2024 Re Release

Genre: Deep House, Minimal, Ambient

Tracklist 2x12“ Vinyl & Digital:

A1 Desires
A2 Interborough
A3 Apparent Calm Palms
B1 Quiet Decay
B2 Chimera
C1 Behind Their House
C2 Transfiguration
C3 Slalom
D1 Unfold
D2 Conclusions

Info:

Stólar label boss Philipp Priebe delivers his new album ‘Apparent Calm Palms’ this October, joining the roster of Mainz/Hamburg, Germany’s Feuilleton.
Berlin-based artist Philipp Priebe has been steadily making his mark on the contemporary deep hazy house and leftfield electronica scene over the past few years with a series of releases on his own Stólar imprint. Here though we see him deliver his second album following his debut LP ‘The Being Of The Beautiful’ released on Japan’s IL Y A Records back in 2014. Feuilleton is the brainchild of Chris Gruber (Fossar) and Tim Eder and since 2018 has unveiled material from the duo themselves, RR (René Raabe), Snad, Gari Romalis, Melina, Jakob Seidensticker and more.
Throughout the ‘Apparent Calm Palms’ LP Priebe delivers a concoction of styles and sounds cohesi-vely fused together to form the bigger concept which is he tells us is ‘’an album about small towns and villages and the needs and desires that brings one night out in clubs. The transport/travel, the preparty, all the things that you had to do, when you are not directly living in the big party places, but still want to have a decent night out, away from your usual suspects.’’.
Throughout the ten-track LP Philipp delivers ethereal deep house with opening track ‘Desires’, the succeeding ‘Interborough’ and ‘Chimera’, murky dub house leaning cuts like ‘Quiet Decay’, ‘Slalom’, ‘Unfold’ and ‘Conclusions’ while ‘Transfiguration’ showcases a more classic Chicago House influence. Title-track ‘Apparent Calm Palms’ and the interlude ‘Behind Their House’ then see Priebe offer a foray into textural ambient sounds, once again showcasing his unique ability to craft raw, understated and emotion fuelled material across a variety of genres.
Mastering by Sven Weisemann and Lacquer Cut by Stefan Betke


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2024 Re Release

Genre: Deep House, Minimal House

Tracklist 12":
A1 Where Is Lass?
B1 To The Right
B2 After We’re All Gone

Short Info:
Wareika's finest Jakob Seidensticker, who is estimated for his works on Perlon, Minibar, Mule Musiq,
Pleasure Zone and We R The Aliens, is back with his first solo artist EP in 10 years.
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Genre: Deep House, Detroit, House, Electro, Breaks

Tracklist 12“:

A1 Slow Motion
A2 In The Meantime
B1 My Joy
B2 Fringe Food
B3 Unity Drums


Short Info:

The 2nd solo EP by Bielefeld’s finest RR on Feuilleton is bringing jazzy & classic house music feels toge-ther with a fresh & futuristic twist on 5 cuts - dedicated to the fine stereo systems & sophisticated dancefloors on the planet. Written & produced by René Raabe, mixdown by Tim Eder, mastering by Sven Weisemann, lacquer cut by Stefan Betke at Scape Mastering and photography by Paula Theiss.

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Genre: Deep House, Detroit House, House


Tracklist 12“ (Vinyl only):

A1 The Test
A2 Simple & Effective
B1 Walk (Glide On By Mix)
B2 Walk (ZKY’s Walk Into The Sunshine Remix)


Short Info:

Next Feuilleton is delivered by Detroit original Gari Romalis. Under his moniker „Detroit Soul Factory“ he presents three tracks of pure motor city deepness for your body, mind and soul. Additional remix work on B2 by ZKY (1/2 of Cab Drivers).

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Special remarks: Limited 12" Edition, from wich some will include (randomly) a screen print inside from our artwork by Madlen Strebel.

Genre: House, Deep House, Jazzy House, Tech-House

Tracklist 12":
A1 Tilman & Will Buck - Once Upon A Time (06:09min)
A2 Fossar & Tim Eder vs Brothers' Vibe - Flow (07:15min)
A3 RR - Jazztasty 21st (04:34min)
B1 Melina & Jakob Seidensticker - You Know What (07:30min)
B2 Thomas Stieler - Room 388 (Sunrise Altholz Version) (07:28min)

Short Info:
House music connecting people! Feuilleton is back with a 5-tracker of short stories by the imprint‘s usual
suspects and a bunch of new but well known artists from New York, Newark, Munich, Hamburg and Mainz.
Tilman & Will Buck deliver a smooth opener with discoish moments on A1, followed by a classical, dubby house
roller by the label heads Fossar and Tim Eder, spiced up with some vocals by US house veteran Tony Rodriguez
aka Brothers’ Vibe. Feuilleton’s regular RR presents a cinematic mélange of breaky jazz vibes with a maximum
organic sound impression. The B-Side is clearly dedicated to the dancefloor. Melina & Jakob Seidensticker
created an uplifting floor filler with outstanding vocal action. The twisted shuffle will lift the crowd to the next
level! Thomas Stieler is rounding up the compilation with an energetic morning jam, shifting back from the
extrovert peak time moment to a deeper, more intimate feel. One for the sunrise, that’s for sure. More

Genre: Deep House, Detroit, House, Electro, Breaks

Tracklist 12“:

A1 Slow Motion
A2 In The Meantime
B1 My Joy
B2 Fringe Food
B3 Unity Drums


Short Info:

The 2nd solo EP by Bielefeld’s finest RR on Feuilleton is bringing jazzy & classic house music feels toge-ther with a fresh & futuristic twist on 5 cuts - dedicated to the fine stereo systems & sophisticated dancefloors on the planet. Written & produced by René Raabe, mixdown by Tim Eder, mastering by Sven Weisemann, lacquer cut by Stefan Betke at Scape Mastering and photography by Paula Theiss.

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Territory: WW-UK/EIRE & USA,Canada

2024 repress

Double Vinyl
Pressed on BioVinyl and packaged in environmental wrapping


To celebrate its 30th anniversary, Plastikman's redefining acid techno masterpiece, Sheet One, has been mastered from the original tapes and reissued on vinyl via Mute and NovaMute.

Released in 1993 on Mute's subsidiary label NovaMute, this record was the debut for Richie Hawtin's alias Plastikman. 30 years on Sheet One is a landmark album in the field of electronic music, it changed the shape of what the genre could be and became.

Introducing one of techno's most recognisable logos, the album achieved a degree of notoriety for its acid blotter-style perforated artwork. Musically it focuses on laser-precise minimalist rhythms to drive a series of echo-box acid lines that gradually acquire power over the course of lengthy album tracks, with frequent use of the Roland TB-303, which gained prominence in the electronic music world as a staple of Chicago's acid house scene. Hawtin once described Sheet One perfectly in an interview with MusicRadar, saying "...It's music for the end of the party as you're melting into the floor, which is exactly what the name Plastikman was made to represent."

This seminal album helped to establish the template for minimal techno, and is a must listen for lovers of electronic music.

Available on double bio vinyl.

TRACKLIST
A1 Drp
A2 Plasticity
A3 Gak
B1 Okx
B2 Helikopter
B3 Glob
C1 Plasticine
C2 Koma
D1 Vokx
D2 Smak
D3 Ovokx

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LP, Black vinyl with Printed Inner

Territory: Sales Only to: Germany, Austria, Switzerland, France


On his sophomore album, the Swedish singer and guitarist takes the basic elements of an acoustic troubadour's
craft and explores their possibilities, not only as ingredients of songs, but as sounds to be enjoyed in their own
right. A stray breath, the buzzing of guitar strings, a hand scraping across the frets: these are all shades in
González's palette. The biggest embellishment you're likely to hear is a metronomic foot-tap, subtle hand
percussion, or a backing vocal by Little Dragon's Yukimi Nagamo. Where the Knife's "haunted house" sound is
informed by minimal techno, González's lo-fi acoustic guitar music could be dubbed "minimal folk."

TRACKLISTING:
How Low
Down The Line
Killing For Love
In Our Nature
Teardrop
Abram
Time To Send Someone
Away
The Nest
Fold
Cycling Trivialities More

2022 repress

Barcode 4012957146201

Tracklist A1. Circles B1. NRG106

Info:
Jet-setting Irish duo Bicep return to Will Saul's Aus label with two steady analog techno grooves ready for deployment in either their own wildly celebrated sets or those of any DJ looking for modern dance tracks that are still faithful to the classics - this is techno that hasn't forgotten where it came from, essentially.
Using gritty, vintage-sounding rhythm sections as solid foundations, each track gradually builds up its own lush, melodic embellishments overtop - "Circles" stays true to its name with a cyclical main melody, shadowy bass and fuzzy house pads, whereas "NRG106" sets spacey, dramatic chords and breathy vocals against the insistent, chittering machine percussion.
As usual these two esteemed bloggers / DJs / artists / all around polymaths prove themselves to be paragons of taste, but here it's clear that they are also steadily growing as producers, taking on different styles with aplomb and making it all look much easier than it really is.
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Tracklist 12":

A1) Brigada (feat. Phil Mill)
A2) Brasiliana
B1) Brigada (Esa Williams Remix)
B2) Baile Do Silêncio

Release Info:

Bárbara Boeing joined Toy Tonics. The Brazilian DJ selector and heavy addicted worldwide vinyl digger (that some of you might have seen at the last Dekmantel Selectors Festival). Bárbara has been playing with the Toy Tonics DJs for some time, so it was just a matter of when the EP would happen. Now it’s the moment.

Bárbara teamed up with Sam Ruffillo, the Italian producer, keyboarder, DJ (who just had a little scene hit with the Italianissimo release). Sam helped her to shape 3 tracks. Dance floor fillers that Bárbara basically did the way SHE needs them for her DJ sets. And the results are bangers. Inspired by people like DJ Raffa, Mr. Monday, Yello, MBG international Records, Penny Penny she and Sam created 3 instrumentals that reflect 3 different shades of Bárbara’s taste:

Baile Do Silêncio:
Inspired by the 90s funk from Brazil and its high energy inside the dance floors, Baile Do Silêncio was made to make people dance.

Brasiliana:
Dreamy Italo House chords over some Latin percussion creates the intimist atmosphere of this deep and mysterious track.

Brigada:
Hard to be categorized into one genre, this track serves a pinch of Balearic elements over a dancefloor-oriented House with some Kwaito and also Italo Disco references.

Bárbara Benghi Boeing – yes, that is her real name - comes from Curitiba, South of Brazil. She is a great example of a person with an ultimate passion for music, spending big periods of her life only searching for sounds, organizing parties, playing in hundreds of events and then slowly growing into an international famed DJ personality that stands for a high-quality music standard and a tasteful selection that only SHE can serve.

Bárbara is very disciplined in selecting and creating moods inside of her sets. As she puts it: “... there is a magical part in attracting people into the music that is more of a feeling or sometimes just a mix of tracks I like. In my mind, I usually know where I am going to for the next couple of tracks. My DJ sets become something very individual in the end. With Sam, I wanted to create tracks that can fit into certain special moments of my sets..“

In fact, her sets are very exiting soulful trips through different sound worlds. Always very colorful and percussive, sometimes deeper, often full of Latin positivity. She has a long history of DJing and searching for music since she started to play guitar with 13 years and later became part of a local DJ crew (with Phil Mill, who is part on one of the tracks of this EP) in Alter Disco, her local party in Curitiba. Slowly, she became known and started to play outside.

She adds: "When I had the opportunity to go to Europe, I used to send a million emails to people that maybe would like my music and one or two would answer me, then I could play at small gigs and radios. Then, slowly people started to invite me for bigger things. Over the last 2 years now, there is a lot of buzz around Bárbara. She was invited to play main time slots at festivals like Dekmantel (BR) and Dekmantel Selectors, Time Warp, Nuits Sonores, Lente Kabinet, Cocktail D'Amore, Flow Festival and many others .. and is part of the Toy Tonics Jam DJ crew officially now.






















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No sales to Japan!

LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk

Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance


Info

We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.

Points of interests

- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.

- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.

- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
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2LP

Tracklist
1. Bo Harwood & John Cassavetes - No One Around To Hear It
2. Chen Ming Chang - Rainwater
3. Bhairavi Raman & Nanthesh Sivarajah - Bittersweet Reflections
4. The King Of Luxembourg - Poptones
5. Slapp Happy - Is It You
6. O.G. Jigg - Jesus Is My Jam
7. Klang - As It Is
8. Scala - Fuser
9. Soft Location - Let The Moon Get Into It
10. Gyeongsu - YZOBEL (feat. CROCHE)
11. Omertà - Moments In Love
12. Kasumi Trio - Cabbage Butterfly
13. Un - Fast Money Blues
14. Delphine Dora - V
15. Harry Plunket-Greene - The Hurdy-Gurdy Man

Short info:

Searchlight Moonbeam is the new narrative compilation from Time Is Away (Jack Rollo and Elaine Tierney) whose eponymous monthly NTS Radio shows, tinctured fusions of fugitive sounds and reverie-inducing archival speech, have won them an ardent following. It follows from the London-based duo’s Ballads, a remarkable driftwerk released on A Colourful Storm in 2022.


Searchlight Moonbeam is an autumnal dreamscape, intimate and vespertine, pensive and irresolute. An imagined community where differences drop off and resonances emerge – between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose ‘Rainwater’ (written for Hou Hsiao-Hsien’s 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisations of self-taught French pianist Delphine Dora.


Revelations are frequent: the bedsit isolationism of Bo Harwood and John Cassavetes’ ‘No One Around to Hear It’ (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elastica guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude-grooves and echoic wobble of below-the-radar French avant-gardists Omertà ; the beautiful, plaintively dubby ‘Is It You?’ by Slapp Happy; a psych-tinged reimagining of PiL’s ‘Poptones’ by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle’s 20 Jazz Funk Greats.


Searchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. Associative, intuitive, borderless. Emotional and mysterious. Endowed with the tactility of Braille. A private language that is both unknowable and understood. It is a record of the seasons, for the seasons.

2023 marks the tenth anniversary of Time Is Away’s first broadcast. Featuring an evocative essay by writer Jeremy Atherton Lin and disarming cover art by Penny Davenport, Searchlight Moonbeam showcases Rollo and Tierney’s still-unrivalled talent for gloaming melodies, disques du crépuscule, ensorcelled storytelling.





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Territories: World excl. UK + North America

FORMAT: artwork by Cyprien Gaillard, jewel case CD

TRACKLIST
1 / A1. Silencio 12:34
2 / A2. Luminoso 08:53
3 / B1. Librarsi 03:04
4 / B2. Infinito 06:17
5 / B3. Colpo 05:05
6 / C1. Volta (Version) 04:02
7 / C2. Infinito (Version) 06:25
8 / C3. Luminoso (Version) 04:49
9 / D1. Volta 05:47
10 / D2. Opaco 08:57
11 / D3. Opaco (Version) 01:54

What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a
16-voice choir to explore this concept.
Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and
dark & dissonant.
As masterfully demonstrated in the early work of von Oswald and Mark Ernestus’ influential Basic Channel project, repetition and reduction are key elements here, much in the tradition of techno and minimalism. The vast dynamism of the human voice adds to the
profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald’s repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms.
The compositions were written in von Oswald’s Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city’s Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long. The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.
The relationship between von Oswald and Tresor Records goes back thirty years, all the way to Blake Baxter’s Dream Sequence in 1991 - which von Oswald engineered alongside Thomas Fehlmann. The collaboration with Fehlmann lived on, seeing the duo team up as 3MB with Eddie Fowlkes or Juan Atkins. More recently, the Detroit-Berlin connection continued as Juan Atkins & Moritz von Oswald present Borderland.
For von Oswald, Tresor Records and also the participating guest musicians of the choir, this release brings together audiences from other musical areas, cross-pollinating; Silencio is an album that stands for itself beyond the musical genre boundaries. More

Territories : World excl. FRA


Tracklist:
A1 - INTRO 01:11
FR T09 08 000 36
A2 - SPANISH BREAKFAST 03:27
FR T09 08 000 35
A3 - BELLEVILLE 06:23
FR T09 08 000 37
A4 - AYA AMA 05:41
FR T09 08 000 42
A5 - INTERLUDE IN THE BED 02:03
FR T09 08 000 40
A5 - POISSON PILOTE 03:54
FR T09 08 000 38
TOTAL PLAYTIME A FACE 00:22:39

B1 - BORA VOCAL Feat. Alain Damasio 05:39
FR T09 08 000 01
B2 - TASTY CITY 05:06
FR T09 08 000 39
B3 - LA DAME BLANCHE 07:24
FR T09 08 000 41
B4 - OUTRO 01:04
FR T09 08 000 43
TOTAL PLAYTIME B FACE 00:19:13





At sunrise, stuck in the last floor of his
apartment in Paris, with his elbow on the
breakfast table, Rone sink into his dream and
ventures into a Wonderland alternately fairy-tale
and nightmarish.
Hard to find a better illustration than the videoclip of “Spanish Breakfast” to introduce the
melting relationship sustained by RONE`s
music with imaginary realms.
This first collaboration with French short-film boy wonder, Vladimir Mavounia-Kouka
could only give birth to a Fantastic piece of work and a relevant visual metaphor for
the daydreaming nature of this first album.
After a first cut with Lucy on Curle last year, Rone signed a proper 12” on Agoria´s
imprint InFiné. Ranking among his best supporters Massive Attack 3D, English
superstar Deejays of the likes of Sasha, Lee Burridge and Dial´s or Border
Community’s champions, his gliding Bora EP was a first tour-de-force, which
reconciled electronic with indie amateurs. In everyday life, Erwan Castex is making
soundscapes for exhibitions, adverts or short-films, but when he starts working on his
own compositions, Rone becomes the guide of a enchanted world.
But what makes Rone run ?
Some Spanish Breakfast entertainments ?
A catapult throwing juicy electronica towards
orange-suns ? A mound of strawberries, as pop
and tasty allegory for Belleville, one of the most
colourful and animated district of Paris ? The
progressive rocking of a coffee bath in the
Nigerian highnesses of Aya Ama or the misty
cosiness of the lunar in“tea”rlude ?iF1005 / RONE_Spanish Breakfast / march_April 2009 / limited CD
Promo contact: Julien Gagnebien / [email protected]
Heinrich Roller Strasse 8, 10405 Berlin, T: + 49 (0) 30 37 00 55 19
Not quite so. Rather the pranks of a blind and kleptomaniac white rabbit! Compelled
in a breathless race, Rone drives us toward more dynamic and refined productions.
In this underground of Mass-production, performance and conformity, the sarcasms
of a French SF writer on Bora appears as a necessary release to the survival of
creativity.
From this sanitized and mechanical fast-food
city emerge nonetheless the exulted and
minimalist Tasty City and the hypnotic copper of
La Dame Blanche in a three-coloured and
pornographic Pigalle-like district.
A last breathe of Fresh air as Outro – The music
stops – and the listener is eventually back to
reality. More

2023 repress

Format: LP

Tracklist

A1. Motorway Acid
A2. Microdose Mondays
A3. London Stock

B1. Meanwhile… In The Smoking Area
B2. Thursday
B3. Retracted
B4. Praha

Release Info:
Two visionary explorers of the acid and dub intersection team up for a seven track LP In The Afterworld on Acid Test.

Om Unit and TM404 have both been researching production and compositional elements in the crosshairs of dub and acid for the last few years - Om Unit most notably with his Acid Dub Studies 1 & 2, and TM404 with his Acidub album in particular.

Om Unit has been a longtime fan of TM404’s use of the TB-303 and the deconstructed space he brings to the house and techno template. Meanwhile Om Unit’s own leaning towards breaks and reggae instrumentation has offered a different approach to the acid sound they both love so much. So an LP with Acid Test seemed the perfect opportunity to combine those approaches and see what kind of mutations could be discovered. The result is a primordial soup that is in parts acid, dub, breaks and ambient, full of spaced-out synths and psychedelic bass, where the pair enjoyed building tracks with a feel for where the music wanted to go, irrespective of stylistic constraints.

Rolling opener Motorway Acid sets the pace high and strong, conjuring both wide open spaces and fast-paced travel at the same time, with weightless pads, stroboscopic breaks and a mighty 303 riff that can teleport you to the middle of a foggy dancefloor. Microdose Mondays on the other hand, slows the tempo down and veers into cosmic territory, with perfectly dubbed drum rolls and burbling squelch. But it’s London Stock that kicks the album into hyperspace, finding its futuristic steppers groove somewhere in the answer to the hypothetical question ‘what if Shaka had produced Stingray?’

Speaking of underwater electronics, Meanwhile In The Smoking Area delves deep into submarine territory, delivering the kind of bass weight and sonar acid signals you’d need a diver’s suit for. It’s a vibe that’s continued on the tracks Thursday and Refracted, and speaks to the record's title - otherworldly, dreamy bass meditations that aren’t of this realm. The album closes out with Praha, a pacey yet ambient vista of warm wide synths, layers of 303, and dub echoes that sound like the machines are slowly coming to life.

It’s in this altered state that the album resides, somewhere between worlds and styles, emerging out of the space around the TB-303 that Om Unit and TM404 have created, with their open-minded approach to the music and to this collaboration. Free the 303!

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Delfonic & Kapote are finally back with the 7th release of their "Illegal Jazz" Series. Four Disco-Jazz Tunes reworked for the dancefloor…

A1 Groove Head Rejam
A2 Power Journey Rejam
B1 Imparable Rejam
B2 I Like Music Rejam
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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.
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