{"title":"VJ Selects","description":null,"products":[{"product_id":"music-to-varnish-lp","title":"Music To Varnish Owls By","description":"\u003cp\u003e\u003ci\u003eMusic To Varnish Owls By\u003c\/i\u003e\u003cspan\u003e. Does \u003c\/span\u003e\u003cb\u003eGeoff Bastow\u003c\/b\u003e\u003cspan\u003e have a claim for the best album title of all time? It's certainly up there. It's also one of the hardest to find library funk records. But don't let the eye-catching name fool you into thinking this isn't serious business. As a key member of \u003c\/span\u003e\u003cb\u003eGiorgio Moroder\u003c\/b\u003e\u003cspan\u003e's team, the legendary Geoff Bastow shouldn't need any introduction. You'll be familiar with his singular brilliance as the brains behind the much-sampled boogie\/disco classics \"You Don't Like My Music (Hupendi Muziki Wangu?!)\" and \"Don't Stop,\" released by his group, \u003c\/span\u003e\u003cb\u003eK.I.D.\u003c\/b\u003e\u003cspan\u003e But 1975's \u003c\/span\u003e\u003ci\u003eMusic To Varnish Owls By\u003c\/i\u003e\u003cspan\u003e is where it all began. It's packed with incredibly soulful, soothing music that -- despite being utilized a few times by \u003c\/span\u003e\u003cb\u003eKnxwledge\u003c\/b\u003e\u003cspan\u003e -- remains still largely un-mined. So, beat-makers, get cracking. Born in 1949, Bastow was a Munich-based English songwriter and record producer. Originally working as a guitarist and pianist in dance bands around his home county of Yorkshire, he moved to London in the early 1970s and then Munich in around 1976. He was one of the main architects of the Munich disco sound of electronic innovator Giorgio Moroder and also released heaps of killer library records for legendary labels like Bruton, Impress, JW Music Library and the Munich-based Sonoton between the 1970s-2000s. Bastow died tragically young, in Berlin, Germany on 16 March 2007, at the age of just 57. But he left behind a truly incredible electronic music legacy. He deserves to be much better known and this reissue should bring him to a fair few more ears. As ever, the audio for \u003c\/span\u003e\u003ci\u003eMusic To Varnish Owls By\u003c\/i\u003e\u003cspan\u003e has been carefully remastered by Be With regular \u003c\/span\u003e\u003cb\u003eSimon Francis\u003c\/b\u003e\u003cspan\u003e, ensuring it sounds better than ever. \u003c\/span\u003e\u003cb\u003eCicely Balston\u003c\/b\u003e\u003cspan\u003e'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.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697652363543,"sku":"BEWITH 168LP","price":33.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/MusicToVarnishOwlsBy.jpg?v=1776749691"},{"product_id":"aylar-lp","title":"Aylar","description":"\u003cp\u003e\u003cspan\u003eLP version. \u003c\/span\u003e\u003cb\u003eŞatellites\u003c\/b\u003e\u003cspan\u003e' self-titled debut album received international acclaim. The record earned support from outlets such BBC Radio 6 Music and FIP in France, and they were invited to record live sets for both \u003c\/span\u003e\u003cb\u003eGilles Peterson\u003c\/b\u003e\u003cspan\u003e's Worldwide FM, and KEXP in Seattle. Since their debut, Şatellites have evolved from a studio project into a full-fledged touring band. Over time, the lineup has shifted, enabling the group to recreate their studio sound live. Their expanded lineup now includes \u003c\/span\u003e\u003cb\u003eTsuf Mishali\u003c\/b\u003e\u003cspan\u003e on keys and synths, known for his work in proggy psych bands, and the animated \u003c\/span\u003e\u003cb\u003eTal Eyal\u003c\/b\u003e\u003cspan\u003e on percussion. Şatellites blast back into orbit on \u003c\/span\u003e\u003cu\u003eAylar\u003c\/u\u003e\u003cspan\u003e, delivering a bold evolution on the psychedelic folk-meets-groove sound they established on their acclaimed debut album. \u003c\/span\u003e\u003cb\u003eRotem Bahar\u003c\/b\u003e\u003cspan\u003e has also stepped up as the band's full-time vocalist and frontwoman, adding a fuller, grittier edge to the group's sound. Behind the drumkit, \u003c\/span\u003e\u003cb\u003eLotan Yaish\u003c\/b\u003e\u003cspan\u003e brings dynamic energy to the rhythm section. After two years of touring, this cohesive and reinvigorated lineup entered the studio with renewed purpose and closer musical bonds. \u003c\/span\u003e\u003cu\u003eAylar\u003c\/u\u003e\u003cspan\u003e (Turkish for \"moons\" or \"months\") showcases more ambitious arrangements, extended compositions, intricate harmonies, and unexpected twists, reflecting the band's commitment to innovation and their passion for the original wave of Turkish psychedelic music. \u003c\/span\u003e\u003cb\u003eKluger\u003c\/b\u003e\u003cspan\u003e's saz and Mishali's synths intertwine seamlessly, underpinned by \u003c\/span\u003e\u003cb\u003eAriel Harrosh\u003c\/b\u003e\u003cspan\u003e's infectious basslines and Yaish's dramatic drumming, all culminating in Rotem's husky, emotive vocals. The album's most ambitious cover is their cosmic folk-funk rendition of \u003c\/span\u003e\u003cb\u003eHakki Bullut\u003c\/b\u003e\u003cspan\u003e's ballad \"Ikmiz Bir Fideniz,\" followed by the original instrumental \"Beş Kardeş\" (\"Five Brothers\"). If Şatellites' self-titled debut laid the blueprint for their sound, \u003c\/span\u003e\u003cu\u003eAylar\u003c\/u\u003e\u003cspan\u003e marks their transformation into a fully realized musical force. With this album, Şatellites step confidently out of the shadows of their Anatolian psych heroes to craft a modern yet timeless record, expanding their influences while deepening their connection to their roots.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697652822295,"sku":"BTR 109LP","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Aylar.jpg?v=1776748445"},{"product_id":"garra-lp","title":"Garra","description":"\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan id=\"ctl00_ContentPlaceHolder1_lblDescription\"\u003eRepressed.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eMarcos Valle\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eis one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you.\u003cspan\u003e \u003c\/span\u003e\u003cu\u003eGarra\u003c\/u\u003e\u003cspan\u003e \u003c\/span\u003ewas originally released in 1971 and brought listeners Valle's classics such as \"Com Mais De 30,\" \"O Cafona,\" \"Vinte E Seis Anos De Vida Normal,\" and the rare groove classic \"Wanda Vidal.\" Remastered from the original tapes and pressed on 180g vinyl, this release is part of Vampisoul's new reissue series that comprises many other outstanding Brazilian classics by the likes of\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eEvinha\u003c\/b\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eCassiano\u003c\/b\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eGerson King Combo\u003c\/b\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eHyldon\u003c\/b\u003e, and more. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d'état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock.\u003cspan\u003e \u003c\/span\u003e\u003cu\u003eGarra\u003c\/u\u003e\u003cspan\u003e \u003c\/span\u003emaintains the same socially conscious content as in his previous album while also combining diverse musical styles and influences.\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654722839,"sku":"VAMPI 317LP","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Garra.jpg?v=1776744378"},{"product_id":"tornado-t-lp","title":"Toni Tornado","description":"\u003cp\u003e\u003cspan\u003eOriginally released in 1972, \u003c\/span\u003e\u003cb\u003eToni Tornado\u003c\/b\u003e\u003cspan\u003e's self-titled debut is a landmark in Brazilian soul and funk -- a gritty, groovy record that helped define the sound of the Black Rio movement. Blending deep soul, psychedelic funk, and bold orchestration, this album channels the revolutionary energy of \u003c\/span\u003e\u003cb\u003eJames Brown\u003c\/b\u003e\u003cspan\u003e with the tropical swagger of Rio's streets. From the urgent rhythms of \"Torniente\" to the undeniable strut of \"Mané Beleza\" and \"Tornado,\" Toni's music pulses with a fierce sense of pride and liberation. It's the sound of a new cultural identity taking shape -- where African-American soul met Afro-Brazilian reality. Often compared to the legendary \u003c\/span\u003e\u003cb\u003eTim Maia\u003c\/b\u003e\u003cspan\u003e, Tornado brought his own explosive edge to Brazil's growing soul scene. By the 1970s, other Brazilian musicians, such as \u003c\/span\u003e\u003cb\u003eBanda Black Rio\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCassiano\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eGerson King Combo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJorge Ben\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eGilberto Gil\u003c\/b\u003e\u003cspan\u003e, began making soul records. DJs started throwing soul-only parties. Toni Tornado's voice carries grit and passion, his grooves hit hard, and his message is crystal clear -- Black is beautiful, and the funk is real. Back on vinyl for a new generation, this reissue is more than a collector's gem -- it's a time capsule from an era when music moved bodies and minds. Essential listening for fans of vintage soul, global funk, and revolutionary sounds. Reissue on 180g vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697656197399,"sku":"VAMPI 339LP","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/ToniTornado.jpg?v=1776743531"},{"product_id":"sharayet-el-disco-lp","title":"Sharayet El Disco: Egyptian Disco \u0026 Boogie Cassette Tracks 1982-1992","description":"\u003cp\u003e\u003cspan\u003e2025 repress. Wewantsounds release \u003c\/span\u003e\u003ci\u003eSharayet El Disco\u003c\/i\u003e\u003cspan\u003e a selection of Egyptian '80s disco and boogie tracks curated by Egyptian DJ \u003c\/span\u003e\u003cb\u003eDisco Arabesquo\u003c\/b\u003e\u003cspan\u003e from his vast collection of cassettes. Most tracks have never been released on any other format and are making their vinyl debut with this set. A journey through the funky sound of '80s Egypt, \u003c\/span\u003e\u003ci\u003eSharayet El Disco\u003c\/i\u003e\u003cspan\u003e (which can be translated by \"Disco Cassettes\") features \u003c\/span\u003e\u003cb\u003eSimone\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAmmar El Sherei\u003c\/b\u003e\u003cspan\u003e, and more obscure names from Cairo's cassette culture. \u003c\/span\u003e\u003ci\u003eSharayet El Disco\u003c\/i\u003e\u003cspan\u003e is part of an important mission for \u003c\/span\u003e\u003cb\u003eMoataz Rageb\u003c\/b\u003e\u003cspan\u003e aka Disco Arabesquo. The Amsterdam-based Egyptian DJ has been collecting cassettes from Arab-speaking countries and its diaspora for many years and has amassed a vast collection of Egyptian music concentrating on the '80s, the sound he grew up listening to. His goal has been to search for these rare sounds and make them known to a new vinyl-hungry audience. During this decade, the rich Egyptian music industry, which had seen such stars as \u003c\/span\u003e\u003cb\u003eOum Kalthoum\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAbdel Halim Hafez\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eWarda\u003c\/b\u003e\u003cspan\u003e take the Arab world by storm in the '60s and '70s, was going through a new phase and the cassette format was the cause. This radical change enabled many young musicians and producers to spread their music directly to consumers duplicating cassettes themselves. A new vibrant music scene erupted in Cairo blending their sound with trends coming from the US and Europe including, of course, disco, soul, and funk. The cream from this scene was soon picked up by the most daring labels, including \u003c\/span\u003e\u003cb\u003eMohsen Gaber\u003c\/b\u003e\u003cspan\u003e's Alam El Phan, Sout El Hob, and Americana. \u003c\/span\u003e\u003ci\u003eSharayet El Disco\u003c\/i\u003e\u003cspan\u003e gives you a glimpse of these great tracks which -- for most of them -- were only ever released on cassette. The set is a unique insight into the diversity of the Egyptian disco sound, from the pulsating disco of \"Hezeny\" by \u003c\/span\u003e\u003cb\u003eHany Shenouda\u003c\/b\u003e\u003cspan\u003e's \u003c\/span\u003e\u003cb\u003eAl Massrieen\u003c\/b\u003e\u003cspan\u003e band to the boogie of Simone's \"Merci\", via \u003c\/span\u003e\u003cb\u003eFirkit El Asdekaa\u003c\/b\u003e\u003cspan\u003e's tongue-in-cheek \"Eklib el Sheriet\" (\"turn the cassette to the other side\"), produced by legendary Egyptian musician Ammar El Sherei. The music is both inventive and funky and played with both Western and Arab instruments proving that quality of Egyptian music. Audio remastered for vinyl by \u003c\/span\u003e\u003cb\u003eDavid Hachour\u003c\/b\u003e\u003cspan\u003e\/Colorsound Studio in Paris. LP artwork by young Egyptian graphic designer \u003c\/span\u003e\u003cb\u003eHeba Tarek\u003c\/b\u003e\u003cspan\u003e. Includes two-page insert featuring artwork of the original cassettes plus insightful liner notes by \u003c\/span\u003e\u003cb\u003eMoataz Rageb\u003c\/b\u003e\u003cspan\u003e. Also features \u003c\/span\u003e\u003cb\u003eAfaf Rady\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eDr. Ezat Abou Ouf \u0026amp; el four M\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eFIrkIt el Ensan\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEman el Bahr Darwish\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eFirkit Americana Show\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eLebleba\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697656557847,"sku":"WWSLP 060LP","price":31.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/SharayetElDisco.jpg?v=1776742000"},{"product_id":"make-it-fast-make-it-slow","title":"Make It Fast, Make It Slow","description":"\u003cp\u003e\u003cspan\u003eROB was an enigmatic recording artist from Ghana who cut two albums for the legendary Essiebons label in 1977. This is the second and has become prized amongst collectors in recent years. The title track from this LP was always one of the most popular on the first Soundway release Ghana Soundz.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWith religious overtones and a broody, slightly off-key atmosphere at points it's certainly one of the stranger afro-funk records to come out of West Africa but with tracks like Loose up Yourself and Make it Fast, Make it Slow it's an iconic and popular album.\u003c\/span\u003e\u003c\/p\u003e","brand":"Redeye","offers":[{"title":"Default Title","offer_id":53443597730071,"sku":"SNDW-040","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/makeitfast.jpg?v=1776732990"},{"product_id":"ayo-ke-disco-boogie-pop-funk-from-nigeria-74-81","title":"Ayo Ke Disco: Boogie, Pop \u0026 Funk from the South China Sea (1974-88)","description":"\u003cp\u003e\u003cspan\u003eAyo Ke Disco’ (meaning ‘Let’s go to the disco’ in Indonesian) celebrates the musical identities emerging from the newly independent countries in South-East Asia during the 1970s and 80s.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSoundway general manager Alice Whittington, aka Norsicaa (DJ), selects 10 rare tracks from local labels, officially reissued on vinyl for the first time – forming a snapshot of the vibrant discotheques and live scenes across Indonesia, Singapore, Thailand, Malaysia, Hong Kong and the Philippines.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe artists featured here were known for exploring traditional sounds alongside funk, disco, synth-pop and even political psych-rock, genres that were indicative of the exciting but often turbulent period. 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On one hand, it's a four-sided communal showcase of the inter-city exchange that had started to develop in the “new jazz” hubs, collecting group improvisations from New York, London, Chicago, and Los Angeles. On the other, it is an editing and post-production masterclass – the MVP of McCraven’s “organic beat music” concept – and a landmark moment where his cut-splice-reassembly chops shine as brightly as the players themselves.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe musicians on the album were a combined who’s-who and who’s-gonna-be-who of their respective scenes: Brandee Younger (harp), Joel Ross (vibraphone), Tomeka Reid (cello), Dezron Douglas (double bass), Shabaka Hutchings (tenor saxophone), Junius Paul (double bass), Nubya Garcia (tenor saxophone), Ashley Henry (Rhodes piano), Daniel Casimir (double bass), Josh Johnson (alto saxophone), Miguel Atwood-Ferguson (violin), Jeff Parker (guitar), Anna Butterss (double bass), and Carlos Niño (percussion). In our original press release, we called it “an inspiring display of the organic global inter-connectedness of the Black American music tradition in 2018.” Not in the press release, in our off-the-record conversations at the time, we said it was ‘like Dr. Dre’s The Chronic, but for jazz’.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe IA11 Edition of Universal Beings comes on classic black 140-gram vinyl 2xLP inside a heavyweight reverse-board jacket, with a 16-page 11x11\" insert booklet (with unpublished photos and four conversations between IARC co-founder Scott McNiece and musicians Joel Ross, Junius Paul, Nubia Garcia, and Anna Butterss), IARC 2025 obi strip and printed poly-lined printed inner-sleeve. 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Their sophomore LP, \"Jaraguá,\" highlights the group's dedication and resistance to keep pushing many boundaries while paying respect to the generation that came before them. Blending the sounds of early 70s Funk \u0026amp; Soul, Latin-Jazz, and Afrobeat, Mestizo Beat takes musicianship and production to their highest level, offering a complete package of masterfully crafted recordings and original compositions into a brand new, hot off the press, 12\" LP.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEntirely self-produced and written by Aquiles 'Lito' Magaña and Agustin 'Gus' Magaña (The Magaña Brothers) along with core group members Jose Castro, Pedro Flores \u0026amp; chief horn arranger Jesse Audelo. The band has also enlisted a diverse array of additional skilled players to enhance the sonic elements required of each track. Contributions from other band members Doug Organ, Fabio De Souza and Max O'Leary as well as collaborations with horn player Jason Cressey and featured vocalist Jamie Allensworth, have transformed this LP into the embodiment of Mestizo Beat's vision. A true collective of musicians, all united by the common goal of delivering high-quality funk music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom the cinematic opening of the title track 'Jaraguá' and the Blaxploitation-inspired single 'She's A Rose' to the groove-centric cuts like 'The Jaguar' and 'Black Bag,' Mestizo Beat's musical exploration knows no bounds. Venturing further with soulful burners like 'The Jaguar' and 'Two Eleven,' the group unleashes their full potential on 'II The Deepcyde,' featuring the renowned guest vocalist Jamie Allensworth. The album is rounded off with the Nigerian disco-funk inspired 'Lotsapoppa' and a foray into the Cumbia genre with 'Cumbia de Jaraguá,' all offering a diverse and exhilarating musical journey. Recorded and produced at the band's hillside Topanga, CA studio, SPC 166, each song showcases the unique talents of the ensemble. 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The core duo, comprising Addison Rifkind on guitar and Michael Duffy on drums, is joined by Nestor Del Prado on upright bass, bringing a fresh twist to the works of these legendary artists, both within and beyond the realm of soul jazz.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom the straightforward version of Boogaloo Joe Jones' \"No Way\" to the more energetic rendition of \"Gatur Bait,\" by the lesser-known New Orleans funk group The Gaturs, Fat Produce elevates their sound to the next level with a variety of skillfully crafted arrangements. With Rifkind's ability to capture the melodic elements onto guitar as on Isaac Hayes \"Hung Up On My Baby\" and adapting Toots' vocal on \"54-46 Was My Number,\" to Duffy's creative interpretations, yet staying true to the pocket, on the mash-up \"90% of Me Is You\/Bam Bam\" and soul jazz classic \"Texas Twister\" by Melvin Sparks, \"Soulful Days\" is expertly arranged for listeners to enjoy again and again. 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One being the Ethiopian classic “Sintayehu” by Hailu Mergia, and the other, a newly rediscovered diggers' favorite, “Dance of Maria” by Elias Rahbani, arranged with some surprises not found in the original, keeping in line with The Bombillas' fresh approach to past inspirations.\u003c\/span\u003e\u003c\/p\u003e","brand":"F-Spot Records","offers":[{"title":"Default Title","offer_id":53442474475799,"sku":"FSPT-2002","price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Bombillas.webp?v=1779915612"},{"product_id":"inferno","title":"Inferno","description":"\u003cp\u003e\u003cspan\u003eAfter thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. 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Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting Undying Thirst from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry.\u003c\/p\u003e\n\u003cp\u003eLP is packaged in high quality Stoughton Tip-On gatefold jacket, LP stored in an anti-static innsersleeve, and includes a download card. 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Scone was behind that organ bench on the modern classics as follows. \"Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar\", and \"What the World Needs Now.\"\u003c\/p\u003e\n\u003cp\u003eAdam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the \"Bliss Machine\" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. \u003cbr\u003e\u003cbr\u003eTommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. 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Lovingly mixed down and remastered from these very studio recordings, the reissue also includes remixes by Peaking Lights, Baalti, Mystic Jungle, Psychemagik, and Danger Boys, as well as a cover by Say She She’s Piya Malik and Turbotito \u0026amp; Ragz and a previously unreleased track. It is available for pre-order and out on x2LP vinyl and all digital platforms on October 31st, 2025.\u003c\/p\u003e\n\u003cp\u003eReleased the same year and into equal obscurity as ‘Ten Ragas To A Disco Beat’, Charanjit Singh’s acid house opus, the reissue of ‘Punjabi Disco’ is set to have similar reverberations in the world of dance music. Produced by Mohinder’s eldest son and legendary bhangra pioneer Kuljit Bhamra using a recently acquired Roland SH-1000 synthesizer and a CR-8000 CompuRhythm drum machine played by his then 11-year-old brother, the album was recorded at Roxy Music bass player Rick Kenton’s studio in London. The concept for a Punjabi disco album was subsequently stolen from the Bhamra’s by the very record label that had agreed to distribute the album. Eventually self-released with no label support, ‘Punjabi Disco’ vanished into complete obscurity.\u003c\/p\u003e\n\u003cp\u003eA pivotal figure in British Asian music, West London-based vocalist and first-generation immigrant Mohinder Kaur Bhamra became the first woman to sing at Punjabi weddings and other community events in the UK. Her son, Kuljit, would accompany her, playing tabla at her events from the age of six. Wedding music was traditionally a tame, segregated affair: men and women seated and separated on opposite sides of the room. ‘Punjabi Disco’ was born out of a desire to create an unsegregated dancefloor and inspired by the sounds of disco from the era. A tapestry of electric drum rhythm, warbling bass, and psychedelic siren-like Roland synth melodies provide a vehicle for Mohinder’s powerful voice. Part disco, part funk, part acid house, and infused with Punjabi folk melodies, the sound of ‘Punjabi Disco’ is as mesmerising as it is undefinable.\u003c\/p\u003e\n\u003cp\u003eFeaturing an incredible gatefold package and exhaustive liner notes by the Guardian’s Global Music Critic, Ammar Kalia, the x2LP release has been cut to vinyl for the discerning listener and DJ by Grammy-nominated Frank Merritt from The Carvery, London.\u003c\/p\u003e\n\u003cp\u003eThis is Naya Beat’s ninth release in a series of reissues, remixes, and compilations dedicated to uncovering electronic and dance music from the subcontinent and South Asian diaspora.\u003c\/p\u003e","brand":"The Pusher","offers":[{"title":"Default Title","offer_id":53574681231639,"sku":"NAYA-009LPR","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/NAYA009LP-Front.jpg?v=1782426247"},{"product_id":"inna-soul-steady-situation","title":"Inna Soul Steady Situation","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAll orders include an art print signed by Joey Quiñones!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIf you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood—from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record \u003c\/span\u003e\u003cspan\u003eInna Soul Steady Situation\u003c\/span\u003e\u003cspan\u003e, Quiñones finally showcases those influences front and center.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThat quintessential blending of styles rings out immediately on the opening track \"Soul Steady Situation\"—Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBefore you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on \"Don't Let Go,\" \"Driftin'\" and \"One More Night.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhat Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWith that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is \"Bolsita,\" a tongue-in-cheek party song paying homage to iconic anthems like \"Tequila\" by The Champs and \"Tighten Up\" by Archie Bell \u0026amp; the Drells. But Quiñones doesn't stop there—he folds in electric boogaloo, early Ray Charles big band energy, and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term \"bolsita,\" which translates to \"little bag,\" serves as the lingua franca for \"let's get the party started\"—it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy the time you reach the end of the record, having followed Quiñones across various genres and eras, you realize you've witnessed an artist in his prime doing what the best always do: capturing something deeply specific—Chicano identity, East LA's sonic DNA—and in that specificity, revealing something universal. It's music that transcends age, race, geography, and class precisely because it refuses to sand down its edges. 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They’re back with a brand new album—the fourth installment in the Terrestrial Radio series, titled \u003c\/span\u003e\u003cspan\u003eElectric Pollen\u003c\/span\u003e\u003cspan\u003e.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eLike its predecessors, the album was recorded, produced, and mixed by Cincinnati based producer Grimez. He calls on a rotating cast of talented musicians to record instrumentals that are best described as Organic Groove. “We get together in the studio, hit record, and start jamming,” Grimez explained. “I’d say 90% of our music is improvised.” Fans of the project will notice plenty of familiar names in the liner notes. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“\u003c\/span\u003e\u003cspan\u003eYou are now tuned in to Terrestrial Radio… Coming to you live with Doctor Bionic.\u003c\/span\u003e\u003cspan\u003e” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAt the top of side A, “The Eyes of Chavez” begins with a short introduction from the Cincinnati rapper Crunch Ex and a simple, hypnotizing guitar riff (Brad Myers). Underneath, drummer Marvin Hawkins and bassist Kevaugh Byers provide a rock solid groove for the other musicians to build upon. The refrain arrives in the form of an undeniably catchy melody, performed in unison on the saxophone, trumpet, and keys by Charlie Suits, Eric Snyder, and DJ On Tha One, respectively. The perfect opener, this track is like a sample platter of what’s to come throughout the rest of the album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eDoctor Bionic has a knack for keeping things fresh. The second track, “Moment of Clarity,” transports the listener to the VIP section of a smoky cocktail lounge. A soothing piano loop sets the tone, and plucky electric guitar strums keep the groove moving forward at a leisurely pace. Despite the stylistic changes from song to song, the album is sonically cohesive. With the added introduction and transitional commentary from the DJ (Crunch Ex), the album plays like a perfect radio mix. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAlthough the recording sessions are casual and spontaneous, each finished D.B. album always follows a conceptual theme. The subject is often determined by artwork that speaks to Grimez. “I’ll buy or license a piece of art that catches my eye, and then put music to it,” he explained. “I have plenty of pieces that are ready to be album art, but I don’t have the right music for it yet.” This process is part of what makes Doctor Bionic’s music different from other instrumental producers. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cspan\u003eElectric Pollen\u003c\/span\u003e\u003cspan\u003e cover art, created by the artist Automatic Bastard, is reminiscent of an 80’s sci-fi movie poster. 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But - especially if you are a into the golden age of this sound running from circa 1976 to 1984 - you will be aware that there is no return once you started digging these unconditional musical delights with their timeless compositions, untouchable musicianship and refined arrangements. The great albums from that era appeared when punk broke and the musical establishment was shaken to the ground. Today they sound more up to date than ever. Who would have thought back then?\u003cbr\u003e\u003cbr\u003eOn \"Canyons\" Young Gun Silver Fox turned it up to eleven. They are nothing but \"Kids\" cruising in the fast lane, totally over the top searching for the \"Dream Woman\", touching down in Tokyo caught in a \"Long Distance Love Affair\", imagining the theme for a lost 70s TV series starring \"Danny Jamaica\", being on the winning side in a \"Private Paradise\", getting deep and soulful in \"Things We Left Unsaid\" and wondering how to spread \"All This Love\". 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The newest album from Cincinnati-based executive producer Jason Grimez is an instrumental collection of classic soul, jazz, and hip-hop sounds. The first installment of a three-part series, Terrestrial Radio offers 37 minutes of carefully curated jams. Tune in to catch the vibe on 1\/26\/2024.\u003c\/p\u003e\n\u003cp\u003eJason Grimez is an engineer, executive producer, and the owner of Chiefdom Records. Growing up in the 90s, he fell in love with hip hop at an early age. He started scratching on a pair of 1200s and sampling records with an MPC 3000 in high school. Years of sampling, mixing, producing, and sharing his own music led him to where he is today. His independent label Chiefdom Records has released close to 30 albums in the last seven years. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. The project features a rotating cast of incredibly talented session musicians. Jason is responsible for writing, recording, producing, mixing, and releasing the records.\u003c\/p\u003e\n\u003cp\u003eGrimez sets the scene on track one of Terrestrial Radio, aptly titled “Time Continuum.” The listener is greeted with the scrubbing sound of a radio dial. We pause for a few seconds when the signal is strong enough to catch an ad-read from an old cereal commercial, or to gather an update from a sports announcer. Grimez takes the listener to a new era each time he spins the dial. Our search comes to an end on the channel where we’ll cruise through the next six songs, hand-picked by the Doctor himself.\u003c\/p\u003e\n\u003cp\u003eTerrestrial Radio features some of Cincinnati’s best session musicians. “Keep Your Kids in School” highlights a killer rhythm section. Brian Batchelor-Glader recorded the organ over an effortlessly funky foundation formulated by Marvin Hawkins (drums) and Aaron Jacobs (bass). 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Where Motown aimed for polish and crossover appeal, Funkadelic dove headfirst into distortion, improvisation, and spiritual ambiguity, offering a sound as gritty and unpredictable as the era itself. Backed by a ferocious young band — including Eddie Hazel, Billy Bass Nelson, Tawl Ross, Tiki Fulwood, and Mickey Atkins — the album rejected convention in favor of raw groove and existential noise.\u003c\/p\u003e\n\u003cp\u003eAs part of Org Music’s\u003cspan\u003e \u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/orgmusic.com\/collections\/westbound-records\" target=\"_blank\"\u003eWestbound Records reissue series\u003c\/a\u003e, this edition restores the album’s full cosmic impact across multiple formats. The\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eall analog double LP\u003c\/strong\u003e, mastered at 45RPM directly from tape by Dave Gardner at DSG Mastering, offers the highest fidelity to date. Gardner and restoration specialist Catherine Vericolli archived and restored the original master tapes at 54 Sound Studios in Ferndale, Michigan, with assistance from in-house engineer Nick King. Read more about that process\u003cspan\u003e \u003c\/span\u003e\u003ca rel=\"noopener\" href=\"https:\/\/orgmusic.com\/pages\/a-note-from-the-archivist\" target=\"_blank\"\u003ehere\u003c\/a\u003e.  A single LP edition, cut from high-resolution tape transfers, is also available, alongside CD, cassette, and digital (streaming) formats.\u003c\/p\u003e\n\u003cp\u003eThe release will be distributed worldwide.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Mommy, What’s a Funkadelic?\u003cbr\u003e2. I Bet You\u003cbr\u003e3. Music For My Mother\u003cbr\u003e4. I Got a Thing, You Got a Thing, Everybody’s Got a Thing\u003cbr\u003e5. Good Old Music\u003cbr\u003e6. Qualify \u0026amp; Satisfy\u003cbr\u003e7. What is Soul\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMastering \u0026amp; Restoration: Dave Gardner, DSG Mastering\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eOriginal Master Tape Archival \u0026amp; Restoration: Catherine Vericolli\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAdditional Engineering And Indispensable Assistance: Nick King\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003eAll vinyl pressed at Furnace Record Pressing\u003c\/div\u003e","brand":"Secretly","offers":[{"title":"Default Title","offer_id":54565416501527,"sku":"ORGM-2326","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/ORGM-2326.webp?v=1785363867"},{"product_id":"hunk","title":"Hunk","description":"\u003cp\u003e\u003cspan\u003eReno’s Elephant Rifle aren’t three songs into their 2018 album, Hunk, before they’re advocating punching nazis, so yeah, I’m down. Rooted in punk, but thick in tone and groove, the four-piece keep both a political edge and a hellraising post-hardcore aspect to the 12-tracker, but there’s room among cuts like “Fuck My Name” and “Mass Strangling” and “Current Wars” and opener “Hunk’s America” with the drunkard’s-poetics lyricism of “Frat Poison,” “Big Milk” and “I’m Bad at Driving,” all of which offer no shortage of instrumental shenanigans to coincide. Intensity varies but tension is largely universal, and left, right or center, everyone seems to wind up taking a hit by the time the album is done. “Frat Poison” and “Sorority Row” would seem to cover both bases, for example, and likewise, the jangly West Coast noise rock of “Broomrider” complements the crashing and percussive drive of “Cowboy Poetry” earlier. 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The band — Brad Bynum, Mike Mayhall, Clint Neuerburg and Mike Young — tracked with Tim Green (The Fucking Champs) —\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eand Hunk carries the raw clarity of his work, but personality abounds on the band’s part, to put it mildly, and though by the time they engage Dr. Seuss on “Hit the Showers,” the onslaught of commentary seems to be somewhat less pointed than it was at the outset, there’s little arguing with the fact that the American age of media saturation, information saturation, and a willfully blurred line between truth and fiction accommodates all of the above and still has space in its infinite data servers for a song like “I’m Bad at Driving,” which, in terms of subject matter, is pretty much what the title would have you believe. There’s a video for the track premiering below — that’s why we’re here; keep up — and in addition to highlighting the song itself, it’s a good look at the persona driving the band throughout Hunk. Chicanery abounds. I hope their next album has a song about incels, because fuck that shit too.\u003cbr\u003e-The Obelisk\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Elephant Rifle","offers":[{"title":"Default Title","offer_id":54685485629719,"sku":"HTR 032","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Hunk.jpg?v=1786733732"},{"product_id":"bsrb","title":"BRSB *Colemine Exclusive Red \u0026 Yellow Smoke Vinyl LP*","description":"\u003cp\u003e\u003cstrong\u003eCATALOG: \u003c\/strong\u003eBCR-155\u003cbr\u003e\u003cstrong\u003eRELEASE DATE: \u003c\/strong\u003e3\/8\/24\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRed \u0026amp; yellow smoke vinyl is limited to 200 and exclusive to Colemine\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBacao Rhythm \u0026amp; Steel Band, the mysterious steel pan outfit hailing from Hamburg, Germany have amassed a cult following around the globe. With a slew of classic 7”s and three critically acclaimed full length albums, they set a high bar for themselves, one they clearly intend on pushing even higher with this new offering. On their fourth album BRSB, Bacao are back with more of the same, but more of the same with them is inherently different. Covering songs that span genres and range from mega hits to underground album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago.\u003cbr\u003e\u003cbr\u003eWhile part of the allure of a new Bacao Rhythm \u0026amp; Steel Band album is finding out what covers they do it is equally intriguing to see what original tunes they cooked and this record is full of stand out originals. The album opener, “In The Crosshairs” is a rough and tough mid tempo head nodder while both “Grilled” \u0026amp; “Treasure Quest” pick up the tempo with heavy African Funk influences on both. Bacao goes deep with “Hazy Memories”, a bass heavy slow burner that walks a line between hypnotic and hype. All these originals stand as testament that the term “cover band” is a shoe that could never fit Bacao. However, in the tradition of steel pan music, they do a heavy amount of covers. This time around there is a big West Coast Hip Hop influence with covers of Game \u0026amp; 50 Cent’s “How We Do”, Dr Dre \u0026amp; Snoop Dogg’s “Nuthin But A G Thang”, and Tupac’s “Got My Mind Made Up” all of which take on new energy and lend themselves to the BRSB steel treatment. Bacao puts another certified dancefloor filler on their resume with their cover of Claudja Barry’s uber Disco classic “Love For The Sake Of Love” which they flip into a dubbed out affair aptly changing even the title to “Love For The Sake Of Dub”. Pulling from the contemporary smash hit section of Hop Hop they cover Drake’s “Hotline Bling” and “Love$ick” by Mura Masa \u0026amp; A$AP Rocky. Then they go very unexpected with “Stranger Things Theme” where they take the synth heavy theme song to the hit show and give it a more hypnotizing tone than the original.\u003cbr\u003e\u003cbr\u003eBy the time BRSB is through, Bacao has taken the listener on a journey spanning a myriad of energies, tempos, and moods while keeping it all under one umbrella. For all that, these songs are alive, and they will be taken out of the context of this album and sewn into the fabric of DJ sets around the globe for many years to come. Bacao Rhythm \u0026amp; Steel Band continues building their legacy and pushing the boundaries of steel pan music forward with another rock solid musical offering. Enjoy.\u003c\/p\u003e","brand":"Colemine Records","offers":[{"title":"Default Title","offer_id":54685485760791,"sku":"BCR-155","price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/BSRB.jpg?v=1786734533"},{"product_id":"alight","title":"Alight","description":"\u003cp\u003e\u003cspan\u003ereleased May 21, 2026\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOtto Eskelinen, alto sax, flute, shakuhachi\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSami Sippola, tenor sax\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eEero Tikkanen, double bass\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eEero Savela, trumpet\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJanne Tuomi, drums, vibraphone\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eTopias Tiheäsalo, guitar\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAll compositions by Tahmela Six\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded on August 15, 2025, outdoors in Kiikala, where the field and the forest meet\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSession produced and engineered by Jarno Alho\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCover art by Stiina Kokko\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePhotography by Antti Kujala\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLayout by Jon Thureson \u0026amp; Miiro Seppänen\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTimmion Cutting\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHelsingin Levypuristamo\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOur heartfelt thanks to Lauri Kallio for opening his countryside home to us and making these outdoor recordings possible.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tampere Friends","offers":[{"title":"Default Title","offer_id":54761607987479,"sku":"MMM010","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Alight.jpg?v=1787503552"},{"product_id":"sophisticated-static-preorder-copy","title":"Sophisticated Static","description":"\u003cp\u003eCatalog: INNER216\u003cbr\u003eFormat: Vinyl LP\u003c\/p\u003e\n\u003cp\u003eVinyl LP\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e180g rainbow static vinyl\u003c\/li\u003e\n\u003cli\u003eLimited to 300 copies\u003c\/li\u003e\n\u003cli\u003eHand numbered\u003c\/li\u003e\n\u003cli\u003eObi strip \u0026amp; hype sticker\u003c\/li\u003e\n\u003cli\u003e*PREORDER - starts shipping mid August, 2026*\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eThe 6th album release from Tokyo's Kazumi Kaneda on Inner Ocean Records. 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