12" Excl
in stock
Label:Running Back
Cat-No:rbfeaterrmx1
Release-Date:12.04.2019
Genre:House
Configuration:12" Excl
Barcode:4251648410850
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Last in:03.05.2019
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Label:Running Back
Cat-No:rbfeaterrmx1
Release-Date:12.04.2019
Genre:House
Configuration:12" Excl
Barcode:4251648410850
1
Feater - Time Million (Pèpè's Hardclipping Remix)
2
Feater - Time Million (Villalobos Remix)
Tracklist
Time Million (Pèpè's Hardclipping Remix)
Time Million (Villalobos Remix)
Shortinfo: Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop "Time Millionaire" (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12"s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive.
Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10" with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.
More
Time Million (Pèpè's Hardclipping Remix)
Time Million (Villalobos Remix)
Shortinfo: Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop "Time Millionaire" (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12"s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive.
Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10" with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.
More
More records from Feater - Time Million Feat. Vilja Larjosto
10" Excl
in stock
Label:Running Back
Cat-No:rbfeaterdub1
Release-Date:17.05.2019
Genre:House
Configuration:10" Excl
Barcode:4251648410843
in stock
Last in:28.06.2019
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Label:Running Back
Cat-No:rbfeaterdub1
Release-Date:17.05.2019
Genre:House
Configuration:10" Excl
Barcode:4251648410843
1
Feater - Time Million (Blood Shanti Main Mix)
2
Feater - Time Million (Blood Shanti Dub #1)
3
Feater - Time Million (Blood Shanti Dub #2)
4
Feater - Time Million (Blood Shanti Dub #3)
Tracklist
A1.Time Million (Blood Shanti Main Mix)
A2. Time Million (Blood Shanti Dub #1)
B1. Time Million (Blood Shanti Dub #2)
B2. Time Million (Blood Shanti Dub #3)
Shortinfo: Running Back welcomes Blood Shanti!
The Falasha Recordings main man and brother of UK's living sound system legend Aba-Shanti delivers four breathtaking versions of Feater's "Time Millionaire" (taken from the album ‚Socialo Blanco") in proper style. It might sound like an odd pairing, but it's a match made in heaven. Blood Shanti makes it sound as if the song was written for him.
Pressed on one 10" in appropriate design and sleeve (watch out for the lion) it sounds as good as any slice of British reggae ever made (horns and piano included). While the "Main Mix" is everything that lovers rock should be, the three dub versions deconstruct and dismantle the composition more and more as they go along.
A modern take with an old-fashioned style of loving.
More
A1.Time Million (Blood Shanti Main Mix)
A2. Time Million (Blood Shanti Dub #1)
B1. Time Million (Blood Shanti Dub #2)
B2. Time Million (Blood Shanti Dub #3)
Shortinfo: Running Back welcomes Blood Shanti!
The Falasha Recordings main man and brother of UK's living sound system legend Aba-Shanti delivers four breathtaking versions of Feater's "Time Millionaire" (taken from the album ‚Socialo Blanco") in proper style. It might sound like an odd pairing, but it's a match made in heaven. Blood Shanti makes it sound as if the song was written for him.
Pressed on one 10" in appropriate design and sleeve (watch out for the lion) it sounds as good as any slice of British reggae ever made (horns and piano included). While the "Main Mix" is everything that lovers rock should be, the three dub versions deconstruct and dismantle the composition more and more as they go along.
A modern take with an old-fashioned style of loving.
More
12" Excl
in stock
Label:Running Back
Cat-No:rbfeaterrmx3
Release-Date:12.04.2019
Genre:House
Configuration:12" Excl
Barcode:4251648410874
in stock
Last in:12.04.2019
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in stock
Last in:12.04.2019
Label:Running Back
Cat-No:rbfeaterrmx3
Release-Date:12.04.2019
Genre:House
Configuration:12" Excl
Barcode:4251648410874
Tracklist
A1. Time Million (Pangaea Dub)
A2. Time Million (Pangaea Instrumental)*
B1. Time Million (Krystal Klear Remix)
B2. Time Million (Feater & Sam IRL Time Billion Dub)
Shortinfo: Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop "Time Millionaire" (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12"s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive.
Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10" with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.
More
A1. Time Million (Pangaea Dub)
A2. Time Million (Pangaea Instrumental)*
B1. Time Million (Krystal Klear Remix)
B2. Time Million (Feater & Sam IRL Time Billion Dub)
Shortinfo: Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop "Time Millionaire" (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12"s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive.
Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10" with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.
More
12" Excl
in stock
Label:Running Back
Cat-No:rbfeaterrmx2
Release-Date:12.04.2019
Genre:House
Configuration:12" Excl
Barcode:4251648410867
in stock
Last in:03.05.2019
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Label:Running Back
Cat-No:rbfeaterrmx2
Release-Date:12.04.2019
Genre:House
Configuration:12" Excl
Barcode:4251648410867
1
Feater - Time Million (Villalobos Dub)
2
Feater - Time Million (Pépé's Often Bachapella)*
3
Feater - Time Million (Pèpè's Bonus Bit)
Tracklist
A. Time Million (Villalobos Dub)
B1. Time Million (Pépé's Often Bachapella)*
B2. Time Million (Pèpè's Bonus Bit)
Shortinfo: Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop "Time Millionaire" (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12"s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive.
Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10" with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.
More
A. Time Million (Villalobos Dub)
B1. Time Million (Pépé's Often Bachapella)*
B2. Time Million (Pèpè's Bonus Bit)
Shortinfo: Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop "Time Millionaire" (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12"s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive.
Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10" with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.
More
More records from Running Back
Label:Running Back
Cat-No:rb129
Release-Date:19.07.2024
Genre:House / Techno
Configuration:12" Excl
Barcode:4251804144926
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Label:Running Back
Cat-No:rb129
Release-Date:19.07.2024
Genre:House / Techno
Configuration:12" Excl
Barcode:4251804144926
1
Solomun - Can't Stop
2
Solomun - Follow The Disco Ball
3
Solomun - Can't Stop (Dub)
Tracklist
A. Can't Stop
B1. Follow The Disco Ball
B2. Can't Stop (Dub)
Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.
Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.
While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!
Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop! More
A. Can't Stop
B1. Follow The Disco Ball
B2. Can't Stop (Dub)
Can't Stop .There seems no better way to describe the work, party and music ethic of Solomun. Carrying the mirror ball on his shoulders like Atlas, it is impossible to imagine the modern disco world without his dynamics. While his countless DJ sets give fresh impetus to the many shades of house, techno and their siblings, conversely they are a driving force behind his studio and remix excursions. Can't Stop provides an impressive insight into his musical universe.
Resulting from a rather casual after-dinner-listening-session during a car ride on Ibiza with a zesty Gerd Janson, who coaxed the title track out of Solomun making use of their friendship to full capacity, it is a triptych of direct, functional and free-spirited dance floor approach. After some back and forth in the search of the missing pieces to make it so, Solomun managed to deliver the perfect Running Back peak time record.
While Can't Stop channels UK dance music highs through German engineering values, which makes it perfect for dance hall and car rides (yes, indeed!) alike, its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball leads us back to the aforementioned Greek titan and can be read as a love letter to the genre that can be found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. We repeat: the perfect Running Back peak time record. Can't Stop, won't stop!
Short: Solomun on Running Back. Dance floor fanatics at work. A triptych of fun, friendship and functionality. Can't Stop channels UK dance music highs through German engineering values. Perfect for dance hall and car rides alike. Its heavy dub is constructed with fearless techno DJs in mind who like new beat excerpts, rave stabs and a lot of bass in equal parts. Follow The Disco Ball can be read as a love letter to the genre that is found in its name. Catchy, compelling and cool, it is a masterclass in user-friendly, yet edgy arrangement and dancing shoe compatibility. The perfect Running Back peak time record. Can't Stop, won't stop! More
Label:Running Back
Cat-No:rb131
Release-Date:21.06.2024
Genre:House
Configuration:12" Excl
Barcode:4251804181365
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Last in:31.05.2024
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Last in:31.05.2024
Label:Running Back
Cat-No:rb131
Release-Date:21.06.2024
Genre:House
Configuration:12" Excl
Barcode:4251804181365
1
Gerd - Dance Of Enjoyment
2
Gerd - Let The Music Take Control
3
Gerd - Let The Music Take Control (DJ Tool)
4
Gerd - Change Of Heart
5
Gerd - Digital Illusion
6
Gerd - Digital Illusion (Bonus Beats)
Tracklist:
A1. Dance Of Enjoyment
A2. Let The Music Take Control
A3. Let The Music Take Control (DJ Tool)
B1. Change Of Heart
B2. Digital Illusion
B3. Digital Illusion (Bonus Beats)
Finally, it‘s happening: the „other“ Gerd appears on Running Back. Not counting in his remix for Losoul‘s Open Door and not to be confused with the label owner Gerd Janson. Based in the Netherlands and strongly associated with the Clone complex, Gerd has been releasing countless tracks and records since the dawn of the nineties. A true child of the „techno“ Zeitgeist back then, he is keeper of a dozen monikers, project names and joint ventures that tend to connect the dots between house and techno, functionality and avantgarde electronics. Gerd‘s frame of mind is second to none, when it comes to sound research, inspiration and imagination.
For Running Back he decided to put his own spin on some of the label’s signature dishes.
The opener Dance of Enjoyment is exactly that. Based on a cleared sample from Shakira by Quinton Madlala and imported by early South African kwaito and house, it is exactly that. Life-affirming dance-floor fun or pogo time for piano people.
Let the Music Take Control dials the peak time slightly back to being a party starter with its retrofuturistic speak and spell command and some evergreen breakbeats. An additional DJ tool allows to spread the gospel elsewhere, too.
Speaking of which, the flipside deals with that in the realm of an Italian influenced theme park. Sitting neatly between the disco and the house appendix of “italo“, Change Of Heart and Digital Illusion are sugar frosted and masterful produced versions of a style that might never go out of fashion. Earnest characters might be happy with the included bonus beats on their own. All’s well that ends well: Gerd and Running Back are here to save a party near you!
More
A1. Dance Of Enjoyment
A2. Let The Music Take Control
A3. Let The Music Take Control (DJ Tool)
B1. Change Of Heart
B2. Digital Illusion
B3. Digital Illusion (Bonus Beats)
Finally, it‘s happening: the „other“ Gerd appears on Running Back. Not counting in his remix for Losoul‘s Open Door and not to be confused with the label owner Gerd Janson. Based in the Netherlands and strongly associated with the Clone complex, Gerd has been releasing countless tracks and records since the dawn of the nineties. A true child of the „techno“ Zeitgeist back then, he is keeper of a dozen monikers, project names and joint ventures that tend to connect the dots between house and techno, functionality and avantgarde electronics. Gerd‘s frame of mind is second to none, when it comes to sound research, inspiration and imagination.
For Running Back he decided to put his own spin on some of the label’s signature dishes.
The opener Dance of Enjoyment is exactly that. Based on a cleared sample from Shakira by Quinton Madlala and imported by early South African kwaito and house, it is exactly that. Life-affirming dance-floor fun or pogo time for piano people.
Let the Music Take Control dials the peak time slightly back to being a party starter with its retrofuturistic speak and spell command and some evergreen breakbeats. An additional DJ tool allows to spread the gospel elsewhere, too.
Speaking of which, the flipside deals with that in the realm of an Italian influenced theme park. Sitting neatly between the disco and the house appendix of “italo“, Change Of Heart and Digital Illusion are sugar frosted and masterful produced versions of a style that might never go out of fashion. Earnest characters might be happy with the included bonus beats on their own. All’s well that ends well: Gerd and Running Back are here to save a party near you!
More
LP Excl
in stock
Label:Running Back
Cat-No:rblp09
Release-Date:24.05.2024
Genre:House
Configuration:LP Excl
Barcode:4260038314128
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Last in:24.05.2024
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Label:Running Back
Cat-No:rblp09
Release-Date:24.05.2024
Genre:House
Configuration:LP Excl
Barcode:4260038314128
1
tornado wallace - Lonely Planet
2
tornado wallace - Trance Encounters
3
tornado wallace - Today ft. Sui Zhen
4
tornado wallace - Warp Odyssey
5
tornado wallace - Voices
6
tornado wallace - Kingdom Animalia
7
tornado wallace - Healing Feeling
2024 Repress
Tracklist:
A1. Lonely Planet A2. Trance Encounters A3. Today ft. Sui Zhen
A4. Warp Odyssey B1. Voices B2. Kingdom Animalia B3. Healing Feeling
Info:
The eye of the storm: welcome to Tornado Wallace's debut album! The accumulation of about four years of work, with tracks written in Berlin and Melbourne, 'Lonely Planet' is nothing like you may have expected from the Australian expat. No stranger to fans and followers of ESP Institute, Beats in Space and Music From Memory's sister Label Second Circle, Tornado Wallace's strain of releases so far merged functionality with a musical playfulness that led him to find himself as one of the producer's behind José Padilla's International Feel album. Here, he leaves the needs of the dance floor behind in order to create a magical mystery tour de trance into his and our inner jungle.
How about some references? New Age sounds meet new wave melodies, Grace Jones runs into the Dire Straits at Compass Point, while a Korg Mini Pops and a Roland CR78 make amends for Sly & Robbie's absence, Michael Mann pictures Joseph Conrad's 'Heart of Darkness', Robert Rauschenberg tries his luck at naturalism and an imagined Wally Badarou echoes through all of it.
Sandwiched between the title track and the yearning beauty of the album's final point 'Healing Feeling', you get all of that as well as collaborations with and contributions of NO ZU, David Hischfelder and the voice of Sui Zhen on 'Today', who would easily make Anna Domino take her proverbial hat off.
Tornado Wallace created an album that supersedes the requirements and expectations of a debut. Like a lost Island Records or a never released Made to Measure album, 'Lonely Planet' soundtracks notions and ideas that recall the nostalgic future in the past as much as it looks ahead.
More
Tracklist:
A1. Lonely Planet A2. Trance Encounters A3. Today ft. Sui Zhen
A4. Warp Odyssey B1. Voices B2. Kingdom Animalia B3. Healing Feeling
Info:
The eye of the storm: welcome to Tornado Wallace's debut album! The accumulation of about four years of work, with tracks written in Berlin and Melbourne, 'Lonely Planet' is nothing like you may have expected from the Australian expat. No stranger to fans and followers of ESP Institute, Beats in Space and Music From Memory's sister Label Second Circle, Tornado Wallace's strain of releases so far merged functionality with a musical playfulness that led him to find himself as one of the producer's behind José Padilla's International Feel album. Here, he leaves the needs of the dance floor behind in order to create a magical mystery tour de trance into his and our inner jungle.
How about some references? New Age sounds meet new wave melodies, Grace Jones runs into the Dire Straits at Compass Point, while a Korg Mini Pops and a Roland CR78 make amends for Sly & Robbie's absence, Michael Mann pictures Joseph Conrad's 'Heart of Darkness', Robert Rauschenberg tries his luck at naturalism and an imagined Wally Badarou echoes through all of it.
Sandwiched between the title track and the yearning beauty of the album's final point 'Healing Feeling', you get all of that as well as collaborations with and contributions of NO ZU, David Hischfelder and the voice of Sui Zhen on 'Today', who would easily make Anna Domino take her proverbial hat off.
Tornado Wallace created an album that supersedes the requirements and expectations of a debut. Like a lost Island Records or a never released Made to Measure album, 'Lonely Planet' soundtracks notions and ideas that recall the nostalgic future in the past as much as it looks ahead.
More
Label:Running Back
Cat-No:rb132
Release-Date:24.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804181372
in stock
Last in:24.05.2024
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Label:Running Back
Cat-No:rb132
Release-Date:24.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804181372
1
Robert Dietz - A1. Crane Song (HnH Mix)
2
Robert Dietz - A2. Deranged Self Therapy
3
Robert Dietz - B1. Crane Song (Dopanin Mix)
4
Robert Dietz - B2. Centro Di Gravita
5
Robert Dietz - B3. Any Plan(t)s This Weekend
12"
Tracklist
A1. Crane Song (HnH Mix)
A2. Deranged Self Therapy
B1. Crane Song (Dopanin Mix)
B2. Centro Di Gravita
B3. Any Plan(t)s This Weekend
Johann Wolfgang von Goethe is always a reliable source for a good quote: "We must always change, renew, rejuvenate ourselves; otherwise, we harden." Sure as death, there is an excerpt of his that states the opposite. In the case of Robert Dietz, it holds true. Since his first appearance on Running Back in 2009 (Forward Snipping), he did a marvelous job staying on his toes as a producer and DJ.
Rejuve-Nation showcases his talent in various alleys of electronic (dance) music with Crane Song being the prime cut here. You will get exposed to proggy house with an intelligent brush in two slightly different mixes. Imagine if Euro dance went to get a college degree or a bumper car floor and you are almost there: an almost irresistible sing a long without lyrics.
If you need help afterwards, Deranged Self Therapy is exactly what you need. IDM meets new wave drums, poignant synths mix with an upbeat hook to create a ballet piece for lovesick robots.
Centro Di Gravita reconnects those qualities with the aforementioned Crane Song ones, while giving it an acid spin, before the ambient salts of Any Plan(t)s This Weekend closes the EP off like a confident sketch for the end of a beautiful summer. A bouquet of bangers for different needs.
Short: One Rejuve-Nation EP under a groove with Robert Dietz' return on Running Back. Proggy meets acid house, IDM leanings mix with stylistic devices of new wave and extra special ambient aerobatics round out the EP. Special attention goes to Crane Song and its peak time perfection. A bouquet of bangers for different needs.
More
Tracklist
A1. Crane Song (HnH Mix)
A2. Deranged Self Therapy
B1. Crane Song (Dopanin Mix)
B2. Centro Di Gravita
B3. Any Plan(t)s This Weekend
Johann Wolfgang von Goethe is always a reliable source for a good quote: "We must always change, renew, rejuvenate ourselves; otherwise, we harden." Sure as death, there is an excerpt of his that states the opposite. In the case of Robert Dietz, it holds true. Since his first appearance on Running Back in 2009 (Forward Snipping), he did a marvelous job staying on his toes as a producer and DJ.
Rejuve-Nation showcases his talent in various alleys of electronic (dance) music with Crane Song being the prime cut here. You will get exposed to proggy house with an intelligent brush in two slightly different mixes. Imagine if Euro dance went to get a college degree or a bumper car floor and you are almost there: an almost irresistible sing a long without lyrics.
If you need help afterwards, Deranged Self Therapy is exactly what you need. IDM meets new wave drums, poignant synths mix with an upbeat hook to create a ballet piece for lovesick robots.
Centro Di Gravita reconnects those qualities with the aforementioned Crane Song ones, while giving it an acid spin, before the ambient salts of Any Plan(t)s This Weekend closes the EP off like a confident sketch for the end of a beautiful summer. A bouquet of bangers for different needs.
Short: One Rejuve-Nation EP under a groove with Robert Dietz' return on Running Back. Proggy meets acid house, IDM leanings mix with stylistic devices of new wave and extra special ambient aerobatics round out the EP. Special attention goes to Crane Song and its peak time perfection. A bouquet of bangers for different needs.
More
Label:Running Back
Cat-No:rb128
Release-Date:10.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144773
in stock
Last in:06.05.2024
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in stock
Last in:06.05.2024
Label:Running Back
Cat-No:rb128
Release-Date:10.05.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144773
1
Krystal Klear - Entity
2
Krystal Klear - Typhoon
3
Krystal Klear - Love Is All I Need
4
Krystal Klear - Rampage
Tracklist
A1. Entity
A2. Typhoon
B1. Love Is All I Need
B2. Rampage
New Krystal Klear on Running Back. No re-inventing of the wheel here. Sometimes it is what it is. But let‘s hear it from the artist himself:
“ No notes or real inspiration behind this EP. Rb128 consists of four tracks that I made to keep gigs coming and the calendar full - In a time where artists are being forced to DJ like maniacs to keep the electricity running to make more quickfire records (except for Gerd who loves it).
These pure dance tracks try to mix the cocktail between the trendy trance that people like now and the good house records they liked yesterday.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music (Gerd does a high kick and claps his hands)! Love is all we need.
Short:
New Running Back by the ever-reliable Krystal Klear.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music! Love is all we need.
More
A1. Entity
A2. Typhoon
B1. Love Is All I Need
B2. Rampage
New Krystal Klear on Running Back. No re-inventing of the wheel here. Sometimes it is what it is. But let‘s hear it from the artist himself:
“ No notes or real inspiration behind this EP. Rb128 consists of four tracks that I made to keep gigs coming and the calendar full - In a time where artists are being forced to DJ like maniacs to keep the electricity running to make more quickfire records (except for Gerd who loves it).
These pure dance tracks try to mix the cocktail between the trendy trance that people like now and the good house records they liked yesterday.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music (Gerd does a high kick and claps his hands)! Love is all we need.
Short:
New Running Back by the ever-reliable Krystal Klear.
Standard procedure: Melancholic chords over processed drums and breakdowns that make waiting for a train to pull in more bearable.“
But yes, it is still and will always be pretty damn good dance music! Love is all we need.
More
Label:Running Back
Cat-No:rb130
Release-Date:12.04.2024
Genre:House
Configuration:12" Excl
Barcode:4251804180832
in stock
Last in:10.04.2024
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in stock
Last in:10.04.2024
Label:Running Back
Cat-No:rb130
Release-Date:12.04.2024
Genre:House
Configuration:12" Excl
Barcode:4251804180832
1
Raphael Schön - Baerhit
2
Raphael Schön - Do You Like That?
3
Raphael Schön - Breathe
4
Raphael Schön - Want Me
5
Raphael Schön - Distant City Tranceport
6
Raphael Schön - Sometimes I Miss You
mini-LP
Tracklist
A1. Baerhit
A2. Do You Like That?
A3. Breathe
B1. Want Me
B2. Distant City Tranceport
B3. Sometimes I Miss You
Raphael Schön might still be best known for his Fiesta 2000 hit, but that ought to be changed with Heart Times. Hailing from Augsburg in Germany, RS represents a young generation of producers that draw their own deductions from golden days (insert your favorite era here) of dance music. Respectful and without handling it with kid gloves, he manages to inject fun, freshness and a fertile imagination into these sometimes dusty topics.
Conceived during a very emotional turbulent time for Schön, it is a showcase of his whole spectrum as a producer. Imagine a singer-songwriter coming back from his first rave. So, on this six-track EP for Running Back, his sound ranges from classic house (Baerhit) to crooner prog (Sometimes I Miss You), with mellow trance (Distant City Tranceport) and jiggy hits (Do You Like That) in-between. A dance hall unifying and colorful bouquet of flowers that does not shy away from vocals, emotional undertones and most of all bass and hook lines to die for. Schön means beautiful in German and that’s what this mean record is. Do you like it like that?
More
Tracklist
A1. Baerhit
A2. Do You Like That?
A3. Breathe
B1. Want Me
B2. Distant City Tranceport
B3. Sometimes I Miss You
Raphael Schön might still be best known for his Fiesta 2000 hit, but that ought to be changed with Heart Times. Hailing from Augsburg in Germany, RS represents a young generation of producers that draw their own deductions from golden days (insert your favorite era here) of dance music. Respectful and without handling it with kid gloves, he manages to inject fun, freshness and a fertile imagination into these sometimes dusty topics.
Conceived during a very emotional turbulent time for Schön, it is a showcase of his whole spectrum as a producer. Imagine a singer-songwriter coming back from his first rave. So, on this six-track EP for Running Back, his sound ranges from classic house (Baerhit) to crooner prog (Sometimes I Miss You), with mellow trance (Distant City Tranceport) and jiggy hits (Do You Like That) in-between. A dance hall unifying and colorful bouquet of flowers that does not shy away from vocals, emotional undertones and most of all bass and hook lines to die for. Schön means beautiful in German and that’s what this mean record is. Do you like it like that?
More
Label:Running Back
Cat-No:rb127
Release-Date:28.03.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144766
in stock
Last in:08.03.2024
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Last in:08.03.2024
Label:Running Back
Cat-No:rb127
Release-Date:28.03.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144766
1
Sascha Funke - Reality
2
Sascha Funke - Fantasy
3
Sascha Funke - Puzzle
4
Sascha Funke - Halle Weissensee
Tracklist
A1. Reality
A2. Fantasy
B1. Puzzle
B2. Halle Weissensee
Halle Weissensee (or Weißensee if you wish) starts where Sascha Funke’s last Ep for Running Back stopped. Mesmerizing house and techno music that interweaves classic forms with modern means and looks through the lenses of nostalgia with an open mind.
The Halle was a former engine plant in Berlin that got converted into a rave areal for the now legendary Mayday raves and one of the birthplaces and leading spots of the nineties. Coincidentally and unknowingly, 1993’s winter edition was attended by Funke and Gerd Janson and a conversation about it spawned this record. Don’t be mislead: this is not a retro rave fest, but an ode to the esprit of the times, the possibilities if an envisioned future and maybe most of all an afterglow. While Reality (sounding like a Relief record if the label would have been a topic at Bauhaus university) and the warped bleepiness of Halle Weissensee itself come closest to the actual sound aesthetic of that very night, Fantasy invokes the language of contemplative deep house from vintage New York, while Puzzle evokes a notion of what the same thing could be with the prefix progressive instead. Reality often falls short behind fantasy, but once in a while both complement each other very well.
Short: Halle Weissensee is Sascha Funke’s second Ep for Running Back. Named after the legendary rave warehouse, its four tracks far from being a retro rave. Mesmerizing house and techno music that interweaves classic forms with modern means and looks through the lenses of nostalgia with an open mind. An ode to the jackin’ Relief sound meets bleep tracks, contemplative deep house and progressive hypnotism.
More
A1. Reality
A2. Fantasy
B1. Puzzle
B2. Halle Weissensee
Halle Weissensee (or Weißensee if you wish) starts where Sascha Funke’s last Ep for Running Back stopped. Mesmerizing house and techno music that interweaves classic forms with modern means and looks through the lenses of nostalgia with an open mind.
The Halle was a former engine plant in Berlin that got converted into a rave areal for the now legendary Mayday raves and one of the birthplaces and leading spots of the nineties. Coincidentally and unknowingly, 1993’s winter edition was attended by Funke and Gerd Janson and a conversation about it spawned this record. Don’t be mislead: this is not a retro rave fest, but an ode to the esprit of the times, the possibilities if an envisioned future and maybe most of all an afterglow. While Reality (sounding like a Relief record if the label would have been a topic at Bauhaus university) and the warped bleepiness of Halle Weissensee itself come closest to the actual sound aesthetic of that very night, Fantasy invokes the language of contemplative deep house from vintage New York, while Puzzle evokes a notion of what the same thing could be with the prefix progressive instead. Reality often falls short behind fantasy, but once in a while both complement each other very well.
Short: Halle Weissensee is Sascha Funke’s second Ep for Running Back. Named after the legendary rave warehouse, its four tracks far from being a retro rave. Mesmerizing house and techno music that interweaves classic forms with modern means and looks through the lenses of nostalgia with an open mind. An ode to the jackin’ Relief sound meets bleep tracks, contemplative deep house and progressive hypnotism.
More
Label:Running Back
Cat-No:rb126
Release-Date:01.03.2024
Genre:House
Configuration:12" Excl
Barcode:4251804143677
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Last in:23.02.2024
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Last in:23.02.2024
Label:Running Back
Cat-No:rb126
Release-Date:01.03.2024
Genre:House
Configuration:12" Excl
Barcode:4251804143677
1
Partiboi69 - Playin
2
Partiboi69 - Bodies
3
Partiboi69 - Feel This
4
Partiboi69 - Call Of The Void
Tracklist
A1. Playin’
A2. Bodies
B1. Feel This
B2. Call Of The Void
Partiboi69 strikes poses, chords and hot irons. Australia’s spiciest export since INXS’s front man is a sensation on many (meta-)levels. Musically, aesthetically and hedonistically exhilarating, the man’s man shows his sensitive side on Running Back. Four tracks answer the Call of the Void with a showcase of sounds and moods that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void): surprisingly serious and simultaneously not-so-serious. Composed and executed with serious songwriting skills and an uncanny feel for the aural world of Running Back Records. A mutual pleasure, indeed.
Short: Partiboi69 strikes poses, chords and hot irons. Showing his sensitive side for Running Back with four tracks that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void). A sensation on many meta-)levels and a mutual pleasure, indeed.
More
A1. Playin’
A2. Bodies
B1. Feel This
B2. Call Of The Void
Partiboi69 strikes poses, chords and hot irons. Australia’s spiciest export since INXS’s front man is a sensation on many (meta-)levels. Musically, aesthetically and hedonistically exhilarating, the man’s man shows his sensitive side on Running Back. Four tracks answer the Call of the Void with a showcase of sounds and moods that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void): surprisingly serious and simultaneously not-so-serious. Composed and executed with serious songwriting skills and an uncanny feel for the aural world of Running Back Records. A mutual pleasure, indeed.
Short: Partiboi69 strikes poses, chords and hot irons. Showing his sensitive side for Running Back with four tracks that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void). A sensation on many meta-)levels and a mutual pleasure, indeed.
More
12" Excl
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Label:Running Back
Cat-No:rb002.1
Release-Date:23.02.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144988
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Last in:29.01.2024
Label:Running Back
Cat-No:rb002.1
Release-Date:23.02.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144988
1
Mute - Ocha (Re-Edit)
2
Mute - Never (Re-Edit)
3
Mute - Direct Cut (Re-Edit)
4
Mute - Bensono (Re-Edit)
Tracklist
A1. Ocha (Re-Edit)*
A2. Never (Re-Edit)*
B1. Direct Cut (Re-Edit)*
B2. Bensono (Re-Edit)*
Re-issue of a Running Back classic. Originally released in 2003 as the the second outing of the label, it is still a remarkable release in the catalogue. Now, carefully rescued from the original DAT tapes, re-edited by Gerd Janson and remastered by Lopazz, it’s available again in a clear and present portraiture of its original intent.
Conceived by the rather elusive Mute, the Direct Cuts are a master class in heartfelt and understated timeless deep house. Influenced in equal parts by the still towering Prescription Underground and the New York singularity that was a young Bobby Konders, Mute managed to create a sound of his own. Marked by live arrangements, bedroom studio aesthetics, a love for dub music and a tempo that was more boogie than techno, it has not lost an inch of its charm. A proposition that probably led Leon Vynehall to pick the hypnotic Never for his Fabric mix. Along with Ocha, Direct Cut and Bensono, Mute proves that iteration does not necessarily mates with deadly dullness.
Short: Re-issue of a Running Back classic. Originally released in 2003 as the the second outing of the label, it is still a remarkable release in the catalogue. Now, carefully rescued from the original DAT tapes, re-edited by Gerd Janson and remastered by Lopazz, it’s available again in a clear and present portraiture of its original intent. A master class in heartfelt and understated timeless deep house
More
A1. Ocha (Re-Edit)*
A2. Never (Re-Edit)*
B1. Direct Cut (Re-Edit)*
B2. Bensono (Re-Edit)*
Re-issue of a Running Back classic. Originally released in 2003 as the the second outing of the label, it is still a remarkable release in the catalogue. Now, carefully rescued from the original DAT tapes, re-edited by Gerd Janson and remastered by Lopazz, it’s available again in a clear and present portraiture of its original intent.
Conceived by the rather elusive Mute, the Direct Cuts are a master class in heartfelt and understated timeless deep house. Influenced in equal parts by the still towering Prescription Underground and the New York singularity that was a young Bobby Konders, Mute managed to create a sound of his own. Marked by live arrangements, bedroom studio aesthetics, a love for dub music and a tempo that was more boogie than techno, it has not lost an inch of its charm. A proposition that probably led Leon Vynehall to pick the hypnotic Never for his Fabric mix. Along with Ocha, Direct Cut and Bensono, Mute proves that iteration does not necessarily mates with deadly dullness.
Short: Re-issue of a Running Back classic. Originally released in 2003 as the the second outing of the label, it is still a remarkable release in the catalogue. Now, carefully rescued from the original DAT tapes, re-edited by Gerd Janson and remastered by Lopazz, it’s available again in a clear and present portraiture of its original intent. A master class in heartfelt and understated timeless deep house
More
12" Excl
in stock
Label:Running Back
Cat-No:rb123-12
Release-Date:16.02.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144759
in stock
Last in:14.02.2024
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Last in:14.02.2024
Label:Running Back
Cat-No:rb123-12
Release-Date:16.02.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144759
1
Ede & Deckert feat. Sarglad - Immer (Narciss 'Venice' Remix)
2
Ede & Deckert feat. Sarglad - Immer (Cinthie Remix)
3
Ede & Deckert feat. Sarglad - Immer (Curses Remix)
4
Ede & Deckert feat. Sarglad - Immer (Narciss 'Salford' Remix)
5
Ede & Deckert feat. Sarglad - Kid Simius 'Bolero' Remix
Tracklist
A1. Narciss 'Venice' Remix
A2. Cinthie Remix
A3. Curses Remix
B1. Narciss 'Salford' Remix
B2. Kid Simius 'Bolero' Remix
Remix package deluxe! Ede & Deckert feat Sargland’s catchy new wave post punk hit Immer gets the special treatment. Their tale of lover’s grief or delight is being put through the mangle by a varied bunch of remixers. Literally taking the advance party its Berlin’s Narciss with two different takes. Known to be without fear of emotional peaks and blessed with the usual sense of delight, they manage to hit the nail on its head. The Venice Remix is a master class in vintage sounds coming through new speakers: primed for the prime time, while the Salford version does exactly what the name implies: for lads and lovers.
Followed up by the simplicity of grass roots house music. Cinthie channels her inner DJ Duke and choreographs the indie dance steps back to basics. The Curses Vocal keeps the instrumental, stays in the original vibe, but switches the vocals – and the language. Finally, Kid Simius takes us on a bumper car ride somewhere between Miami Sound Machine and Yazoo.
Immer works its magic in every way for everyone and now on almost any dance floor.
More
A1. Narciss 'Venice' Remix
A2. Cinthie Remix
A3. Curses Remix
B1. Narciss 'Salford' Remix
B2. Kid Simius 'Bolero' Remix
Remix package deluxe! Ede & Deckert feat Sargland’s catchy new wave post punk hit Immer gets the special treatment. Their tale of lover’s grief or delight is being put through the mangle by a varied bunch of remixers. Literally taking the advance party its Berlin’s Narciss with two different takes. Known to be without fear of emotional peaks and blessed with the usual sense of delight, they manage to hit the nail on its head. The Venice Remix is a master class in vintage sounds coming through new speakers: primed for the prime time, while the Salford version does exactly what the name implies: for lads and lovers.
Followed up by the simplicity of grass roots house music. Cinthie channels her inner DJ Duke and choreographs the indie dance steps back to basics. The Curses Vocal keeps the instrumental, stays in the original vibe, but switches the vocals – and the language. Finally, Kid Simius takes us on a bumper car ride somewhere between Miami Sound Machine and Yazoo.
Immer works its magic in every way for everyone and now on almost any dance floor.
More
12" Excl
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Label:Running Back
Cat-No:rbacidep1.5
Release-Date:02.02.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144360
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Label:Running Back
Cat-No:rbacidep1.5
Release-Date:02.02.2024
Genre:House
Configuration:12" Excl
Barcode:4251804144360
1
Space Dimension Controller - Kosmische Conga
2
Space Dimension Controller - Echopet
3
Space Dimension Controller - Minehead
4
Space Dimension Controller - Carinacid
Tracklist
A1. Kosmische Conga
A2. Echopet
B1. Minehead
B2. Carinacid
Re-Dial 303.
The follow-up to the first Acid Sampler is now in the hands of a single artist. Space Dimension Controller does Running Back the honor to leave his fingerprints on the (usually) silver box - and it’s a match made in heaven. The Irish man’s music is mostly a nod to the subtle and more delicate ramifications of electronic music. His Acid Sampler is no exception. Most of the EP presents itself as an ode to the brain dance vibe of acid house rooted music. While leaving out the harder and faster styles of the genre, SDC manages to pour his heart and soul as a producer into these four charming tracks.
Kosmische Conga works as the leader of the pack and pirouettes with memorable hooks, synthesizer swells and descant acid lines. Echopet introverts the whole concept, while Minehead peaks with it. Named after the seaside town that harbored the Bloc Weekend festival, its a warp-free romantic reflex of the brain dance vibe – or a heartfelt love song for circuits. Carinacid completes the quartet with a chugging and hugging mid tempo beat that could have gone on forever. Acid test passed! Artwork by Gasius.
More
A1. Kosmische Conga
A2. Echopet
B1. Minehead
B2. Carinacid
Re-Dial 303.
The follow-up to the first Acid Sampler is now in the hands of a single artist. Space Dimension Controller does Running Back the honor to leave his fingerprints on the (usually) silver box - and it’s a match made in heaven. The Irish man’s music is mostly a nod to the subtle and more delicate ramifications of electronic music. His Acid Sampler is no exception. Most of the EP presents itself as an ode to the brain dance vibe of acid house rooted music. While leaving out the harder and faster styles of the genre, SDC manages to pour his heart and soul as a producer into these four charming tracks.
Kosmische Conga works as the leader of the pack and pirouettes with memorable hooks, synthesizer swells and descant acid lines. Echopet introverts the whole concept, while Minehead peaks with it. Named after the seaside town that harbored the Bloc Weekend festival, its a warp-free romantic reflex of the brain dance vibe – or a heartfelt love song for circuits. Carinacid completes the quartet with a chugging and hugging mid tempo beat that could have gone on forever. Acid test passed! Artwork by Gasius.
More
Label:Running Back
Cat-No:rb122
Release-Date:24.11.2023
Genre:House
Configuration:12" Excl
Barcode:4251804142809
in stock
Last in:09.11.2023
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Last in:09.11.2023
Label:Running Back
Cat-No:rb122
Release-Date:24.11.2023
Genre:House
Configuration:12" Excl
Barcode:4251804142809
1
Fango - Sarcosuco
2
Fango - Dimetrodonte
3
Fango - Diplodoco
4
Fango - Gastonia
Tracklist
A1. Sarcosuco
A2. Dimetrodonte
B1. Diplodoco
B2. Gastonia
Fango’s debut EP for Running Back draws a map of the Italian’s wonderful world of sounds. To help music journalists in their ongoing search for new genres, it’s a planet that consist of techno punk, ebm house and outsider disco.
Fed by the unbroken fascination with all things dinosaurs (no pun intended) that Fango shared with his son, reading books, watching documentaries and visiting museums, he found a new place and created a sound for it. If you have ever looked for a danceable soundtrack that resembles strange dinosaurs, dark clouds, active volcanoes and powerful winds, you have finally found it. Aptly named after four different dinosaurs, this Ep consists of the irresistible uplifting vibe that is Sarcosuco and its sweet and melancholic counterpart Diplodoco, while the slow-motion rave Dimetrodonte and Gastonia mirror Fango’s darker and tool-like character. All in all, it’s like watching a dinosaur mosh pit from space. Special artwork by Luca Zamoc.
More
A1. Sarcosuco
A2. Dimetrodonte
B1. Diplodoco
B2. Gastonia
Fango’s debut EP for Running Back draws a map of the Italian’s wonderful world of sounds. To help music journalists in their ongoing search for new genres, it’s a planet that consist of techno punk, ebm house and outsider disco.
Fed by the unbroken fascination with all things dinosaurs (no pun intended) that Fango shared with his son, reading books, watching documentaries and visiting museums, he found a new place and created a sound for it. If you have ever looked for a danceable soundtrack that resembles strange dinosaurs, dark clouds, active volcanoes and powerful winds, you have finally found it. Aptly named after four different dinosaurs, this Ep consists of the irresistible uplifting vibe that is Sarcosuco and its sweet and melancholic counterpart Diplodoco, while the slow-motion rave Dimetrodonte and Gastonia mirror Fango’s darker and tool-like character. All in all, it’s like watching a dinosaur mosh pit from space. Special artwork by Luca Zamoc.
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12" Excl
in stock
Label:Running Back
Cat-No:rb085.6
Release-Date:03.11.2023
Genre:House
Configuration:12" Excl
Barcode:4251804141239
in stock
Last in:03.11.2023
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Last in:03.11.2023
Label:Running Back
Cat-No:rb085.6
Release-Date:03.11.2023
Genre:House
Configuration:12" Excl
Barcode:4251804141239
1
Llewellyn - For The Weekend
2
Stereocalypse - Mad Theory
3
Zillas On Acid - Pleatherhead
4
Storken & Hammer - Marabou
5
Ede - Radius
6
Señor Chugger & Count Van Delicious - Mickeys Vegan Fillet
Tracklist
A1. Llewellyn – For The Weekend
A2. Stereocalypse – Mad Theory
A3. Zillas On Acid – Pleatherhead
B1. Storken & Hammer – Marabou
B2. Ede – Radius
B3. Señor Chugger & Count Van Delicious - Mickeys Vegan Fillet
Numbers hold the key to unlock the universe. So, a six-pack can either consist of six bottles of beer, very well developed stomach muscles or in our case: a string of smash hits. To take it even further, it’s exactly six tracks for the sixth part of the VA-series that is One Swallow Doesn’t Make A Summer.
Hit men include friends new and old: Llewellyn, Stereocalypse, Zillas On Acid, Storken & Hammer, Ede, Señor Chugger & Count Van Delicious. The pace is cool and hot at the same time. Rave signals by Ede foil the nouveau disco by Stereocalypse or Storken & Hammer, Llewellyn does a classic house piano hop, Zilles On Acid deliver, well. mid-tempo acid, and last, but not least, Señor Chugger & Count Van Delicious strike a delicious pose.
One for almost everyone! And if not, let your body go with the flow!
More
A1. Llewellyn – For The Weekend
A2. Stereocalypse – Mad Theory
A3. Zillas On Acid – Pleatherhead
B1. Storken & Hammer – Marabou
B2. Ede – Radius
B3. Señor Chugger & Count Van Delicious - Mickeys Vegan Fillet
Numbers hold the key to unlock the universe. So, a six-pack can either consist of six bottles of beer, very well developed stomach muscles or in our case: a string of smash hits. To take it even further, it’s exactly six tracks for the sixth part of the VA-series that is One Swallow Doesn’t Make A Summer.
Hit men include friends new and old: Llewellyn, Stereocalypse, Zillas On Acid, Storken & Hammer, Ede, Señor Chugger & Count Van Delicious. The pace is cool and hot at the same time. Rave signals by Ede foil the nouveau disco by Stereocalypse or Storken & Hammer, Llewellyn does a classic house piano hop, Zilles On Acid deliver, well. mid-tempo acid, and last, but not least, Señor Chugger & Count Van Delicious strike a delicious pose.
One for almost everyone! And if not, let your body go with the flow!
More
Label:Running Back
Cat-No:rb124
Release-Date:13.10.2023
Genre:House
Configuration:12" Excl
Barcode:4251804142861
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Last in:12.10.2023
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Last in:12.10.2023
Label:Running Back
Cat-No:rb124
Release-Date:13.10.2023
Genre:House
Configuration:12" Excl
Barcode:4251804142861
1
Dusky - Wildfire
2
Dusky - Tea Cake
3
Dusky - High
4
Dusky - Hawthorn
Tracklist
A1. Wildfire
A2. Tea Cake
B1. High
B2. Hawthorn
Swapping BPM for GPM (Goosebumps per minute), Dusky’s Life Signs Vol.3 is made from the heart to nourish the soul. to a long-overdue journey to the uncharted territories of Planet Dusky. Completing their triptych for Running Back with four tracks, one of the UK’s most dependable duos shows once again how to connect fun with functionality and funk with efficiency. From the jacking rhythms of early Chicago to the emotive qualities of Detroit and the fever pitch aesthetics of the UK sounds of the 90s or the studies of the contemporary scene, it includes the right choice for each taste and need. Dusky, but not rusty.
More
A1. Wildfire
A2. Tea Cake
B1. High
B2. Hawthorn
Swapping BPM for GPM (Goosebumps per minute), Dusky’s Life Signs Vol.3 is made from the heart to nourish the soul. to a long-overdue journey to the uncharted territories of Planet Dusky. Completing their triptych for Running Back with four tracks, one of the UK’s most dependable duos shows once again how to connect fun with functionality and funk with efficiency. From the jacking rhythms of early Chicago to the emotive qualities of Detroit and the fever pitch aesthetics of the UK sounds of the 90s or the studies of the contemporary scene, it includes the right choice for each taste and need. Dusky, but not rusty.
More
Label:Running Back
Cat-No:rb125
Release-Date:22.09.2023
Genre:House
Configuration:12" Excl
Barcode:4251804143660
in stock
Last in:14.09.2023
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in stock
Last in:14.09.2023
Label:Running Back
Cat-No:rb125
Release-Date:22.09.2023
Genre:House
Configuration:12" Excl
Barcode:4251804143660
1
Jordon Alexander - Seasonal
2
Jordon Alexander - Linea Rossa
3
Jordon Alexander - Winter
4
Jordon Alexander - Marathon
Tracklist
A1. Seasonal
A2. Linea Rossa
B1. Winter
B2. Marathon
Jordon Alexander (pen name Mall Grab) brilliantly carved out his very own niche in dance music. Influenced by hardcore punk skateboarding and high fashion (Linea Rossa!) in equal parts the young Australian delivers precise studies in house and techno. As entertaining as they are excitatory there hasn’t been a bump on his road so far. Alexander’s debut for Running Back proves this point. How The Dogs Chill Vol.2 delivers four high octane tracks whose DNA contains traces of deep house and a penchant for atmospheric and dulcet melodies. But they are also muscle-bound soaring and cater to the aptitude of shaking legs. Written in 2022 while he was around the flora and fauna of Australia these tracks are also supposed to sound somewhat botanical – or at least evoke the sensory experience of a visit to a greenhouse. Carefully sequenced and crafted one is left with an appetite as soon as the playtime is over. Proper nutriment for party people and serious music pendants alike.
More
A1. Seasonal
A2. Linea Rossa
B1. Winter
B2. Marathon
Jordon Alexander (pen name Mall Grab) brilliantly carved out his very own niche in dance music. Influenced by hardcore punk skateboarding and high fashion (Linea Rossa!) in equal parts the young Australian delivers precise studies in house and techno. As entertaining as they are excitatory there hasn’t been a bump on his road so far. Alexander’s debut for Running Back proves this point. How The Dogs Chill Vol.2 delivers four high octane tracks whose DNA contains traces of deep house and a penchant for atmospheric and dulcet melodies. But they are also muscle-bound soaring and cater to the aptitude of shaking legs. Written in 2022 while he was around the flora and fauna of Australia these tracks are also supposed to sound somewhat botanical – or at least evoke the sensory experience of a visit to a greenhouse. Carefully sequenced and crafted one is left with an appetite as soon as the playtime is over. Proper nutriment for party people and serious music pendants alike.
More
Label:Running Back
Cat-No:rb123-7
Release-Date:08.09.2023
Genre:House
Configuration:7" Excl
Barcode:4251804143141
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Last in:01.09.2023
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in stock
Last in:01.09.2023
Label:Running Back
Cat-No:rb123-7
Release-Date:08.09.2023
Genre:House
Configuration:7" Excl
Barcode:4251804143141
1
Ede & Deckert feat. Sargland - Immer – Club Version
2
Ede & Deckert feat. Sargland - Immer - Instrumental
Tracklist
A1. Immer – Club Version
B1. Immer - Instrumental
Release Info:
The lines between off-centre synth songs and catchy hits have always and forever been ultra-thin. With Immer the proof of the pudding is in the eating. Ede & Deckert managed to turn a red wine and post punk melancholy fueled jam session into a haunting alternative dance jam. While their instrumental sits neatly between the dark wave of Eleven Pond and the British Electric Foundation, it is the voice of the German singer with the mysterious name Sargland. One could think it is possibly an anagram? Called in for spontaneous vocal work, the repetitiveness and heartfelt expression of lovelorn of his tone and lyrics are quite simply irresistible and dichotomic. Whether it’s lover’s grief or delight, Immer works its magic in every way and for everyone.
More
A1. Immer – Club Version
B1. Immer - Instrumental
Release Info:
The lines between off-centre synth songs and catchy hits have always and forever been ultra-thin. With Immer the proof of the pudding is in the eating. Ede & Deckert managed to turn a red wine and post punk melancholy fueled jam session into a haunting alternative dance jam. While their instrumental sits neatly between the dark wave of Eleven Pond and the British Electric Foundation, it is the voice of the German singer with the mysterious name Sargland. One could think it is possibly an anagram? Called in for spontaneous vocal work, the repetitiveness and heartfelt expression of lovelorn of his tone and lyrics are quite simply irresistible and dichotomic. Whether it’s lover’s grief or delight, Immer works its magic in every way and for everyone.
More
Label:Running Back
Cat-No:rb119
Release-Date:11.08.2023
Genre:House
Configuration:12" Excl
Barcode:4251804141505
in stock
Last in:20.07.2023
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in stock
Last in:20.07.2023
Label:Running Back
Cat-No:rb119
Release-Date:11.08.2023
Genre:House
Configuration:12" Excl
Barcode:4251804141505
1
Katerina - Get To Know You
2
Katerina - Marsu (The Cat)
3
Katerina - Alone In Paris
4
Katerina - Time Machine
5
Katerina - Cats Of Yavorov
6
Katerina - Rain In Her Eyes
Tracklist
A1. Get To Know You
A2. Marsu (The Cat)
A3. Alone In Paris
B1. Time Machine
B2. Cats Of Yavorov
B3. Rain In Her Eyes
File under: Singer-songwriter house, outsider or campfire dance. Katerina’s full-blown debut EP for Running Back melds cultural images of both places she calls home. Alternatively hailing from Helsinki or Sofia, she serves ethereal vocals, heartbreaking melodies and the chilly melancholic strains of the north to meet an optimistic and at times cheerful mood, paired with pop music themes, heavy bass lines and an upbeat drum section. Six tracks of idiosyncratic and independent dance motifs (including two ambient takes) that all go against the grain of the fast pace of life today, cheap thrills and unnecessary kills. All symbolized in the lyrics of the lead song Get To Know You or the instrumental love ballad Rain In Her Eyes and bound together by Marsu The Cat or Time Machine. An EP with the depth of an LP, lots of weight and even more character. Powerful, wonderful and more durable than the remains of one day.
More
A1. Get To Know You
A2. Marsu (The Cat)
A3. Alone In Paris
B1. Time Machine
B2. Cats Of Yavorov
B3. Rain In Her Eyes
File under: Singer-songwriter house, outsider or campfire dance. Katerina’s full-blown debut EP for Running Back melds cultural images of both places she calls home. Alternatively hailing from Helsinki or Sofia, she serves ethereal vocals, heartbreaking melodies and the chilly melancholic strains of the north to meet an optimistic and at times cheerful mood, paired with pop music themes, heavy bass lines and an upbeat drum section. Six tracks of idiosyncratic and independent dance motifs (including two ambient takes) that all go against the grain of the fast pace of life today, cheap thrills and unnecessary kills. All symbolized in the lyrics of the lead song Get To Know You or the instrumental love ballad Rain In Her Eyes and bound together by Marsu The Cat or Time Machine. An EP with the depth of an LP, lots of weight and even more character. Powerful, wonderful and more durable than the remains of one day.
More
Label:Running Back
Cat-No:rb121
Release-Date:14.07.2023
Genre:House
Configuration:12" Excl
Barcode:4251804142229
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Last in:29.06.2023
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Last in:29.06.2023
Label:Running Back
Cat-No:rb121
Release-Date:14.07.2023
Genre:House
Configuration:12" Excl
Barcode:4251804142229
1
Roman Flügel - A1. Lucky Charm - Main Mix
2
Roman Flügel - A2. Lucky Charm - Dub Mix
3
Roman Flügel - A3. Lucky Charm - Perc Mix
4
Roman Flügel - B1. Luv Armour
5
Roman Flügel - B2. Whatever This Is
6
Roman Flügel - B3. Film 4
Tracklist
A1. Lucky Charm - Main Mix
A2. Lucky Charm - Dub Mix
A3. Lucky Charm - Perc Mix
B1. Luv Armour
B2. Whatever This Is
B3. Film 4
Magically delicious: Lucky Charm completes Roman Flügel's personal -feel-good-tetralogy on Running Back. Joining Garden Party, D.I.S.C.O. and Mega for a quadrophony of fun, it is piano house at the core of the matter. Of course, Roman Flügel wouldn't be himself, if he would work carelessly. Imagine it prepared through the disciplines of molecular gastronomy. In a dystopian world on the edge of information overkill, this is exactly what one needs to relish temporary relaxation and the joys of life again. Simply put: arps, bass lines, tribal drums, brief melodies and pizzicato illuminate the topic from different sides and in different versions.
Its correspondent Luv Armour is a piece of jewelry that's doing the splits: house, new wave, synth pop and some melancholy for the finishing touches.
If you are looking for less action Whatever That Is offers you a slow dance. Looking for unheard and unconscionable connections, it twists and turns between Can-like sequences, what Underground Resistance dubbed Afrogermanic and some unexpected tunnel, before it ends where it started out
Finally, Film 4 is the final dish of this lush meal. Referring to the other Film tracks on the Mega 12" and created during the hard and dark times of closed amusement party parks, it is full of yearning. Music for your inner cinema.
More
A1. Lucky Charm - Main Mix
A2. Lucky Charm - Dub Mix
A3. Lucky Charm - Perc Mix
B1. Luv Armour
B2. Whatever This Is
B3. Film 4
Magically delicious: Lucky Charm completes Roman Flügel's personal -feel-good-tetralogy on Running Back. Joining Garden Party, D.I.S.C.O. and Mega for a quadrophony of fun, it is piano house at the core of the matter. Of course, Roman Flügel wouldn't be himself, if he would work carelessly. Imagine it prepared through the disciplines of molecular gastronomy. In a dystopian world on the edge of information overkill, this is exactly what one needs to relish temporary relaxation and the joys of life again. Simply put: arps, bass lines, tribal drums, brief melodies and pizzicato illuminate the topic from different sides and in different versions.
Its correspondent Luv Armour is a piece of jewelry that's doing the splits: house, new wave, synth pop and some melancholy for the finishing touches.
If you are looking for less action Whatever That Is offers you a slow dance. Looking for unheard and unconscionable connections, it twists and turns between Can-like sequences, what Underground Resistance dubbed Afrogermanic and some unexpected tunnel, before it ends where it started out
Finally, Film 4 is the final dish of this lush meal. Referring to the other Film tracks on the Mega 12" and created during the hard and dark times of closed amusement party parks, it is full of yearning. Music for your inner cinema.
More
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Cat-No:bewith127lp
Release-Date:26.05.2023
Genre:Jazz
Configuration:LP Excl
Barcode:4251804137935
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1
Nucleus - Elements I & II (2:28)
2
Nucleus - Changing Times (4:44)
3
Nucleus - Bedrock Deadlock (6:52)
4
Nucleus - Spirit Level (9:20)
5
Nucleus - Torso (6:12)
6
Nucleus - Snakehips’ Dream (15:28)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original gatefold sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : Elements I & II (2:28)
A2 : Changing Times (4:44)
A3 : Bedrock Deadlock (6:52)
A4 : Spirit Level (9:20)
--
B1 : Torso (6:12)
B2 : Snakehips’ Dream (15:28)
Release Notes:
What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."
Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.
The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.
The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.
This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package. More
Territories: Worldwide no restrictions
Track List:
A1 : Elements I & II (2:28)
A2 : Changing Times (4:44)
A3 : Bedrock Deadlock (6:52)
A4 : Spirit Level (9:20)
--
B1 : Torso (6:12)
B2 : Snakehips’ Dream (15:28)
Release Notes:
What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."
Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.
The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.
The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.
This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package. More
Label:Be With Records
Cat-No:bewith125lp
Release-Date:26.05.2023
Genre:Jazz
Configuration:LP Excl
Barcode:4251804137911
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Last in:18.04.2023
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Release-Date:26.05.2023
Genre:Jazz
Configuration:LP Excl
Barcode:4251804137911
1
Nucleus - 1916 (1:11)
2
Nucleus - Elastic Rock (4:05)
3
Nucleus - Striation (2:14)
4
Nucleus - Taranaki (1:38)
5
Nucleus - Twisted Track (5:19)
6
Nucleus - Crude Blues (Part 1) (0:54)
7
Nucleus - Crude Blues (Part 2) (2:38)
8
Nucleus - 1916 (The Battle Of Boogaloo) (2:58)
9
Nucleus - Torrid Zone (8:41)
10
Nucleus - Stonescape (2:39)
11
Nucleus - Earth Mother (5:15)
12
Nucleus - Speaking For Myself, Personally, In My Own Opinion, I Think… (1:31)
13
Nucleus - Persephone’s Jive (2:14)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original gatefold die-cut sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : 1916 (1:11)
A2 : Elastic Rock (4:05)
A3 : Striation (2:14)
A4 : Taranaki (1:38)
A5 : Twisted Track (5:19)
A6 : Crude Blues (Part 1) (0:54)
A7 : Crude Blues (Part 2) (2:38)
A8 : 1916 (The Battle Of Boogaloo) (2:58)
--
B1 : Torrid Zone (8:41)
B2 : Stonescape (2:39)
B3 : Earth Mother (5:15)
B4 : Speaking For Myself, Personally, In My Own Opinion, I Think… (1:31)
B5 : Persephone’s Jive (2:14)
Release Notes:
Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.
Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.
The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.
The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.
The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.
This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.
More
Territories: Worldwide no restrictions
Track List:
A1 : 1916 (1:11)
A2 : Elastic Rock (4:05)
A3 : Striation (2:14)
A4 : Taranaki (1:38)
A5 : Twisted Track (5:19)
A6 : Crude Blues (Part 1) (0:54)
A7 : Crude Blues (Part 2) (2:38)
A8 : 1916 (The Battle Of Boogaloo) (2:58)
--
B1 : Torrid Zone (8:41)
B2 : Stonescape (2:39)
B3 : Earth Mother (5:15)
B4 : Speaking For Myself, Personally, In My Own Opinion, I Think… (1:31)
B5 : Persephone’s Jive (2:14)
Release Notes:
Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.
Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.
The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.
The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.
The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.
This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.
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Label:Be With Records
Cat-No:bewith105lp
Release-Date:19.08.2022
Genre:Soul/Funk
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Barcode:4251804125406
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Last in:13.06.2022
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Last in:13.06.2022
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Cat-No:bewith105lp
Release-Date:19.08.2022
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251804125406
1
Nucleus - Phaideaux Corner (6:17)
2
Nucleus - Alleycat (14:15)
3
Nucleus - Splat (11:41)
4
Nucleus - You Can’t Be Sure (4:14)
5
Nucleus - Nosegay (4:51)
Format Notes: 2022 re-issue, 140g vinyl, remastered from the original tapes
Territories: Worldwide no restrictions
Track List:
A1 : Phaideaux Corner (6:17)
A2 : Alleycat (14:15)
B1 : Splat (11:41)
B2 : You Can’t Be Sure (4:14)
B3 : Nosegay (4:51)
Release Notes:
Come for the leopard, stay for the stone cold jams. Yet another thrilling, funky-prog jazzy-rock fusion beauty from Ian Carr’s Nucleus. Originally released on Vertigo in 1975, Alleycat was never re-pressed so those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
Alleycat was the last Nucleus album recorded for the Vertigo label. Released in 1975, it was again meticulously produced by Jon Hiseman and is every bit as sinuous as anything else the group had recorded. As far as riff-laden accidental cop-funk goes, there’s so much energy coursing through the music that at times it sounds like a live recording. It’s pretty unbeatable.
Uptempo opener “Phaideaux Corner” is a funk-flavoured opus with a groove that simply swaggers. This trademark Roger Sutton piece benefits from Trevor Tomkins’s percussive expertise and some excellent sax and keyboard soloing. Check out Geoff Castle on squelchy, stabbing Moog duties. Ian Carr’s elegantly laidback title track is a lengthy suite of magisterial themes. Typically complex, it still gets you hooked and is just riddled with the funk. Carr builds up his initially “straight” trumpet solo with later use of echo to mesmeric effect. And there’s some excellent wah-wah guitar shredding by Ken Shaw too. Nice.
The second side opens with the killer “Splat” and finds Nucleus really ripping it up. A fat, funky bass guitar riff introduces us to the track and stays with us until the end. The often mangled bass groove is pushed along by rattling drums and percussion, dropping out for some restful moments of spacey calm, and along the way picking up some lengthy keyboard noodling by Castle. So so good.
The cool “You Can’t Be Sure” is a gentle jam with Shaw on 12-string acoustic guitar, together with Carr’s muted trumpet and some marvellous fretless work from Sutton for extra colour. The album closes with Bob Bertles’ galloping “Nosegay”, written perhaps as a response to some of the faster Mahavishnu Orchestra pieces. It’s an example of well crafted jazz-rock that doesn’t compromise any of its jazziness, yet it still very definitely rocks.
This Be With re-issue of Alleycat has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The cool AF cover - that leopard was just a cat before he heard Nucleus, you know - has been restored as the finishing touch to this long overdue re-issue.
More
Territories: Worldwide no restrictions
Track List:
A1 : Phaideaux Corner (6:17)
A2 : Alleycat (14:15)
B1 : Splat (11:41)
B2 : You Can’t Be Sure (4:14)
B3 : Nosegay (4:51)
Release Notes:
Come for the leopard, stay for the stone cold jams. Yet another thrilling, funky-prog jazzy-rock fusion beauty from Ian Carr’s Nucleus. Originally released on Vertigo in 1975, Alleycat was never re-pressed so those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
Alleycat was the last Nucleus album recorded for the Vertigo label. Released in 1975, it was again meticulously produced by Jon Hiseman and is every bit as sinuous as anything else the group had recorded. As far as riff-laden accidental cop-funk goes, there’s so much energy coursing through the music that at times it sounds like a live recording. It’s pretty unbeatable.
Uptempo opener “Phaideaux Corner” is a funk-flavoured opus with a groove that simply swaggers. This trademark Roger Sutton piece benefits from Trevor Tomkins’s percussive expertise and some excellent sax and keyboard soloing. Check out Geoff Castle on squelchy, stabbing Moog duties. Ian Carr’s elegantly laidback title track is a lengthy suite of magisterial themes. Typically complex, it still gets you hooked and is just riddled with the funk. Carr builds up his initially “straight” trumpet solo with later use of echo to mesmeric effect. And there’s some excellent wah-wah guitar shredding by Ken Shaw too. Nice.
The second side opens with the killer “Splat” and finds Nucleus really ripping it up. A fat, funky bass guitar riff introduces us to the track and stays with us until the end. The often mangled bass groove is pushed along by rattling drums and percussion, dropping out for some restful moments of spacey calm, and along the way picking up some lengthy keyboard noodling by Castle. So so good.
The cool “You Can’t Be Sure” is a gentle jam with Shaw on 12-string acoustic guitar, together with Carr’s muted trumpet and some marvellous fretless work from Sutton for extra colour. The album closes with Bob Bertles’ galloping “Nosegay”, written perhaps as a response to some of the faster Mahavishnu Orchestra pieces. It’s an example of well crafted jazz-rock that doesn’t compromise any of its jazziness, yet it still very definitely rocks.
This Be With re-issue of Alleycat has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The cool AF cover - that leopard was just a cat before he heard Nucleus, you know - has been restored as the finishing touch to this long overdue re-issue.
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Label:Be With Records
Cat-No:bewith128lp
Release-Date:26.05.2023
Genre:Jazz
Configuration:LP Excl
Barcode:4251804137942
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Last in:14.04.2023
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Cat-No:bewith128lp
Release-Date:26.05.2023
Genre:Jazz
Configuration:LP Excl
Barcode:4251804137942
1
Nucleus - Rat’s Bag (5:49)
2
Nucleus - Alive & Kicking (9:24)
3
Nucleus - Rachel’s Tune (6:58)
4
Nucleus - Snakehips Etcetera (10:23)
5
Nucleus - Pussyfoot (3:59)
6
Nucleus - Heyday (7:43)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : Rat’s Bag (5:49)
A2 : Alive & Kicking (9:24)
A3 : Rachel’s Tune (6:58)
--
B1 : Snakehips Etcetera (10:23)
B2 : Pussyfoot (3:59)
B3 : Heyday (7:43)
Release Notes:
The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”
With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.
The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.
Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.
This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty. More
Territories: Worldwide no restrictions
Track List:
A1 : Rat’s Bag (5:49)
A2 : Alive & Kicking (9:24)
A3 : Rachel’s Tune (6:58)
--
B1 : Snakehips Etcetera (10:23)
B2 : Pussyfoot (3:59)
B3 : Heyday (7:43)
Release Notes:
The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”
With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.
The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.
Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.
This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty. More
12" Excl
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Label:Heist Recordings
Cat-No:heist078
Release-Date:10.11.2023
Genre:House
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Release-Date:10.11.2023
Genre:House
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Barcode:4251804142991
1
Crackazat - Alfa
2
Andy Hart - Epsilon Girls
3
Makèz - Different Planets
4
Kassian - 8th Movement
5
Nachtbraker - Hamdi
Format: Vinyl 12” (Limited 180 gr. Blue Vinyl - Special Cut Out Sleeve - Printed Inner sleeve)
Track list:
A1 Crackazat - Alfa
A2 Andy Hart - Epsilon Girls
A3 Makèz - Different Planets
B1 Kassian - 8th Movement
B2 Nachtbraker - Hamdi
Release Info:
The Dam Swindle curated compilation Heist Classics Vol. 02 delivers even more of the label’s biggest hits in a beautiful limited-edition package.
It’s safe to say that in it’s 10 years of existence, Heist Recordings has given us plenty of amazing music and has cemented itself as one of the key labels in today’s house scene. The first 3 compilations of this year have had an amazing response with radio and club tastemakers (re)discovering some of the best music that has come out on Heist. With support from Paul Woolford, Luke Slater, Antal, James Zabiela, Nightmares on Wax, a 10/10 in Faze Mag and various radio plays on BBC R1 with Pete Tong, Annie Mac and more, it’s safe to say that everyone has been loving these releases. Now, Dam Swindle conclude their 10-year anniversary releases with Classics vol. 2: a limited-edition collection with hits from Crackazat, Andy Hart, Kassian, Makèz and Nachtbraker.
The release kicks off with ‘Alfa’: Crackazat’s biggest hit to date (and that’s saying something, coming from a producer that has delivered jam upon jam in his career). It’s a signature Crackazat song with an off-kilter live key loop, shuffling percussion and pumping low end.
Andy Hart’s ‘Epsilon Girls’ was originally released in 2014 and has helped cement the artist and label’s position in the house music landscape. A vintage Barbara St. Clair loop gives the track a lovely human touch, which is countered by layers upon layers of glimmering electronics.
Different Planets is the track that really kickstarted the career of the talented duo Makèz. Released in 2019, the track has everything we’ve come to love from their recognizable sound: lively drums, catchy hooks and warm & jazzy chords. UK duo Kassian are represented on this package with their track ‘8th Movement’. Their sound has progressed towards techno in recent years which has given them support from artists across the board such as Ben UFO, Special Request and many more. Their Heist classic ‘8th Movement’ - still housey in its core - already has hints of their newfound style in its sound design and rolling energy.
We end the record with what might be Nachtbraker’s biggest track of his career: ‘Hamdi’. You’ll find him currently at work with artists such as Shanti Celeste where he recently released his Capichone EP, but the sound he developed in the early part of his career had Heist written all over it. ‘Hamdi’ is a proper anthem, with African drums, an ecstatic vocal sample and a killer groove.
The vinyl release of Heist Classics Vol. 02 is printed on colored 180grams heavyweight vinyl and is limited to 1000 records with a special design by our Art Director Bas Koopmans (Wellness.)
Enjoy the music and play it loud!
Lars & Maarten More
Track list:
A1 Crackazat - Alfa
A2 Andy Hart - Epsilon Girls
A3 Makèz - Different Planets
B1 Kassian - 8th Movement
B2 Nachtbraker - Hamdi
Release Info:
The Dam Swindle curated compilation Heist Classics Vol. 02 delivers even more of the label’s biggest hits in a beautiful limited-edition package.
It’s safe to say that in it’s 10 years of existence, Heist Recordings has given us plenty of amazing music and has cemented itself as one of the key labels in today’s house scene. The first 3 compilations of this year have had an amazing response with radio and club tastemakers (re)discovering some of the best music that has come out on Heist. With support from Paul Woolford, Luke Slater, Antal, James Zabiela, Nightmares on Wax, a 10/10 in Faze Mag and various radio plays on BBC R1 with Pete Tong, Annie Mac and more, it’s safe to say that everyone has been loving these releases. Now, Dam Swindle conclude their 10-year anniversary releases with Classics vol. 2: a limited-edition collection with hits from Crackazat, Andy Hart, Kassian, Makèz and Nachtbraker.
The release kicks off with ‘Alfa’: Crackazat’s biggest hit to date (and that’s saying something, coming from a producer that has delivered jam upon jam in his career). It’s a signature Crackazat song with an off-kilter live key loop, shuffling percussion and pumping low end.
Andy Hart’s ‘Epsilon Girls’ was originally released in 2014 and has helped cement the artist and label’s position in the house music landscape. A vintage Barbara St. Clair loop gives the track a lovely human touch, which is countered by layers upon layers of glimmering electronics.
Different Planets is the track that really kickstarted the career of the talented duo Makèz. Released in 2019, the track has everything we’ve come to love from their recognizable sound: lively drums, catchy hooks and warm & jazzy chords. UK duo Kassian are represented on this package with their track ‘8th Movement’. Their sound has progressed towards techno in recent years which has given them support from artists across the board such as Ben UFO, Special Request and many more. Their Heist classic ‘8th Movement’ - still housey in its core - already has hints of their newfound style in its sound design and rolling energy.
We end the record with what might be Nachtbraker’s biggest track of his career: ‘Hamdi’. You’ll find him currently at work with artists such as Shanti Celeste where he recently released his Capichone EP, but the sound he developed in the early part of his career had Heist written all over it. ‘Hamdi’ is a proper anthem, with African drums, an ecstatic vocal sample and a killer groove.
The vinyl release of Heist Classics Vol. 02 is printed on colored 180grams heavyweight vinyl and is limited to 1000 records with a special design by our Art Director Bas Koopmans (Wellness.)
Enjoy the music and play it loud!
Lars & Maarten More
LP Excl
in stock
Label:Be With Records
Cat-No:bewith103lp
Release-Date:09.09.2022
Genre:Soul/Funk
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in stock
Last in:27.06.2022
Label:Be With Records
Cat-No:bewith103lp
Release-Date:09.09.2022
Genre:Soul/Funk
Configuration:LP Excl
Barcode:4251804125383
1
Ian Carr With Nucleus - Origins (2:57)
2
Ian Carr With Nucleus - Bull Dance (8:17)
3
Ian Carr With Nucleus - Ariadne (7:47)
4
Ian Carr With Nucleus - Arena Part I (1:49)
5
Ian Carr With Nucleus - Arena Part II (5:12)
6
Ian Carr With Nucleus - Exultation (6:02)
7
Ian Carr With Nucleus - Naxos (12:22)
Format Notes: 2022 re-issue, 140g vinyl, gatefold sleeve, remastered from the original tapes
Territories: Worldwide no restrictions
Track List:
A1 : Origins (2:57)
A2 : Bull Dance (8:17)
A3 : Ariadne (7:47)
A4 : Arena Part I (1:49)
B1 : Arena Part II (5:12)
B2 : Exultation (6:02)
B3 : Naxos (12:22)
Release Notes:
Labyrinth is dark, brooding, beat-heavy, melancholic mood music courtesy of Ian Carr and the Nucleus crew. A favourite of Madlib, it goes without saying that this is one magnificent record. Originally released on Vertigo in 1973, Labyrinth was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
At this point Carr had parted ways with guitarist Alan Holdsworth and as a result the Nucleus sound found itself returning to the core elements of groove and melody. Carr had become bolder and more self-confident in his compositions and it shows in the sheer ambition of Labyrinth. Composed by Carr, and with lyrics written by his wife Sandy, Labyrinth was the result of a commission from the Park Lane Group and funded by the Arts Council of Great Britain. Originally a live performance by an augmented Nucleus, some of the expanded cast were brought back for the recording sessions, including vocalist Norma Winstone. So as the front cover of the finished album says, this is literally “Nucleus Plus”.
Labyrinth is presented as a suite, based on the ancient Greek legend of the Minotaur with musical instruments representing the various elements of the mythology. According to the LP’s original sleeve notes, the bass clarinet represents the tragic element, the trumpet represents the heroic element and the voice represents the human element. The rest of the musicians represent the two societies of Athens and Crete and their comments on the story as it unfolds.
The album opens with the experimental, sumptuously dissonant “Origins”. Teasing strands of atmospheric bass clarinet introduce the first theme before swiftly fading out with a startling blast of staccato fanfares and big drums. Heavy. The album soon finds its rhythm as it alights on the spell-binding and groove-friendly “Bull-Dance”, showing off the best Nucleus has to offer: subtle trumpet melodies, compelling rhythms, a psych-rock vibe and tight soloing. And of course there’s Norma Winstone’s stunning wordless vocals, that also take the lead in the next track “Ariadne”, a spacey-jazz song with beautiful piano, flute and clarinet, and the only recognisable lyrics on the album. You might recognise a snatch of it being looped by Madlib on Quasimoto’s “Astro Travellin”. The first part of the improvised “Arena” closes out the first side of the album, a short experimental piece with piano and horns.
Over on the flip-side, the powerful second part of “Arena” introduces a new theme. It swiftly builds, with vocal melodies, piano and horns all pronounced over the thick drums snapping your neck. It comes on like an alternate take on “Bull-Dance”, noisier, with a looser rhythm. The triumphant, shuffling Latin-jam “Exultation” leans on more scintillating vocals from Winstone, and a chunky counter melody from the rhythm section. It’ll get you moving.
The final track, the haunting, twelve minute “Naxos”, is an incredible way to close out this remarkable record. A circling bass guitar loop inspiring the group to a meditative psychedelic jazz rock improvisation in a silent, Miles kind of way, with a great flugelhorn solo from Carr and an ace synth climax.
This Be With edition of Labyrinth has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. Another great Keith Davis sleeve has been restored in all its airbrushed Golden Age of comics, gatefold splendour. Complete with Minotaur of course.
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Territories: Worldwide no restrictions
Track List:
A1 : Origins (2:57)
A2 : Bull Dance (8:17)
A3 : Ariadne (7:47)
A4 : Arena Part I (1:49)
B1 : Arena Part II (5:12)
B2 : Exultation (6:02)
B3 : Naxos (12:22)
Release Notes:
Labyrinth is dark, brooding, beat-heavy, melancholic mood music courtesy of Ian Carr and the Nucleus crew. A favourite of Madlib, it goes without saying that this is one magnificent record. Originally released on Vertigo in 1973, Labyrinth was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
At this point Carr had parted ways with guitarist Alan Holdsworth and as a result the Nucleus sound found itself returning to the core elements of groove and melody. Carr had become bolder and more self-confident in his compositions and it shows in the sheer ambition of Labyrinth. Composed by Carr, and with lyrics written by his wife Sandy, Labyrinth was the result of a commission from the Park Lane Group and funded by the Arts Council of Great Britain. Originally a live performance by an augmented Nucleus, some of the expanded cast were brought back for the recording sessions, including vocalist Norma Winstone. So as the front cover of the finished album says, this is literally “Nucleus Plus”.
Labyrinth is presented as a suite, based on the ancient Greek legend of the Minotaur with musical instruments representing the various elements of the mythology. According to the LP’s original sleeve notes, the bass clarinet represents the tragic element, the trumpet represents the heroic element and the voice represents the human element. The rest of the musicians represent the two societies of Athens and Crete and their comments on the story as it unfolds.
The album opens with the experimental, sumptuously dissonant “Origins”. Teasing strands of atmospheric bass clarinet introduce the first theme before swiftly fading out with a startling blast of staccato fanfares and big drums. Heavy. The album soon finds its rhythm as it alights on the spell-binding and groove-friendly “Bull-Dance”, showing off the best Nucleus has to offer: subtle trumpet melodies, compelling rhythms, a psych-rock vibe and tight soloing. And of course there’s Norma Winstone’s stunning wordless vocals, that also take the lead in the next track “Ariadne”, a spacey-jazz song with beautiful piano, flute and clarinet, and the only recognisable lyrics on the album. You might recognise a snatch of it being looped by Madlib on Quasimoto’s “Astro Travellin”. The first part of the improvised “Arena” closes out the first side of the album, a short experimental piece with piano and horns.
Over on the flip-side, the powerful second part of “Arena” introduces a new theme. It swiftly builds, with vocal melodies, piano and horns all pronounced over the thick drums snapping your neck. It comes on like an alternate take on “Bull-Dance”, noisier, with a looser rhythm. The triumphant, shuffling Latin-jam “Exultation” leans on more scintillating vocals from Winstone, and a chunky counter melody from the rhythm section. It’ll get you moving.
The final track, the haunting, twelve minute “Naxos”, is an incredible way to close out this remarkable record. A circling bass guitar loop inspiring the group to a meditative psychedelic jazz rock improvisation in a silent, Miles kind of way, with a great flugelhorn solo from Carr and an ace synth climax.
This Be With edition of Labyrinth has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. Another great Keith Davis sleeve has been restored in all its airbrushed Golden Age of comics, gatefold splendour. Complete with Minotaur of course.
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Label:Be With Records
Cat-No:bewith104lp
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1
Nucleus - In Procession (2:52)
2
Nucleus - The Addison Trip (3:53)
3
Nucleus - Pastoral Graffiti (3:28)
4
Nucleus - New Life (7:01)
5
Nucleus - A Taste Of Sarsaparilla (0:40)
6
Nucleus - Theme 1 - Sarsaparilla (6:45)
7
Nucleus - Theme 2 - Feast Alfresco (5:56)
8
Nucleus - Theme 3 - Rites Of Man (9:58)
Format Notes: 2022 re-issue, 140g vinyl, remastered from the original tapes
Territories: Worldwide no restrictions
Track List:
A1 : In Procession (2:52)
A2 : The Addison Trip (3:53)
A3 : Pastoral Graffiti (3:28)
A4 : New Life (7:01)
A5 : A Taste Of Sarsaparilla (0:40)
B1 : Theme 1 - Sarsaparilla (6:45)
B2 : Theme 2 - Feast Alfresco (5:56)
B3 : Theme 3 - Rites Of Man (9:58)
Release Notes:
Under The Sun is the follow-up to the astonishing Roots and contains yet more absolutely essential Nucleus material. Originally released on Vertigo in 1974, Under The Sun was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
Under The Sun opens with the crisp, medium tempo “In Procession”. It’s a typically inventive Carr track with layers of dramatic, riff-led themes and repeating brass blasts. Bryan Spring’s “The Addison Trip” is a moody funk piece, with Kieran White guesting on wordless vocals. Roger Sutton contributes some fine bass guitar on this track, particularly the great solo at around the two minute mark. The excellently-named cool, jazzy ballad “Pastoral Graffiti” paints bucolic pictures with its mellow sonics, plaintive horns and Bob Bertles’ flute.
Sutton’s superb, bass-driven “New Life” brings a different dynamic. Horns, guitar and electric piano swirl over the head-nod bass motif and a killer Ken Shaw guitar solo. A false fade out halfway through brings in a new bass riff that’s picked up by the whole ensemble as Carr wah-wah noodles over the top. It’s full-on. The gorgeous, laidback “A Taste of Sarsaparilla” is exactly that - closing out the first side with a cute blast of what is to come over on the killer flip.
The whole of Under The Sun’s second side is a suite of three “Themes” written by Ian Carr. The uptempo first theme “Sarsaparilla” is comfortably one of Nucleus’ best. What would’ve been a cluttered mess in the hands of most is instead an effortless lesson in clarity and zing. Between Geoff Castle’s electric piano solo, the relentless funky drumming and more wild wah-wah trumpet from Carr, Nucleus show you how it’s done.
The languid groove of second theme “Feast Alfresco” is much more typical of “classic” Nucleus and sounds like something that might’ve been on Roots. A Bertles baritone solo and a guitar solo from Shaw weave around the core, serpentine brass theme.
The darker “Rites of Man”, the third and final theme, is a slow build to a solid bass and electric piano riff, shored up by some tricky brass. Carr takes the theme even further and there’s still plenty of room for soloing from all corners of the Nucleus. As usual, the dynamic Sutton/Spring, bass/drums duo is holding down the rhythm for the rest to jam around.
This Be With edition of Under The Sun has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The bleak, rain-dappled cover matches the melancholic vibe of the record and has been restored as the finishing touch to this long overdue re-issue.
More
Territories: Worldwide no restrictions
Track List:
A1 : In Procession (2:52)
A2 : The Addison Trip (3:53)
A3 : Pastoral Graffiti (3:28)
A4 : New Life (7:01)
A5 : A Taste Of Sarsaparilla (0:40)
B1 : Theme 1 - Sarsaparilla (6:45)
B2 : Theme 2 - Feast Alfresco (5:56)
B3 : Theme 3 - Rites Of Man (9:58)
Release Notes:
Under The Sun is the follow-up to the astonishing Roots and contains yet more absolutely essential Nucleus material. Originally released on Vertigo in 1974, Under The Sun was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
Under The Sun opens with the crisp, medium tempo “In Procession”. It’s a typically inventive Carr track with layers of dramatic, riff-led themes and repeating brass blasts. Bryan Spring’s “The Addison Trip” is a moody funk piece, with Kieran White guesting on wordless vocals. Roger Sutton contributes some fine bass guitar on this track, particularly the great solo at around the two minute mark. The excellently-named cool, jazzy ballad “Pastoral Graffiti” paints bucolic pictures with its mellow sonics, plaintive horns and Bob Bertles’ flute.
Sutton’s superb, bass-driven “New Life” brings a different dynamic. Horns, guitar and electric piano swirl over the head-nod bass motif and a killer Ken Shaw guitar solo. A false fade out halfway through brings in a new bass riff that’s picked up by the whole ensemble as Carr wah-wah noodles over the top. It’s full-on. The gorgeous, laidback “A Taste of Sarsaparilla” is exactly that - closing out the first side with a cute blast of what is to come over on the killer flip.
The whole of Under The Sun’s second side is a suite of three “Themes” written by Ian Carr. The uptempo first theme “Sarsaparilla” is comfortably one of Nucleus’ best. What would’ve been a cluttered mess in the hands of most is instead an effortless lesson in clarity and zing. Between Geoff Castle’s electric piano solo, the relentless funky drumming and more wild wah-wah trumpet from Carr, Nucleus show you how it’s done.
The languid groove of second theme “Feast Alfresco” is much more typical of “classic” Nucleus and sounds like something that might’ve been on Roots. A Bertles baritone solo and a guitar solo from Shaw weave around the core, serpentine brass theme.
The darker “Rites of Man”, the third and final theme, is a slow build to a solid bass and electric piano riff, shored up by some tricky brass. Carr takes the theme even further and there’s still plenty of room for soloing from all corners of the Nucleus. As usual, the dynamic Sutton/Spring, bass/drums duo is holding down the rhythm for the rest to jam around.
This Be With edition of Under The Sun has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The bleak, rain-dappled cover matches the melancholic vibe of the record and has been restored as the finishing touch to this long overdue re-issue.
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Label:Be With Records
Cat-No:bewith126lp
Release-Date:26.05.2023
Genre:Jazz
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1
Nucleus - Song For The Bearded Lady (7:22)
2
Nucleus - Sun Child (5:16)
3
Nucleus - Lullaby For A Lonely Child (4:21)
4
Nucleus - We’ll Talk About It Later (6:13)
5
Nucleus - Oasis (9:44)
6
Nucleus - Ballad Of Joe Pimp (3:45)
7
Nucleus - Easter 1916 (8:49)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original gatefold die-cut sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : Song For The Bearded Lady (7:22)
A2 : Sun Child (5:16)
A3 : Lullaby For A Lonely Child (4:21)
A4 : We’ll Talk About It Later (6:13)
--
B1 : Oasis (9:44)
B2 : Ballad Of Joe Pimp (3:45)
B3 : Easter 1916 (8:49)
Release Notes:
Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.
The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.
The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.
This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.
More
Territories: Worldwide no restrictions
Track List:
A1 : Song For The Bearded Lady (7:22)
A2 : Sun Child (5:16)
A3 : Lullaby For A Lonely Child (4:21)
A4 : We’ll Talk About It Later (6:13)
--
B1 : Oasis (9:44)
B2 : Ballad Of Joe Pimp (3:45)
B3 : Easter 1916 (8:49)
Release Notes:
Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.
The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.
The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.
This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.
More
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1
Ian Carr’s Nucleus - A1 : Roots (9:24)
2
Ian Carr’s Nucleus - A2 : Images (4:55)
3
Ian Carr’s Nucleus - A3 : Caliban (4:35)
4
Ian Carr’s Nucleus - B1 : Whapatiti (3:22)
5
Ian Carr’s Nucleus - B2 : Capricorn (4:00)
6
Ian Carr’s Nucleus - B3 : Odokamona (3:24)
7
Ian Carr’s Nucleus - B4 : Southern Roots And Celebration (7:45)
Format Notes: 2024 repress, 140g vinyl, remastered from the original analogue tapes
Track List:
1 A1 : Roots (9:24)
2 A2 : Images (4:55)
3 A3 : Caliban (4:35)
4 B1 : Whapatiti (3:22)
5 B2 : Capricorn (4:00)
6 B3 : Odokamona (3:24)
7 B4 : Southern Roots And Celebration (7:45)
Release Notes:
What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.
Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.
Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.
The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.
The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.
Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.
The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.
And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.
Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.
This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.
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Track List:
1 A1 : Roots (9:24)
2 A2 : Images (4:55)
3 A3 : Caliban (4:35)
4 B1 : Whapatiti (3:22)
5 B2 : Capricorn (4:00)
6 B3 : Odokamona (3:24)
7 B4 : Southern Roots And Celebration (7:45)
Release Notes:
What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.
Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.
Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.
The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.
The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.
Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.
The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.
And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.
Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.
This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.
More
12" Excl
in stock
Label:WRWTFWW
Cat-No:wrwtfww041
Release-Date:14.06.2024
Configuration:12" Excl
Barcode:4251648411826
in stock
Last in:04.06.2024
+ Show full info- Close
in stock
Last in:04.06.2024
Label:WRWTFWW
Cat-No:wrwtfww041
Release-Date:14.06.2024
Configuration:12" Excl
Barcode:4251648411826
1
Grauzone - Eisbär
2
Grauzone - FILM 2
3
Grauzone - Ich Lieb Sie
2024 repress
The First Authorised, Official Re Edition of this Electronic, New Wave, Cold Wave, Pop, Synth, Post-Punk Classic, Personally Overseen by Stephan Eicher, Everything Original: Art, Tracklist, Cut on 45 rpm - Printed on 350 GSM Paperstock incl. Sticker!
WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.
Tracklisting:
A1. Eisbär
B1. FILM 2
B2. Ich Lieb Sie
Info:
WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.
Ich möchte ein Eisbär sein…Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track?
"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli’s Cosmic C75 1982 mixtape online for a great example of this).
The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.
At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone’s music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.
Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin’s Rephlex label.
Grauzone and WRWTFWW will continue to collaborate on the band’s 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.
More
The First Authorised, Official Re Edition of this Electronic, New Wave, Cold Wave, Pop, Synth, Post-Punk Classic, Personally Overseen by Stephan Eicher, Everything Original: Art, Tracklist, Cut on 45 rpm - Printed on 350 GSM Paperstock incl. Sticker!
WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.
Tracklisting:
A1. Eisbär
B1. FILM 2
B2. Ich Lieb Sie
Info:
WRWTFWW Records is very honored to announce the official reissue of Grauzone’s essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band’s formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.
Ich möchte ein Eisbär sein…Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track?
"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli’s Cosmic C75 1982 mixtape online for a great example of this).
The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.
At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone’s music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.
Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin’s Rephlex label.
Grauzone and WRWTFWW will continue to collaborate on the band’s 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.
More
12" Excl
in stock
Label:Public Possession
Cat-No:PP095
Release-Date:03.11.2023
Genre:House
Configuration:12" Excl
Barcode:4251804143837
in stock
Last in:13.10.2023
+ Show full info- Close
in stock
Last in:13.10.2023
Label:Public Possession
Cat-No:PP095
Release-Date:03.11.2023
Genre:House
Configuration:12" Excl
Barcode:4251804143837
1
Wolfram & Josh Ludlow - Yo Yo Disco
2
Wolfram & Josh Ludlow - Yo Yo Disco (Extended)
Format 12” (Vinyl Only)
Tracklist:
A1) Yo Yo Disco
B1) Yo Yo Disco (Extended)
Short info:
Text
ALARM. Wolfi & Josh take you to the Disco. ALARM
More
Tracklist:
A1) Yo Yo Disco
B1) Yo Yo Disco (Extended)
Short info:
Text
ALARM. Wolfi & Josh take you to the Disco. ALARM
More