Strut continue their essential work with the "Godfather Of Ethio Jazz", Mulatu Astatke, with the first official reissues of his early classics 'Afro Latin Soul' Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet. Arriving after Astatke's life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. "I have always felt a deep connection between Latin and African music," he explains. "I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-'60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena." Supported by Worthy Records' Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: "We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, 'I Faram Gami I Faram' - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: 'Mascaram Setaba' ('Summer Is Coming') 'Shagu' and 'Almaz'. With the second album, a personal favourite is 'Girl From Addis Ababa' which worked very nicely as a fusion of Ethiopian modes and R&B rhythms." Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, 'Mulatu Of Ethiopia' (STRUT129) but the two volumes of 'Afro Latin Soul' stand as important recordings documenting his early career. "It was a very interesting time to be in New York during the mid-'60s. I was there at the same time as Hugh Masekela, Miriam Makeba and Fela Kuti and we each tried to play our part in putting Africa on the map of contemporary jazz." 'Afro Latin Soul' Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by Mulatu Astatke.

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Strut continue their essential work with the "Godfather Of Ethio Jazz", Mulatu Astatke, with the first official reissues of his early classics 'Afro Latin Soul' Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet. Arriving after Astatke's life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. "I have always felt a deep connection between Latin and African music," he explains. "I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-'60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena." Supported by Worthy Records' Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: "We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, 'I Faram Gami I Faram' - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: 'Mascaram Setaba' ('Summer Is Coming') 'Shagu' and 'Almaz'. With the second album, a personal favourite is 'Girl From Addis Ababa' which worked very nicely as a fusion of Ethiopian modes and R&B rhythms." Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, 'Mulatu Of Ethiopia' (STRUT129) but the two volumes of 'Afro Latin Soul' stand as important recordings documenting his early career. "It was a very interesting time to be in New York during the mid-'60s. I was there at the same time as Hugh Masekela, Miriam Makeba and Fela Kuti and we each tried to play our part in putting Africa on the map of contemporary jazz." 'Afro Latin Soul' Volumes 1 and 2 come in their full original artwork and are painstakingly remastered by The Carvery. All formats feature personal liner notes by Mulatu Astatke.

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Artwork and Typography by Stefan Marx

Four new and ultra deep italo-deephouse cuts from Jacy aka Giacy Bozzi from Bari in Southern Italy.

Jacy is running his own label Home Of House Records and is well-known in his comfort-zone, the very Underground. May it be for his contributions to the amazing „Welcome To Paradise“ Compilation Series on Safe Trip, being featured on Volume I, II and III or his records on Kalahari Oyster or Hot Haus Records.

All of these come with Jacy signature sound– timeless and deep tunes to stay, intense balearic feels that guide you through the night and revive the golden-era of House music.

Smallville 68 as always comes with a Full Cover Artwork by Stefan Marx.


Tracklist:

Tracklist:

A1 Move Your Body
A2 Feel The G
B1 One Kiss One ...
B2 Isola 89





All tracks written & produced by Giacy Bozzi
Mastering and Vinyl cut by Helmut Erler at Lathesville

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Territories: Worldwide no restrictions

Format Notes:
2024 first time double vinyl reissue with exclusive bonus track, 140g double vinyl, remastered audio with restored artwork


Track List:

A1 Intro 0:50
A2 WordPlay 3:17
A3 Spontaneity 4:08
A4 Rugged Ruff 3:08
A5 Interlude 0:29

B1 I Confess 4:06
B2 UKNOWHOWWEDU 3:35
B3 Interlude 1:09
B4 Total Wreck 3:26
B5 Innovation 3:23

C1 Da Jawn 5:19
C2 Interlude 1:05
C3 True Honey Buns (Dat Freak Sh*t) 3:41

D1 3 Tha Hard Way 4:12
D2 Biggest Part Of Me 4:51
D3 Path To Rhythm 3:24

Release Notes:

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.


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No Sales to Japan. 2LP Gatefold Edition

Tracklist
A1. A New Dawn A2. My Ill Disease (Feat. Mattic) A3. The Adventures (Feat. RacecaR, Venomous 2000 & Mattic B1. The Origami Case (Feat. Green T) B2. The Snow (Feat. RacecaR & Anna Kova) B3. The Connection (Feat. Venomous 2000, Mattic & RacecaR) C1. Breathin' (Feat. Anna Kova) C2. Dusk's Forgotten Pearl C3. Forgotten Gem (Feat. FP & Mattic) D1. Well (Feat. Venomous 2000, Mattic & RacecaR), D2. Remember (Feat. RacecaR), D3. A Glilmpse of Heaven (Feat. RacecaR & Mattic)


Shortinfo :
To find Lawkyz, follow the beat. It is here, in this vital part, this lighthouse which guides the route of the other instruments, which it prints in depth the low notes of his four strings. Riveted on the Drums. linking with it a rhythmic pact, ensuring the propulsion of the groove on stage with Erik Truffaz or Guts; on records with UHT °, Anna Kova, or Versus, his hip hop project with full live band. When he puts his fetish instrument, when he lets cool his amp, then wakes up his evil twin: The Waxidermist.
One year after his last EP, The Waxidermist comes back to tell his story.


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Territories: Worldwide no restrictions

Format Notes: Hyper-limited (500 only) vinyl release, deep West Coast jazz-rap future classic, 140g vinyl.


Track List:

A1 Rambissimo
A2 Zugulala
A3 Maiden Voyage
A4 Rise
A5 Risk Pt. 1
A6 Risk Pt. 2

B1 Subinodima
B2 Flummox
B3 Both
B4 All That You Could Be
B5 Talkin'
B6 Apex
B7 Roll The Credits

Release Notes:

Deep West Coast Jazz-Rap instant c-l-a-s-s-i-c alert!

Perfect to chill to, Headnodic + Jazz Mafia's astounding self-titled record blends hip-hop and jazz effortlessly, bringing the two genres together with their intrinsic beauty intact. Here we get hip-hop beats made from the box (SP-12 / Maschine / Laptop / MPC etc.) that still feel like that good ol' loop-based Boom-Bap knock, mixed with an equal dose of timeless organic musicianship, shining with spontaneity, humanity and soul. This vital project came about when we opened an email from Thes One (of the mighty People Under The Stairs): "I want to introduce you to my good friend and collaborator Headnodic". Boy, are we glad he did.

It’s exceedingly limited, with just 500 pressed for the world.

Jazzy hip-hop on that mellow-melodic tip, Headnodic + Jazz Mafia is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance these artists have, until now, passed you by. However, we truly believe this to be a hip-hop jazz masterpiece that'll be beloved for years to come. By way of introduction, Headnodic is a part of the fabric of underground hip-hop. From his contributions to the groundbreaking group Crown City Rockers (AKA Mission), to his production work with Lateef & the Gift of Gab as The Mighty Underdogs (Def Jux / Quannum Records), Headnodic embodies the spirit of hip-hop in a way that is both unique, rare and universal. A phenomenal talent, then, and one we were delighted to be put in touch with by Thes.

In the year 2000, trombonist, bassist, composer, arranger, and producer Adam Theis co-founded Jazz Mafia – an eclectic artist collective of forward-thinking and accomplished players in Electro, Hip-Hop, World, Classical, and Jazz. 25 years in the making, Jazz Mafia is a prolific staple of the quintessential San Francisco sound, uniting creative and accomplished Bay Area instrumentalists, vocalists, MCs, composers, and arrangers. The collective quickly garnered a reputation for its collaborative and risk-taking spirit, and over the years has worked with Roy Ayers, Lyrics Born, Zion-I, Latyrx and Blackalicious, to name a few.

Headnodic has been making beats since he was a teenager and, around the same time, he played electric and upright bass in jazz ensembles. The two genres were always intertwined for him: the jazz he loved had grit and groove and the hip-hop he loved sampled those very records, bringing that human touch to programmed beats. This album is a true collaboration between Headnodic and Adam Theis, along with The Jazz Mafia collective of musicians. In essence, Headnodic made the beats, Adam reacted with the horn arrangements but, with the extended family of musicians they pulled in, it made it feel like they were painting with infinite colours.

Indeed, some musicians - like vibraphonist Dan Neville - would replay and improvise over sampled loops, blurring the line between live performance and production. Other times, they’d strip out the sample entirely and build from the ground up with live players, leaving a recognisable loop to become a faint but welcoming echo of the original idea. How fresh is that? They enlisted some amazing vocalists and emcees: Genra, Do D.A.T., Ozay Moore (Lightheaded), Eligh (Living Legends) and Breathless brought raw lyricism.

Opener "Rambissimo" confidently strides out the gate, a rolling deep jazz--funk instrumental with old skool bells and brass over slick head-nod beats and chilled vibes. What else d'ya expect? Up next, "Zugulala" is a real slow-burn heater with a dancehall-adjacent riddim and gorgeous horns and vibes decorating the movement. Definitely one for more adventurous dance-floors and DJ sets. For their sublime, modern take on Herbie Hancock's “Maiden Voyage”, Otis MacDonald finds a propulsive pocket on the drum kit by melding seamlessly with a simple percussion loop from a belly dance instructional record. Yep! Colin Hogan’s left hand on the Juno 106 synthesizer glides like ocean currents, painting vast sonic landscapes while his right hand answers in real time on the Fender Rhodes electric piano. Destani Wolf then stacks her soulful voice into dense complex chordal clusters that take this voyage out of the confines of reality. Staggering!

Up next, the Be With link gets ever stronger with another interpolation / loose cover. Yep, "Rise", featuring Genra, Ozay Moore, is a laconic, sun-dappled take on Keni Burke's eternal "Risin' To The Top". It so breezy, so "magic hour" gorgeous that it feels like it could've come from Jazzy Jeff's all-time classic The Magnificent LP on BBE back in 2002. Really, it's that good. Another of our favourite tracks, "Risk Pt. 1" started with a dollar-bin library record Headnodic found on tour, decades ago. He looped a bassoon riff and, through Adam, connected with Paul Hanson, a master bassoonist who turned that loop in on itself. He then finished the song off with an improvised jam, syncopating against his own delay pedal, that was so heavy, so nasty, so epic that Headnodic just had to add drums from the MPC to make a new song titled “Risk Pt 2”. Moments like that — where rigid beat-making met the wild unpredictability of live jazz — became the heart of the record. Kaleidoscopic, breathless, strident trip-hop.

The B-side is ushered in with arguably the most immediate track on the album, the stunning, lo-fi jazz-hop instrumental "Subinodima". It's certainly your favourite. So slick, yet so evocative, like a perfectly produced 70s AM rock instrumental. Up next, "Flummox" raises the temperature over another killer Latin-flavoured steppers riddim, a wicked melting pot of programmed drums, infectious horn melodies and spacey synths. If that wasn't hot enough, the fierce "Both", featuring Olivia Ruff and Do D.A.T., deserves to be blasted across world, from sweaty basements to hyped radio shows to BBQ cookouts and beach parties. It's absolutely sensational and will likely seal the deal for you.

The breezy "All That You Could Be" is another exquisite, elegant instrumental with the players flowing beautifully and Headnodic's ear for a gliding beat and sun-kissed atmosphere shining through. As you may have guessed, one listen to "Talkin'" and you'll know it's a freaky, horn-fuelled take on the jazz-rap classic from Stetsasonic. Just brilliant. On “Apex”, longtime collaborators like Kat O1O and Max MacVeety (from Crown City Rockers) added their rhythm section magic, with Jon Monahan’s guitar bouncing ideas back and forth with Rita Thies’ flute whilst on the brief, aptly-titled closer "Roll The Credits" feels like a neat summation of everything you've just serenely digested. Perfect.

The funny thing is, for all the spontaneity you hear, Headnodic reliably informs us that this album took a ton of time and meticulous editing to sound as loose as it does: "W sent files back and forth, carving out spaces for solos, layering instruments, and constantly reshaping the songs. The goal was always to make it feel like we were all in the same room, jamming together. In the end, this feels like a collaboration, it feels exciting and it feels human. I’m incredibly proud of what we made and grateful for everyone who added their voice to the project."

Be With doing the vinyl for Headnodic + Jazz Mafia felt like the perfect match for all involved. As Headnodic explains, "the label’s catalog champions the spirit and sonic aesthetic we aimed for on this record — that warm, organic thickness of ’70s library records, like the re-releases they did with the KPM and Themes catalogs, mixed with Cali Hip-Hop a la Freestyle Fellowship. We wanted to channel 70s era’s rich textures, blending them with live musicianship to bring the sound full circle: from the records we’d sample for hip-hop back to musicians in a room, playing with the same raw energy. Be With gets the deep crate-digging sensibilities and love for boom-bap hip-hop, much like we do. It feels good to release music, knowing this record lives comfortably somewhere between Nohelani Cypriano and Bahamadia." It's been mastered for vinyl by Be With stalwart Simon Francis, cut by our favourite engineer Cicely Balston at Abbey Road Studios and pressed at the legendary Record Industry in Holland. Quality to the end.

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LP
2. GENRE/S: Ambient, Experimental, New Age, Leftfield Jazz

3. TRACKLISTS:

A1: Sunny Terasse
A2: Table For Two
A3: May I Join?
A4: Dimmed Lights
B1: City Lights
B2: Kupka's Design
B3: Sleep Tuff
B4: Running Behind

4. SHORT INFO:

RWR's latest release comes straight from Berlin's underground Electronic Jazz scene. Simon Herody, originally from the South of France but living in the German capital since 2020, delivers an eight-track suite of ambient-informed Jazz.
The album grew out of solo gigs in hotel lobbies, low-key half improvised sets where Simon blended sequenced electronics with live sax, clarinet and flute. These in-between spaces, half-public and half-private, set the tone for Hard Lounge: an eight-track trip that's ambient enough to fade into the background, but rich enough to keep you engaged.

There's a clear love for 80s New Age and Electronic Jazz, but it's not just nostalgia - the album also channels leftfield Japanese Pop and Ambient. A big turning point was hearing Heisei No Oto (that killer compilation on Music From Memory) & Music For Dance & Theatre, Vol. 2, also released on MFM, which blew the doors wide open in terms of texture and mood.

While working shifts at Motif, a bar and record shop in Neukölln, Simon started deep-listening to these kinds of records, thinking about how sound can shape space and attention. Design and architecture trickled into the album's artwork, hinting at a broader idea: that music, like furniture or lighting, can be part of how a space feels - part of the design. That blend of curiosity and immersion became the blueprint for Hard Lounge, a record that plays with presence, atmosphere and memory.




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Tracklist

A1. Subtle Body
A2. Nightfall (Instrumental)
B1. The Light Of Jesus
B2. Room ’96 (Recorded live at Room Nightclub, Hull)

Release Info:
Hot on the heels of last year’s Mermaids reissue retrospective, Hull’s deep listening house forerunners return: this time revisiting a pair of originals as well as previously unreleased versions.

It’s testament to the depth of feeling that Steve Cobby and David McSherry can conjure, that these tracks sound as potent and impactful as they did when they first came out - and not just for the dance. Throughout their 30+ years, the Yorkshire duo have produced ten albums amid many more collaborations, and transformed the remix into an artform, putting their fingerprints on everyone from Busta Rhymes to The Orb to Radiohead.

This EP collection finds them at the full scope of their powers: from disembodied mood music, to tripped-out dubby beats and raw house sessions for the club. The title track Subtle Body sounds like it drifted in through the window in the middle of a snowy night. Its layered chimes, looped delay feedback and floaty chords (played on a Wurlitzer Electronic Piano that Steve bought from Bill Nelson), mark it out as an enduring piece of ambient music, and a favorite for film-makers, able to soundtrack both haunted memories and afterparty comedowns with finesse. It precedes an unreleased instrumental version of Nightfall from Fila Brazillia’s 2002 album Jump Leads (named Mixmag’s chill album of the year), and as an instrumental, the chunky electro bass and mix of ephemeral tones and bird-like chirrups are brought clearly into focus. The attention to detail is what makes Fila Brazillia’s sound palette so rich, and Nightfall a certified smokers’ anthem.

On the B side, the tempo and temperature rises, and we’re treated to The Light Of Jesus, a favorite from Fila Brazillia’s 1994 debut LP Old Codes: New Chaos. Atop a bumping house groove, the song weaves together smooth organ pads and electrified guitar licks with syrupy bass and gospel-tinged exaltations from Charles Bukowski. The EP rounds out with Room ‘96, a live house jam from Hull’s Room nightclub, and a veritable time capsule back to the halcyon ‘90s rave days, when the lights were still on, everyone was home, and anything seemed possible.

The songs here on Subtle Body might be a window into a time long past, but they remain in the present: and as long as bodies seek pleasure, and dancers want to keep going til sunrise, Fila Brazillia will endure, and soundtrack those moments for us all to get lost in.






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Tracklist

A1. Chronicles Of The Expanse
A2. Eclipsed Horizon
B1. Beyond Orion
B2. Escape From The Evil Planet

Info:

The third offering from Marco Passarani's Studiomaster label heralds a significant return: M.Chrome. Absent since 1994 when it debuted on Alan Oldham's Generator, this alias is resurrected to explore new sonic frontiers. While its roots subtly echo a certain legendary Detroit imprint, "Flare Rider" stands as a testament to evolution. This isn't just an EP; it's a series of compelling sonic narratives, guiding listeners through techno and house territories. Expect subtle acid inflections, deep cosmic voyages, and a powerful, melancholic harmonic core that defines its distinct planetary landscapes. Best experienced as the sun begins to rise and the vision of distant planets starts to fade!






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