salami (3:10) (00:00) 8 J. Walker - 08. Basted Salami (3:10)
J. Walker - 09. Stainless Steel (3.04) (00:00) J. Walker - 09. Stainless Steel (3.04) (00:00) 9 J. Walker - 09. Stainless Steel (3.04)
J. Walker - 10. Eggplant (02:04) (00:00) J. Walker - 10. Eggplant (02:04) (00:00) 10 J. Walker - 10. Eggplant
J. Walker - 11. Radiant Orchard (3:34) (00:00) J. Walker - 11. Radiant Orchard (3:34) (00:00) 11 J. Walker - 11. Radiant Orchard (3:34)
J. Walker - 12. Crimson (3:14) (00:00) J. Walker - 12. Crimson (3:14) (00:00) 12 J. Walker - 12. Crimson (3:14)
Genre: Library/Electronic

Tracklist:

01. Acne Dusk (02:40)
02. Resentment Rose (03:45)
03. Salmon (03:31)
04. Burnt Orange (03:32)
05. Amber (2:44)
06. Metallic Spit / Silver Place (4:12)
07. Chalk Apple (3:23)
08. Basted Salami (3:10)
09. Stainless Steel (3.04)
10. Eggplant (02:04)
11. Radiant Orchard (3:34)
12. Crimson (3:14)


Short Info:

Spectra! represents a lone, anomaly release by illusive producer and recording artist J. Walker of Perth, Western Australia. Recorded and produced in 2016, Spectra! comprises a collection of 12 instrumental works composed in response to an imagined brief investigating the refined shades and pigments of colour.

Whilst stylistically somewhat comparable to library music recordings from Europe released throughout the 1980’s, Walker’s compositions never step too closely toward facsimile. Instead, they maintain a unique sense of identity, one closer akin to a born-too-late contemporary interpretation of the sentimentality and lost moods that allowed library music it’s point of difference and charm in the first place. Unlike many modern artists who flirt with the past, Walker isn’t concerned with carbon copying the sound palate and tape hiss of yesterday. In these works, antecedent emotional and harmonic bodies are given new life and form by means of modern studio hardware, musical equipment and compositional techniques. Recommended for fans of the Coloursound Library and Joël Vaandroogenbroeck.

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