TRACKLISTS:
Side 1 (A)
1. DMT
2. Thinking
3. Approaching

Side 2 (B)
1. Without A Cause
2. Timefold

SHORT INFO
Marcel Dettmann's 'My Own Shadow' is the latest chapter in the Berlin-based legend's illustrious career. The live project is, in his own words, "a space where all of my artistic expressions meet," blending techno with film, sketches and photography. The shows are less club sets and more immersive experiences, where the audience gets lost in a "full sensory narrative." "My solo work has always been open, evolving across records and remixes," Dettmann added.

My Own Shadow's first official release, Approaching, is a five-track EP landing on !K7 Records in November. Complemented by his own photography on the artwork, the music spans techno and ambient, fizzing with a madcap funk and energy quite unlike any of his previous productions.

VITAL SALES POINTS
Renowned Berghain resident and contemporary techno stalwart Marcel Dettmann introduces his brand new project and alias My Own Shadow - after his latest releases on Running Back and Dekmantel. EU, UK and US tour dates during the campaign.






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2CD Territory: WW-JP

Japanese Rebel Music icon,
Yasushi Ide releases a remix album "The Journey"
A 115-min cinematic mind trip from space to ancient times,
from ancient times to space

"The Journey" is the latest work under the name of Yasushi Ide since "Cosmic Suite 2."
It is a remix album selected from "Late Night Blues" "Cosmic Suite" and "Cosmic Suite 2."

This album, featuring 15 artists from Japan and abroad including Ken Ishii, Shuya Okino & ROOT SOUL, Yoshinori Sunahara, Tomoyuki Tanaka, Charles Webster, Chris Coco, DJ NATURE, and Kiko Navarro, transcends the typical boundaries of a remix album. Spanning 115 minutes, it feels like "a soundtrack to an imaginary movie," or perhaps even "the movie itself," evoking a variety of images and stories for the listener.

Additionally, the entire 115-minute, 20-track album is a non-stop mix, with re-edits and dub processing applied in places by Ide and his creative partner, Watusi.
Like the movie "Star Wars," you can enjoy the album from either part, or even in reverse order. Each disc is a nearly 60-minute, 10-track non-stop mix, making them full albums in their own right.
The artwork features pieces by up-and-coming Japanese painter Yuko Kamiyama.
Truly, from space to the ancient past, and from the ancient past to space.
Welcome to a 115-minute mind trip. -Yasushi Ide
-Whether you listen to it while relaxing or immerse yourself in it, there's something to be felt. I'm honored to have participated in such a richly expressive and musically sophisticated album. - Ken Ishii
The collection of songs is like the favorite mix tape you take on your long trip to a vacation! Before you know it, you are already at your destination because time is lost in the quality! So much great music of varying vibrations. Top work!
-DJ NATURE
An epic saga that continues to expand from the Cosmic Suite. Each remix is like a scene, weaving a story and projecting images into your mind. Truly, this is "cinema for the ears." A masterpiece that defies the conventional norms of remix albums.
-Takamori Kadoi

Tracklist:

Episode 1(DISC 1)
1. Desert Song
Watusi Dub Mix
Remixed by Watusi
Written by Kenji Suzuki
Published by King Cobra

2. LAVA feat. UA
(FPM's Dub Not Dub)
Remixed by FPM (Tomoyuki Tanaka)
Written by UA/UA,Yasushi Ide
Post-production for Remix Tomoyuki Tanaka, Hiroshi Nakamura
Mixed by Hiroshi Nakamura, Tomoyuki Tanaka
Recorded & Mixed at Never Ever Recordings (Tokyo, JAPAN)
Published by KA / King Cobra

3. Outer Space feat. DJ KRUSH
(Inner Space Extended DJ Dub)
Remix and additional production by Chris Coco
Written by Yasushi Ide
Mixdown at Light House, London.
Published by King Cobra

4. Sumimasen Suite feat. Emily Capell, Rebel Dread
Steven Stanley Remix (Instrumental Dub Mix)
Written by Don Letts/Don Letts, Yasushi Ide
Additional Instruments (Keyboards, Synthesizer, Bass, Drums) : Steven Stanley
Mixed at Mixing Lab Recording Studio and Anchor Recording Studio
Additional Vocal, Chorus & Instruments Recorded at Ten Norwood
Published by Universal Music Publishing / King Cobra

5. Galactic Beats
Japanet Jackson Remix
Remixed by Japanet Jackson
Written by Yasushi Ide
Published by shining music?sacem?/King Cobra

6. The Battle feat. Emilie Chick
(The Battle Dub2 edit)
Remixed by Charles Webster
Written by Emilie Chick/Emilie Chick,Yasushi Ide
Published by Unicum music / King Cobra

7. The Battle feat. Emilie Chick
(Kiko Navarro Motor City Jazz Dub)
Remixed by Kiko Navarro
Written by Emilie Chick/Emilie Chick,Yasushi Ide
Published by Unicum music / King Cobra

8. The Battle feat. Emilie Chick?Shuya Okino & ROOT SOUL Remix)?
Remixed by Shuya Okino & ROOT SOUL
Written by Emilie Chick/Emilie Chick,Yasushi Ide
Vision?Shuya Okino?Kyoto Jazz Massive?
Bass, Programming, Mixing : Kenichi Ikeda (ROOT SOUL)
Keyboard : Takumi Kaneko(cro-magnon)
Trumpet : Hiderow Nishioka
Published by Unicum music / King Cobra

9. The Battle feat. Emilie Chick
Masafumi Onishi Remix
Remixed by Masafumi Onishi
Written by Emilie Chick/Emilie Chick,Yasushi Ide
Published by Unicum music / King Cobra

10. Sumimasen Suite feat. Emily Capell, Rebel Dread
KING OF OPUS REMIX
Remixed Naka Tomizawa
Written by Don Letts/Don Letts, Yasushi Ide
Published by Universal Music Publishing / King Cobra

Episode 2(DISC 2)
1. New Beginning
(Kiko Navarro Ceremony Dub)
Remixed by Kiko Navarro
Written by Yasushi Ide
Published by King Cobra

2. Galactic Beats
Love Injection Remix
Remixed by Love Injection
Written by Yasushi Ide
Additional Production by Barbie Bertisch and Paul Raffaele
Mixed by Lopazz (Stefan Eichinger)
Published by shining music?sacem?/King Cobra

3. Cosmic Time
Alex Attias Visions Remix
Remixed by Alex Attias
Written by Yasushi Ide
Keys by Sohan Wilson
Mixed by Toni Economides
Published by King Cobra

4. Cosmic Time
Ken Ishii Remix
Remix and additional production by Ken Ishii
Written by Yasushi Ide
Published by King Cobra

5. Mirror feat. Josué Thomas
Steven Stanley Remix
(Dub Version)
Written by Josué Thomas/ Josué Thomas,Yasushi Ide
Additional Instruments (Keyboards, Synthesizer, Bass, Drums) : Steven Stanley
Mixed at Mixing Lab Recording Studio and Anchor Recording Studio
Additional Vocal, Chorus & Instruments Recorded at Ten Norwood
Published by ART THAT KILLS / King Cobra


6. The Battle feat. Emilie Chick (YSST Mix)
Remixed by Yoshinori Sunahara
at.Y.Sunahara's STUDIO
Written by Emilie Chick/Emilie Chick,Yasushi Ide
Published by Unicum music / King Cobra

7. We Need Power feat. Josh Milan
Steven Stanley Remix
(Instrumental Dub Mix)
Written by Josh Milan/Josh Milan,Yasushi Ide
Additional Instruments (Keyboards, Synthesizer, Bass, Drums) : Steven Stanley
Mixed at Mixing Lab Recording Studio and Anchor Recording Studio
Additional Vocal, Chorus & Instruments Recorded at Ten Norwood
Published by Honeycomb Music / King Cobra

8. New Beginning (Kiko Navarro Afroterraneo Remix)
Remixed by Kiko Navarro
Written by Yasushi Ide
Published by King Cobra


9. Sumimasen Suite feat. Emily Capell, Rebel Dread
(DJ Nature Executive Suite Remix)
Remixed by DJ NATURE
Written by Don Letts/Don Letts, Yasushi Ide
Published by Universal Music Publishing / King Cobra

10. A Place In The Sun
Kaoru Inoue Remix(Edit Version)
Remixed by Kaoru Inoue
Written by Yasushi Ide
Published by King Cobra

Mastered by Calm (Music Conception) (EP1-M3,4,6,7,8,EP2-M1,3,5,7,8,9),
FPM(EP1-M2),Watusi(EP1-M1,5,9,10,EP2-M2,4,6,10)
Mastered at Studio 9 o'clock, Never Ever Recording, Brickwall Studio

Produced by Yasushi Ide

Treatment by Watusi at Brickwall Studio
A&R? Chika Minami (Grand Gallery)
Cover artwork ?Yuko Kamiyama
Artwork Design?Eisaku Ono
Executive Producer : Yasushi Ide (Grand Gallery) ?



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Format Notes: First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.


Track List:


A1 Bright And Shining 2:25
A2 Fly Me High 2:29
A3 Affluence 3:00
A4 Going On Holiday 2:41
A5 Alto Sex 2:59
A6 Stay With Me 2:39

B1 Feel Fine 2:17
B2 Canon 3:11
B3 Smooth And Soft 2:57
B4 Real Thing 3:39
B5 Voice Over Sax 2:34
B6 Feeling Free 2:45


Release Notes:

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.

Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines.

As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music". If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore - her depth, richness, sophistication and warmth - will see you just right.

The gigantic title track, "Bright And Shining", gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Worth the price of admission alone. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals (aside from the refrain of the title) alongside breezy alto sax and electric guitar. Pastoral and perfect. The slow'n'sultry "Affluence" presents a moody elegance, a classical "downlifting" gem. Another crucial highlight is the breezy "Going On Holiday". It's happy. It's sunny. It's lively. It's cool and happy. Did we say happy? A mid-tempo, romantic sax workout, "Alto Sex"presents smooth jazzy funk before the first side closes out with the soaring, jazzy "Stay With Me". Seriously uplifting.

Side B opens with "Feel Fine", an excellent uptempo and bright jazz groove. Up next, "Canon" is wracked with refinement, a peaceful, smooth vocal harmony over repeating bass making for an elegant, late-night classic. It's followed by the laconic "Smooth And Soft", a laidback, casual sophisticated soul and easy-feeling jazz gem. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support! To close, the carefree "Feeling Free" is a pleasant, light and breezy mid-tempo groove.

The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. We'll grant the final word to MillionDollars. on discogs from about 10 years ago: "If you listen to the record on a sunny day you feel like going out surfing in a white linen suit with a blunt on your lips, catching a cool breeze."



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Format Notes: Part of Music De Wolfe Reissue Campaign, 2023 first time reissue, 140g vinyl


Track List:

A1 Hot Heels 2:50
A2 It's Gospel 2:49
A3 Steam Heat 2:59
A4 Fly Away 2:45
A5 His Name Was 2:35
A6 Swing Over 2:18
A7 Touch Of Warmth 2:40

B1 Voice Force Nine 2:13
B2 Very Fine Fellow 1:58
B3 Shades-Tones 3:27
B4 I'm Feather 2:09
B5 Drifting 2:24
B6 Take Off 1:58
B7 Fly Paradise 2:18


Release Notes:

Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.

Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.

The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.

In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.

The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

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Worldwide no restrictions

Format Notes:

2026 first time ever vinyl reissue of this undisputed "holy grail", *the* most sought after album for J Dilla / Madlib sample collectors. Produced with the full and extensive participation of Gap, tip-on sleeve, 2 page insert, 140g vinyl.


Track List:

A1 Boy With Toys
A2 Diana In The Autumn Wind
A3 Long Hair Soulful
A4 Yesterday
A5 The XIth Commandment
A6 St. Thomas

B1 You're Nobody Till Somebody Loves You
B2 Pond With Swans
B3 You Are My Sunshine
B4 Free Again
B5 Dream On Little Dreamer
B6 Graduate Medley

Release Notes:

Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.

They said it could never be done. And with good reason.

We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.

It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.

But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.

With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.

The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."

Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.

You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.

The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.

Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".

Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!


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Kerri Chandler is house music royalty, and he is next to take the reins of the ever essential DJ-kicks mix series. His sumptuous selection is out on October 20th and arrives with a substantial release tour that includes a launch party at this year's ADE. Without New Jersey native Kerri 'Kaoz' Chandler, house-specifically deep house-would sound very different. Ever since his teens he has been making and playing music with a unique sense of soul, jazz and deepness. From majors like Atlantic, King Street Sounds and Nervous via his own Madhouse, his releases are never short of genre-defining classics that have spawned a thousand copycats. Affectionately referred to as the Stevie Wonder of house, Kerri's DJ sets take him all over the world and often find him playing live keys next to his informed selections. He's meticulous about sound, too, which means that no-ones kicks hit quite like Kerri's. His instantly classic and timeless DJ-kicks mix, though, takes him out of the club and through a world of influences and inspirations. "It's like me taking you for a walk in New York," he says. "Like a music tour guide, we go through Brooklyn, Soho, midtown, the Bronx and Uptown, and parts of New Jersey." The resulting selection is an unhurried and very personal mixtape with blends, fades and cuts all allowing the music to do the talking. At various points throughout, we hear Kerri speaking into the mic, and that only adds to the feeling that you are sat in his living room as he pulls out all his favourite cuts. He also lays down some of his magical keys at various points, lending yet more personality to the mix.

TRACKLISTING LP
A1 Andre Ceccarelli - Stock No. 1
A2 Kerri Chandler - Stop Wasting My Time
A3 Innerzone Orchestra - People Make The
World Go Round
B1 Rasa - When Will The Day Come
B2 Lesette Wilson - Look Into Tomorrow
B3 Cymande - Getting It Back
C1 Sylvia Striplin - Can't Turn Me Away
C2 Uptown Funk Empire - You've Gotta
Have Freedom
C3 James Mason - Sweet Power Of Your
Embrace
D1 Roy Ayers - Liquid Love
D2 Ethel Beatty - I Know You Care
D3 Fantasy Three - Its Your Rock (Instrumental)

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Mount Kimbie take the reigns of the DJ-kicks series with a 23 track mix that includes one of their own new exclusives. Due for release on 28th September, it's a snapshot of exactly what the UK duo sound like in the club right now and is accompanied by a DJ-kicks tour that takes the pair to DJ and live dates all round the world. 2018 marks a decade since Kai Campos and Dominic Maker first hooked up and started making music. In the early years they refashioned dubstep into innovative new forms that drew on ambient, garage and electronica. After a critically acclaimed debut album on Hotflush, they signed to Warp Records and have consolidated their position at the forefront of the international electronic scene with two critically acclaimed albums and countless world live tours. This is a mix inspired by a mini-run of DJ gigs that Mount Kimbie played with Actress. "It was an interesting and challenging experience, and I learnt a lot on the six dates we did," says Kai, who explains that plenty of the tracks he was playing during those gigs make it into the mix. They make it a forward looking affair that calls on music the band have discovered recently; music they have found inspiring. Their own 'DJ-kicks' track was made specially for the mix and was initially influenced by Stanislav Tolkachev and Alexis Perala, who are both also included. Rather than a painstaking plan or meticulous studio approach, this session captures the improvised energy of a real DJ mix, but one where each track is given time to breath and make an impact rather than one where DJ trickery is at the fore. The result is a succinct 50 minutes that often goes deep, with roughhewn drums and grainy atmospheres from the likes of Terrence Dixon, Severed Heads, Marco Bernardi and Object Blue. It perfectly knits together stripped back rhythms, percussive tracks and more harmonic techno while seamlessly joining the dots between the old and the new. It's a well balanced mix that stays low and heady, and that sense of focussed tension is what makes it so utterly compelling throughout.

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Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.

Both artists have past form within the folds of contemporary experimental electronic music in Germany. Kremsreiter's work as alibikonkret has manifested on DIY tape releases created with a methodical, technically-minded approach. Debuting his Roudi Vagou pseudonym on Taghelle Nacht, he pivots to a more playful, instinctively felt method that allows the compositions to flow with a natural cadence. Schoppik has been a key figure in the celebrated dark-ambient-folk scene, not least as part of the group Brannten Schnüre. His work as Läuten der Seele includes the acclaimed 'water trilogy' of LPs between 2022 and 2024, with a greater emphasis on instrumental, atmospheric production, and a last, stunning collaborative album with Nový Sv?t's Jota Solo.

On Taghelle Nacht the precise ingredients of each piece soften at the edges as tape loops and swathes of reverb seal the joints between spellbinding melodic refrains. Opening track and lead single 'Gleisende Lichter' sets the tone with ghostly murmurs, spine-tingling string refrains and splashes of cymbal that cut through the gloom with stark clarity. A lilting romanticism stirs at the heart of the orchestral samples that populate the likes of "Grenzu?berschreitung" - old-world beauty sometimes buried in dust, elsewhere rendered with startling clarity. 'So Süß' lets buzzing, sustained drones and dissonant sweeps of extended technique glide in and out of each other. Granular processing subtly breaks apart the mellow swell on 'Komischer Anruf', and forlorn sax calls out into heavy-hearted space on 'Glaskopf Mit Watte'. At every turn a new scene is painted, distinct from the last and yet all bound up in the pervasive, pale blue light cast over the sleeping landscape Kremsreiter and Schoppik have sculpted.

Snatches of song drift by like dreamlike fragments, and achingly tender flourishes fleetingly appear and retreat - ideas and expressions momentarily caught in the light before retreating into the shadows once more. This is the evocative world of Taghelle Nacht - an unsettling depiction of the surreal blend of memories and imagination that merge into each other once the sun goes down.


TRACKLISTS:

A1 Roudi Vagou - Gleisende Lichter
A2 Roudi Vagou - Halb So Schwer
A3 Roudi Vagou - So Sueß
A4 Roudi Vagou - Lila Gibt Es Nicht
A5 Roudi Vagou - Iss Mich Ganz Auf
A6 Roudi Vagou - Grenzueberschreitung
A7 Roudi Vagou - Aufgeben Ist Kein Verzicht
B1 Läuten der Seele - Komischer Anruf
B2 Läuten der Seele - Punkt Mitternacht
B3 Läuten der Seele - Nur Fuer Uns Zwei
B4 Läuten der Seele - Mineralwasserflasche 1
B5 Läuten der Seele - Glaskopf Mit Watte
B6 Läuten der Seele - Rathausdach
B7 Läuten der Seele - Ein Kitzeln In Den Graebern
B8 Läuten der Seele - Mineralwasserflasche 2
B9 Läuten der Seele - Mondraetsel

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