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Alien Transistor and Tokyo-based label Afterhours release a vinyl-version of tenniscoats' masterpiece "music exists". It consists of 4 LPs, which will be released over the year, full of intimate, wonderful, psychedelic folk-music. With the fourth LP, there will be a strictly limited box available, either for putting in your already purchased other 3 records, or as the whole glorious 4-LP-package.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s ), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the tenniscoats and their opus magnum "music exists".

The Tenniscoats are a duo that have enjoyed a long career in the music scene of their home country of Japan. They have collaborated with unique artists from different backgrounds (Tape, Pastels, Pastacas and Jad Fair), while maintaining their own laid back approach and sound. Their songs are built primarily from guitar and vocals with lyrical themes focusing on everyday life. It could be their expansion on simplicity that has captivated music lovers of all ages throughout their existence.

While the aforementioned collaborations produced bold and sensitive experiences and results, it has taken Tenniscoats five years to release an entire studio album of their own. The wait has not been in vain, as four discs will be released consecutively beginning with 'Music Exists - disc 1'. Music Exists saw a previously limited release on the Tenniscoats' own majikick label.

'We started recording around January of 2013 with just the two of us in our 10 tatami-room in Tokyo we were using as a private studio. Arrangements were produced without computers by overdubbing on an analog console with mixing assistance provided by Saya. As we sent selected songs to be mastered by Yasushi Utsunomia, we were able to see the tracks grown into a full length album.'

What turned into a huge 4 disc project began in earnest three years ago. Tenniscoats wrote and recorded themselves using an analog console, a microphone, and what few instruments they had. As the project developed, they were surprised to find that they had amassed several albums' worth of material.

'We tried throwing up the ideas we had in the beginning and not put too much of our strength into playing in order to develop the ideas of each song. Utsunomia, who did the mastering was the first person to ever hear the material for this album outside of the band. We sent songs to him carefully choosing an order that we felt would not make him bored. Thanks to his distinctive way of mastering, we were inspired to go further and further into the process.'

2016 marks the Tenniscoats' 20th anniversary together. You could consider 'Music Exists' as a sort of compilation of material stemming from these years spent together. With their unique combination of melodies, unexaggerated arrangements, and detailed mastering, Alien Transistor are extremely delighted to make this recording available to the public!

Alien Transistor and Tokyo-based label Afterhours release a vinyl-version of tenniscoats' masterpiece "music exists", which consists of 4 LPs in total.

Disc 3 reunites the couple with their old friends and collegues, the swedish musicians from Tape, they concentrate once more on their very own language of making music, and give us another collection of essential tenniscoats-songs.

With the forth LP, there will be a strictly limited box available, either for putting your already purchased other 3 records in, or as the whole glorious 4-LP-package.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

Originally recorded in 1981, this album is best known for its tropical boogie bomb 'Let's Talk About It'. Having drawn attention from diggers for quite some time, it's finally available again on vinyl. Besides this killer boogie tune five other tracks from the album that have remained unknown to most people complete this French boogie / reggae / zouk re-issue.

"Vintage killer addictive electronic reggae & dub selection by UK pioneers Alpha & Omega! These are dub-plate mixes of tracks from various Alpha & Omega albums. Volume 2 was originally released on CD in 1997. "We have always done alternative mixes for sound systems. This is Alpha & Omega's second volume of dub-plate mixes, normally only available to soundsystem operators."

Following their hotly tipped 2018 debut album 'On' - Altin Gün returns with an exhilarating second album. 'Gece' firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

Some words from the label:

The world is rarely what it seems. A quick glance doesn't always reveal the full truth. To find that, you need to burrow deeper. Listen to Altin Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band's six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

'It really is,' insists band founder and bass player Jasper Verhulst. 'The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.'

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neset Ertas - it's definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

'We do have a weak spot for the music of the late '60s and '70s,' Verhulst admits. 'With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We're not trying to copy it, but these are the sounds we like and we're trying to make them our own.'

And what they create really is theirs. Altin Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Dasdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn't music that seduces the listener: it demands attention.

Altin Gün - the name translates as 'golden day' - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn't play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst's obsession with Turkish music. He'd been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn't content to just listen, he had a vision for what the music could be. And Altin Gün was born.

'For me, finding out about this music is crate digging,' he admits. 'None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country's musical past, their heritage, like 'House of The Rising Sun' is in America.'
As Verhulst delves deeper and deeper into old Turkish music, he's constantly seeking out things that grab his ear.

'I'm listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it's the first time they've heard it.'

It's a testament to Altin Gün's work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece 'Soför Bey') so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means 'night' in Turkish). It's the sound of a band both committed to its sources and excitedly transforming them. It's the sound of Altin Gün. Incandescent and sweltering.

Creating the band's sound is very much a collaborative process, Verhulst explains.
'Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we'll work on it together at rehearsals. However we start, it's always finished by the whole band. We can feel very quickly if it's going to work, if this is really our song.'

Just how Altin Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It's utterly compelling. And with around 800,000 views, it has helped make them known around the world.

'It certainly got us a lot of attention,' Verhulst agrees. 'I think a lot of that interest originally came from Turkey, plenty of people there shared it.'

That might be how it began, but it's not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

'Not a lot of other bands are doing what we do,' he says, 'playing songs in that style and seeing folk music in the same way.'

A1 is 'On You', Loyal Hardware's minimal, moody, breakbeat tune that caught the attention of EDiT
(GlitchMob); Perera Elsewhere (FoF) and Luckyme's Jacques Greene who played the single across NTS, The Lot Radio and in his BBC Radio 1 'After Party playlist' with Monki; describing that 'it touches on the DNA of club music' with 'all these moments of beauty... it's got this mix of sorta' heavy drums but it's more vibey than it is a hard hard track'.

'Dust' and 'Round Here' accompany on the B-Side of Loyal Hardware's debut EP, confirming that the
producer who has supported the likes of Lapalux, Rival Consoles, Aisha Devi, Jacques Greene and DJRUM, is one to watch.

'Loyal Hardware EP' is released 17th April via new imprint BRIEF, distributed by ABOVE BOARD. Available to pre-order now, digitally and on limited 12' vinyl.

This release is LP and it's individually 300 hand-numbered limited edition. The first 100 copies are pressed on WHITE & BLUE MARBLED vinyls (AR015).
It's dedicated to the 1979 New Age / Electronic masterpiece by the Italian contemporary multi instrumentalist Pepe Maina.

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.

In 1980, the 9th Creation began working on new music at a Modesto studio, South East of Stockton. The studio was suspiciously cheaper than all of its competitors. After recording weeks of material, the band discovered the reason. 'We didn't know that the guys that were running the studio were drug dealers,' A.D. Burrise recalls. 'There was a big raid.' All the studio's master tapes were confiscated by the DEA. J.D Burrise unsuccessfully sued the DEA to recover the tapes but to no avail. Luckily Mike Micenheimer saved cassette mix-downs of some of the group's songs from those sessions. 'A Step Ahead' is the the 9th Creation's lost album. 8 unreleased songs of pure soul, funk, disco and boogie.

We are proud to present this lost album for the first time. The ultra talented Jacob Arnold also wrote the complete story of the band that we are presenting with never seen before pictures.

Finally the CD version includes bonus tracks from the Love Crime 12', the Mellow Music 7' and 3 previously unreleased (rough) demos.

(Because of the source of these recordings, please know that (sadly) some of the songs have drops in stereo and are not 100% audio quality.)

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- MIKE OLDFIELD'S TUBULAR BELLS IS INSPIRED
BY THIS ALBUM
- FEATURED IN GRAND THEFT AUTO IV ON THE
RADIO STATION 'THE JOURNEY.'
- 50TH ANNIVERSARY LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Keyboard virtuoso Terry Riley started experimenting with different instruments in the '50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It's an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley's masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

After several releases on the Shewey Trax label, Delicate Instruments takes on a more psychedelic approach into the thoughts about escaping the fractured American world view. This is record one from the forthcoming full length LP "MEMORY-0". Memory-1 "MEM-1" available first as a single 180gram vinyl limited edition and will also be included with the album followup release towards the end of year. Part 1's theme: "Withdraw from the world around you, into your own innerworld..."

Label established 1994 - past vinyl releases include: Delicate Instruments (several 12" EP singles 2013-present), Live Better Electrically (1990s to present). Various 12” remixes on Sheweytrax label include: Bassbin Twins (aka Peter Tall), Oricom Technologies (West Coast 90's), Octo Octa remix (2017).

Info We Release Jazz is ecstatic to present its fifth release (following Ryo Fukui's Scenery and Mellow Dream, Le Cercle Rouge's soundtrack by Eric Demarsan and Stuff Combe 5 + Percussion), the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. Placebo's Live 1971 is available in a limited edition 180g vinyl mastered at half speed, housed in a 350gsm sleeve with UV coating and an obi strip. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26 minutes+ jazz adventure - Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous 'Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes (on which you can hear a shorter studio version of 'Showbiz Suite"), 1973, and their final self-titled album. Born in 1942 in Ixell

"Vintage killer addictive electronic reggae & dub selection by UK pioneers Alpha & Omega!These are dub-plate mixes (normally only available to sound system operators) of tracks from various Alpha & Omega albums. Originally released on CD in 1995, now for the first time on a limited & numbered 500 copies LP incl download. ""We have always done alternative mixes for sound systems. We had enough good ones to make an album so that's why we released Dubplate Selection Vol. 1"" "

- Released on vinyl for the first time
- Download included
- Numbered, strictly limited, 500 copies worldwide

Sussex Records are an iconic 70s label, and from their catalogue Soul Brother Records bring you two of their gems back to back on one 7' single for Record Store Day 2019. 'Where Did You Learn To Love Me The Way You Do' is a mid-tempo ballad in the style of an Aretha Franklin track from the period. It comes from the 1971 album 'Stay A While From Me' by Sharon Ridley, a musician and vocalist closely associated with genius producer Van McCoy.

Original copies of the track on a 7' have recently exchanged hands for £400 on Discogs ane eBay. 'Ain't No Need' is by singer/songwriter Ralph Graham from the album 'Differently' and has never previously been made available on 7' single. A sought after track it's only previous reissue was on the Soul Brother CD/LP 'Shaun Robbin' Sunday Soul Selection'. The song was later covered by Skye.

After expanding its roster and musical scope into jazzier terrains with Jukka Eskola Soul Trio, Timmion now introduces Sami Linna Quartet. Led by guitarist Linna, this international group of elite players paves way for their full length album with the single release "Mode For Tomorrow" b/w "Umoya".

The single hints to what's to come with a deep modal tune referencing 1970's spiritual jazz on the A-side, and groovy soul jazz on the flip. You can immediately hear that these compositions have been crafted with thorough understanding of the tradition, but with passion and capability to breath them to life in this modern age.

The lineup is truly something to write home to. Linna himself has over 20 years of experience working in the Finnish jazz scene, same as saxophonist Jussi Kannaste. Organist Mikko Helevä plays in Jukka Eskola Soul Trio as well as a host of other top jazz groups. But it is drummer Dana Hall who's is the most seasoned member of this experienced troupe. Namedropping might seen lame, but in this case we'll take it there as Hall has worked side to side with Joe Henderson, Kenny Barron, Bobby Hutcherson, Ray Charles, Horace Silver, and Benny Golson to name a few.

Both tracks get a single edit treatment here and the full length versions will be available on the coming album. This is not jazz for the faint hearted, but the real deal meant for real people.

Propriété Privée is the pinnacle of Congolese musician Sammy Massamba’s style: a successful fusion of African and American music heritage, halfway between Franco and Otis Redding, Fela and Wilson Picket, King Sunny Ade and Aretha Franklin.

Home made in Paris, self-released in 1987, with only 1000 copies hand
distributed, the 4 tracks EP features the nastiest funk, boogie, soukous, rumba and electro pop soundclash the Eighties could offer.
Carefully restored, remastered and repackaged in total respect with its original release. The vinyl lacquer reissue was even made by its original author, the legendary André ‘Dédé’ Perriat. Sammy Massamba’s life story is printed together with photos and liner notes on the inner sleeve of the 12". He still
lives in France and is available for interviews, showcases, live shows and any
sign of the gratitude he deserves

Creating a composition means making decisions. During times in which you virtually have all sounds that have ever been recorded at your availability, composers must choose between infinite possibilities. The duo Ellicist does not perceive this contemporary ocean of possibilities as too much choice, they are swimming in it. Ellicist are weaving thick textures from the most diverse tones and rhythms. Their tracks are placing synthetic buzzing, the croaking of frogs, low frequency billowing and humming, flutes, the droning of flies, and the whole spectrum of the digital creation of sound next to one another. This intensity of sensations is not supposed to overstrain the listener, it invites them to follow a process. This music does not have a strict structure; instead, it is breathing openness at every moment. Ellicist are incessantly oscillating between abstraction and elements of pop music. Melodies are being hinted at, and sounds are being piled up, at times tirelessly. Fragments of etheric choirs or field recordings are unfolding their associative power. The melodious Ink is a track full of touching intimacy and is in constant motion until it eventually pauses to create a silent ocean of sound. Passage People is permeated by a groove of throbbing synths. The tapestries of sound of Ponds & Graves, on the other hand, are creating the foundation for expressive percussions. Ihnen Steg is almost a dub track. During the opener Hennepin and its follower Lilei sounds of palpable corporeity are being combined with ones that are hardly tangible. Point Defects has a incredible spatiality. At one point you might believe that you are able to precisely localize the sounds in an imaginary system of coordinates. And then the whole systemization crumbles. It is an astonishing production: you can almost taste the sounds. Biographical Notes: Ellicist are Thomas Chousos & Florian Zimmer. Chousos studied composition in Greece before moving to Berlin, where he is working as a producer and sound engineer under the moniker Tadklimp. Florian Zimmer has been playing with several groups. Besides Ellicist he is a member of Saroos and Driftmachine.

Switzerland's Alma Negra are known for their deft, tasteful explorations of world roots, anchored in digging, sampling and sharing. On this brand new remix collection, Alma Negra invite a trio of equally curious producers to remix some three of their best-received musical endeavours. French producer and DJ Bambounou capitalises on the quick tempo and raw-energy at the heart of the Maloya sound as the basis for his raw and hypnotic reimagining of 'Kabare', originally sourced from Christine Cabare, one of the most notable stars of the contemporary Maloya scene. Glenn Astro, meanwhile takes on another release, 'Haleto lale lalô'. Originally influenced by the Saho sound, the origins of which lie in the musical history and landscape of Eritrea, the Money $ex Records owner fashions two distinctive reworks out of the already adapted original material. After applying the soft pressure of his weightless, smooth funk for an initial, blissed-out remix, he switches up to a warm, percussive jack session on his 'Rhythm Trax' remix, available here as a digital bonus. Finally, cult producer and musician Michal Turtle, best known for his sensational LPs and compilations on Music From Memory, delivers only his second ever remix in a forty year career, conjuring a magical slice of dreamy, percussive pop from 'Tany Be', awash in signature brass.

Crayon Unveil "flee", His Last Ep Available On Roche Musique.
Animated By The Desire To Produce His Own Music, As The Artists Who Have Influenced Him, He Has Relied On His Abundant Imagination And Quickly Develops His Own Aesthetic.
The Same Way He Did As A Designer, Crayon Transcribes Mental Images Through A Suave, Heavenly And Melancholic Music.

A cat may have nine lives, but Peter Cat Recording Co. has a multitude of dimensions. Formed in New Delhi around 2010 by the crooner Suryakant Sawhney, it's a group that's mutated over time, shedding members and accruing more, always evolving musically with each album: from gypsy jazz to psychedelic cabaret; ballroom waltzes to epic space disco; bossa supernova to uneasy listening. What's more they play jajj, which you've almost certainly never heard of. 
'Gypsy jazz is the description we used around the time of our first album Cinema that we sound nothing like now,' says Sawhney, before adding: 'At the time I was really into Strauss.' 

Portrait of a Time 2010 - 2016 is the first taste many Europeans will have of this highly original, musically capricious and deeply inscrutable New Delhi four-piece. The compilation helps you get to know a band who are essentially unknowable, not that that will stop you from trying. Furthermore, in a capital city known for its mystery, madness and mayhem, Peter Cat Recording Co. is something of ananomaly there too. 

While Suryakant's crooning is spookily reminiscent of a hipster 50's Sinatra, it was more his intention to ape legendary Bollywood playback singers like Kishore Kumar, Mohammed Rafi and especially Hemant Kumar. There are diverse American influences in the mix too, including Sam Cooke, Etta James and even Tom Waits, and time spent in San Francisco studying film may have contributed to the cinematic melange. Thrown together it becomes something unique that equates less to a listening experience and more to an out-of-body experience. 

They were signed to new French record company Panache after label boss Alexandre Rabia was trawling through YouTube one day and happened upon their remarkable promo for 'Love Demons'. It's a mind-blowing eight minute epic featuring the desert, one camel, a movie theatre, swirly organs over coruscating beats, dancing girls, more police and a cavernous pit that then-bassist Rohan Kulshreshtha falls into. 

You can try to compartmentalize them all you want, but just when you think you've got them pegged, they will evolve and transmogrify and the description you have in your hand will slip through your fingers like sand. Who knows if Peter Cat Recording Co. has nine lives, but you can listen to a past life on Portrait of a Time, and a future incarnation - much of it recorded in Paris - will be available in the autumn. Just remember, unlike a cat, you'll never put them in a box. 

Active in the late 1980’s Swedish EBM-scene in bands like Sound Manufacturers, clubs like Piz Off and labels like Osmium, Stockholm based producer Conny Fornbäck reappears after a 30+ year hiatus. This time in the incarnation of Majestoluxe.

On the debut album Septic Shock, Majestoluxe presents nine EBM-tinged experimental industrial pop songs inspired by an actual near death experience. Fully produced on an analogue Eurorack modular system, Septic Shock should appeal to fans of the sounds of the late 70’s UK, the early german 80’s, the mid Belgian 80’s, or last night in Sweden.

Available as a six track high quality vinyl with download card, and as a nine track digital download.

RIYL Front 242, The Normal, Powell, The Klinik or P·A·L.

Unknown Pleasures, the debut studio album from Joy Division, was first released in 1979 on Factory Records. Within the first year, the album's atmospheric sound had won over fans and critics with tracks like "She's Lost Control" and "Day of the Lords" and in the thirty-five years since it has more than secured its classic album status. Instantly recognisable by Peter Saville's iconic design, this new heavyweight vinyl reissue replicates the artwork to painstaking detail and features audio from the 2007 remaster, available for the first time on vinyl.

moogmemory is the latest album from multi-award winning pianist and composer Matthew Bourne, who has turned his considerable talents to the world of analogue synthesizers.

Very much in demand as a collaborator and co-conspirator, Bourne has his fingerprints on a huge number of projects, having worked with artists as diverse as John Zorn, Annette Peacock, Nils Frahm, Nostalgia 77, Amon Tobin and Broadway Project.

Growing from spontaneous improvised live performances, the album took shape in the studio as Bourne explored and moulded the vast sonic possibilities of voltage-controlled oscillators, creating beautiful, brooding landscapes of thick impasto and translucent sunbursts.

The seed for this project was planted when Bourne acquired an uncooperative 1982 Memorymoog, having it painstakingly modified and upgraded by Rudi Linhard in Germany .

Created without the use of computers or sequencers,Moogmemory is the first album to be recorded using only the Lintronics Advanced Memorymoog.

Bourne will tour moogmemory in collaboration with brilliant visual artist Michael England, who has worked with Autechre, Bola, Leila, Demdike Stare and many more.

The album will be available on CD and as a limited edition LP (with CD) in an intricate embossed sleeve designed by England.

Album press release written by Bourne fan Graham Massey (808 State).

The album follows the critical success of Radioland: Radio-Activity Revisited, a visceral live audio/visual experience created to mark the 40th anniversary of Kraftwerk's seminal album, with Franck Vigroux and video artist Antoine Schmitt.

Bourne's first solo studio album, Montauk Variations (The Sunday Times' Leftfield Album of the Year in 2012), was celebrated for its sense of stillness and serenity, marking an important musical turning point in his career and the beginning of a new creative direction.

Tracks from Montauk Variations have appeared on compilations by Bonobo and Needwant.

serenitatem, the fifteenth installment of FRKWYS, RVNG Intl.'s collaboration series pairing intergenerational artists in creative conversation, joins Visible Cloaks with Yoshio Ojima and Satsuki Shibano, two trailblazers of the Japanese avantgarde music and visual arts scenes of the 1980s and 90s.

Yoshio Ojima began his career as a composer of environmental and ambient music, with a particular interest, and optimism, in the possibilities of generative software. His compositional pursuit of human synthesis with computerized forms was realized in its fullest potential alongside Satsuki Shibano, a pianist renowned for her interpretations of Erik Satie and Claude Debussy. Together, they were among a handful of influential Japanese artists whose innovations still resonate, if not more vibrantly than ever, well beyond the tightly-knit scene's original core. In the early 90s, Ojima was among the programmers of the influential satellite radio experiment St. Giga, a constantly-evolving sonic landscape that combined field recordings and sound collage with occasional readings of Japanese poetry. Satsuki was a regular reader for the station. This musical terrarium bloomed out of sight in a small Tokyo studio, a greenhouse of sound with no set start or finish time that audiences could tune into, absorb, and immerse.

The perpetual flow state of St. Giga — recordings of which Ojima shared with Visible Cloaks — would be highly influential to serenitatem's constitution. As Visible Cloaks, the Portland, Oregon duo of Spencer Doran and Ryan Carlile have developed their own set of creative strategies that form an aesthetic fuse point between human intention, aleatoric composition, and improvisation.

These are notions most recently reflected in 2017's Reassemblage and Lex, a respective album and EP in which the duo combined generative software and virtual representations of global instruments into lacy, interlocking patterns. Long time admirers of Ojima's work on albums like 1988's Une Collection Des Chainons, Doran and Carlile discovered after an online introduction that they shared with Yoshio and Satsuki an abiding interest in pre-classical composers, the Lovely Music, Ltd. label, and the British avant-garde, as well as a mutual respect for one another's techniques and processes.

The four musicians met in Tokyo, Japan at Sounduno Studios in December 2017, at the tail end of Visible Cloaks' first Japanese tour, to commence work on serenitatem. Leading up to the studio sessions, Doran and Carlile sent Ojima processed sound sketches recorded while on a European tour, which Yoshio would add to and return. Visible Cloaks would then fold Yoshio's edits back into the original compositions, which Doran and Carlile brought to the exploratory recording session. During that week together in Tokyo, the quartet made use of a number of creative strategies — 'echoing sound together,' as Yoshio puts it. Among the strategies, MIDI randomization gave the quartet melodic lines and what Doran calls 'randomized clouds,' or 'tightly grouped notes that become smeared tonal clusters functioning more like chords in themselves.' Carlile would also feed Ojima and Satsuki's text into Wotja, a generative music software which produced a MIDI language around which the quartet expanded their compositions.

'The aim,' Doran says of serenitatem, 'was to make a work that was not specifically ambient (or environmental), but something more multi-hued, weaving these deconstructive concepts into an album that has a deeper architecture underpinning it.' Accordingly, serenitatem is a marvelously sharp record, its sutures between human and machine virtually impossible to find but suggested everywhere you turn. The collaboration among Ojima, Satsuki, and Visible Cloaks is both musically and conceptually inseparable from the technology that made it possible. Throughout the album, Shibano's playing resonates like Satie's, her rhythms cascading like drops from leaves an hour after the rain. Overtones are stretched and warped like modeling clay, then spun around and shown off from multiple angles.

A single soaring note might seem to be suddenly plunged underwater, its richness of sound made shallow and its sharp edges blunted. Pittering chimes and rapidly warping vocal samples hang in the luxuriously glossy space, water trickles from ear-toear, familiar melodies rise from nothing and dissolve before they can be traced. With the depth of its emotional charge, serenitatem burns away the easy cynicism of the day, presenting itself as the kind of delocalized work of art the internet promised us decades ago — a synthesis of artistic visions, technological sophistication, futurist ambition, and, occasionally, ancient polyphony. Listening to it can feel a bit like tuning in to a 21st Century version of St. Giga: It's a place where the future still grows.

Visible Cloaks, Yoshio Ojima, and Satsuki Shibano's serenitatem, FRKWYS Vol. 15, will be available across LP, CD, and digital formats on April 5, 2019. The quartet will perform select live shows throughout 2019.

Available on vinyl for the first time in 40 years, Outernational Sounds is proud to present a masterpiece from the Los Angeles jazz underground - Horace Tapscott's burning, spiritualised 1978 set, The Call.

One of the unsung giants of jazz music, the composer, bandleader, arranger, pianist and community activist Horace Tapscott was the undisputed keystone in the grassroots Los Angeles jazz scene. Throughout the 1960s and 1970s, his radical community arts and music formations the UGMA (Underground Musicians Association, later changed to UGMAA - Union of God's Musicians and Artists Ascension), and his protean big band, the Pan Afrikan Peoples Arkestra, were at the epicentre of music, culture and politics in the Los Angeles area.

From their 1960s base at the Watt's Happening Coffee House on 103rd St, to their decade-plus- long 1970s residency at the Immanuel United Church of Christ on 85thE St and Holmes Ave, Tapscott's groups were the beating heart of underground music in LA. Hundreds of musicians passed through and played their part. Major figures in LA jazz such as Arthur Blythe, Azar Lawrence, Jimmy Woods, John Carter, Bobby Bradford, Sonny Criss, Ndugu Chancler and dozens of others all paid dues or just got down with Tapscott, not to mention the core Arkestra regulars who have since become celebrated names - Nate Morgan, Jesse Sharps, Adele Sebastian, Dadisi Komolafe, Gary Bias, to mention only a few.

Tapscott and the Arkestra were down on the ground - playing fundraisers in park and street, organising teach-ins and workshops for young and old, mixing it with radical theatre groups, firebrand poets, political radicals, Black separatists, community groups and churches. They lived communally, and built an ark for the Black arts in the heart of the city. But as a result of this grassroots community focus and Tapscott's antipathy to the music industry, the Arkestra didn't record for nearly two decades. That only changed when long-time jazz fan Tom Albach started Nimbus Records. The label was initiated specifically in order to document Tapscott and his circle, and the first three records showcased Horace and the Arkestra.

The Call was put together from two studio sessions in April 1978, one at Hollywood Sage and Sound, one at United Western - the latter session had the addition of a string section, who can be heard on the moody Cal Massey composition 'Nakatini Suite' and Jesse Sharps' swinging modal trip, 'Peyote Song No. III', with its swirling soprano solo. In keeping with the communal nature of the Arkestra, the other two compositions, 'The Call' and 'Quagmire Manor at Five A.M.' are also by Arkestra members. But at the centre of the music is the builder of the Ark, the visionary whose original call to action started a movement whose legacy continues to this day - Horace Tapscott.
Heed The Call!

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

The famous Jamaican record producer Duke Reid founded record label Treasure Isle in the 1960s. Some of his best production skills can be found on the compilation album Here Comes The Duke. Showcasing the talents of some of the giants of the rock steady era, the recordings, all issued during the latter half of '68, demonstrate just why the Duke is widely regarded as the king of the rock steady sound. The grooves are thoughtful and the brass section adds the right attitude to the different songs.

Here Comes The Duke is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

- 180 GRAM AUDIOPHILE VINYL
- BRAND NEW 2019 NEO-CLASSICAL ALBUM
- PRINTED INNERSLEEVE
- LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Fermata, Pieter de Graaf's debut project and the birth of a new talent in the neo-classical world. 'Filmic,' he replies when asked about the direction he had in his head, and there's an epic grandeur to many of the tracks. 'I have always written music' de Graaf explains, 'but with Fermata I felt that I could do so much more than just being a pianist, so I thought: 'Why shouldn't I try' The songs aren't 'written' in any traditional sense; instead he plays and improvise segments, records them, and listens back over and over before deciding what to use, what to discard, and what to embellish. No stone is left unturned in being guided by what the song requires - he has travelled North to record a church organ, wrote a score for a choir of four sopranos, and enlisted the help of friends and colleagues at Kytopia, the music collective in Utrecht that houses his studio.

It can take a while for an artist to find their true calling. For Pieter de Graaf, he's been searching since he sat next to his father, aged five, and watched him play the classics and the classical. He later immersed himself in the world of jazz, dedicating hours to practice, and studying at the Conservatory of Rotterdam. Several years spent touring with various bands, friends, and hip hop groups including The Kyteman Orchestra taught him an invaluable lesson, something that has informed his new project right from the start. His influences - Miles Davis, Nils Frahm, Rachmaninov, Bach, Herbie Hancock, and above all Keith Jarrett - allowed him to combine easy melodies with more virtuoso passages without losing the meaning, or the essence, of each song.

Fermata is available as a limited edition of 500 individually numbered copies on transparent vinyl.

I wanted it to be the biggest sounding Foo Fighters record ever. To make a gigantic rock record but with Greg Kurstin's sense of melody and arrangement... Motorhead's version of Sgt. Pepper... or something like that.'

So speaks Dave Grohl of the mission statement made manifest in Foo Fighters' ninth epic, the aptly-titled Concrete and Gold, due out September 15 worldwide on Columbia Records and available for pre-order now.

Concrete and Gold marries some of the most insanely heavy Foo Fighters riffs ever with lush harmonic complexities courtesy of a first time team-up with producer Greg Kurstin (Adele, Sia, Pink). The first taste of which came in the form of anthem of the summer Run' which was described by The Times as 'epic', Music Week as 'Classic' and Shortlist as 'the best thing they've done in years'.

Concrete and Gold was written and performed by Foo Fighters, produced by Greg Kurstin and Foo Fighters, and mixed by Darrell Thorp.

Foo Fighters are Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett, Pat Smear and Rami Jaffee.

Pussyfoot Records Is Back After The Labels 15-year Hiatus With A Brand-new E.p Featuring Both Old And New Pussyfoot Artists. 'the Shape Of Cats To Come' Mixes Genre, Age And Artistry, Showcasing The Label's Diverse And Varied Roster Of Artists From All Over The World. The E.p Will Be Available To Buy And Download, Also As A Limited Edition 12' Vinyl With Beautiful Artwork By Tokyo Artist Rob Kidney. Label Founder Howie B Contributes Two Tracks, One Solo And One A Collaboration Between Chinese Artists Mickey Zhang & Whai. New Signing To The Label, London Based, Milo Clare Releases His Debut And Pussyfoot Regular Sie Also Contributes. You Can Listen To The First Release: Sie - Riders On The Storm Here.

DJ Shadow has shared the artwork for his anticipated live album and film, Live In Manchester: The Mountain Has Fallen Tour.  Recorded at a sold out Albert Hall in Manchester, England, the release (out 13th July on Mass Appeal Records) is now on vinyl, CD, and digitally.  

Live In Manchester: The Mountain Has Fallen Tour, documents DJ Shadow's most ambitious, extensive worldwide tour yet - surrounded by stunning visuals, he blasts through classics and more obscure cuts from his discography.  Watch the trailer here.    

The release will be available on gatefold 12' vinyl, CD / DVD double pack, digital audio and digital video formats.  

The news follows the recent announcement of DJ Shadow's podcast, DJ Shadow Presents Find, Share, Rewind, broadcast on Manchester-based radio station and music platform, MCR Live. Episodes are online here, and the first instalment hit number 1 in Apple's music podcasts chart. 

Bay Area producer DJ Shadow (Josh Davis) was catapulted to prominence thanks to his landmark debut album, Endtroducing, acknowledged by Guinness World Records as the first LP created entirely from samples.  Since then, Shadow has continually moved forward releasing innovative albums and collaborating with the likes of Thom Yorke, Massive Attack, Jason Newsted (Metallica), Mike D (Beastie Boys), Zack de la Rocha and several others.  Live In Manchester: The Mountain Has Fallen Tour continues an exceptional couple of years for the producer: in 2016 he unleashed innovate new album The Mountain Will Fall, which birthed his biggest single yet, Nobody Speak featuring Run The Jewels; a massive worldwide tour followed - The Mountain Has Fallen Tour - plus an EP featuring collaborations with Oscar-winning film composer Steven Price, rap maverick Danny Brown and hip-hop hero Nas. 

DIGGING IN THE BOXES IN DJ SPATTS LOFT WE FOUND NUMEROUS DAT TAPES IN GOOD CONDITION, SOME CONTAINED TRACKS FROM THE MIND BOMBING ALBUM. WE THOUGHT THEY WERE LOST SO IT WAS A NO BRAINER TO REMASTER THEM AND MAKE SOME OF THEM AVAILABLE ON VINYL.

Remastered and recut by MUSIC PRESERVATION SOCIETY

Combo Lulo returns to Names You Can Trust for their sophomore single, digging deeper into the diversified sounds of the Caribbean that helped define their debut. While the first single took a Jamaican foundation south into the neighboring continent, fusing the sensibilities of rock steady with those of classic Afro-Latin orchestras, this single goes far east. Inspired by the heady and sublime sounds of foundational ska mixed with East African influences, (think Buster's Islam, Don D's Addis Ababa or Further East), The Sieve & The Sand is a brand new composition within this natural order, albeit with the fortune of different reggae eras and studio styles to draw from. Divided into two parts (but also available seamlessly as it was played in the studio), Combo Lulo's talented players move effortlessly from the galloping shuffle of ska into a deep and dark, Roots Radics-styled instrumental. It's a lovely ode to the original styles of reggae, but also another impressive accomplishment that will surely leave listeners and new fans in anticipation of the shape of things to come for Combo Lulo.

The Edwards Generation were a San Francisco family group that were lead by Chuck Edwards, who was the father of the group members. Chuck had been a recording artist since the 50s and had recorded for labels such as Duke, Kapp and Apollo before establishing the Edwards Generation as a force in Frisco during the 1970s. Their one and only album 'The Street Thang,' which was released in 1976, is a much revered and sought after album by serious soul collectors across the globe. We will be releasing an album of unreleased songs in 2019, but in the meantime we have the groups first vinyl release since 1977 with the uptempo dancer 'I Like Your Style' on the A Side, This version will not feature on the album and is only available on this single release. Whilst on the flip we've got the only song from our album that features their father Chuck on lead vocals with the Motownesque 'The Love I Found In You.' The Edwards Generation were a talent that deserved a greater exposure and with this we're happy to be partnering with them in releasing their unreleased gems.

The B-52's The B-52's on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time Delightfully Campy, Intentionally Goofy, Lyrically Kitschy: 1979 Set Is Nothing But a Good Time
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): LP Bursts Forth With the Color and Vibrancy of the Brilliant Pop Within
The B-52's' Wild Planet and Cosmic Thing Also Available on Silver Label LP Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.
Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more!
Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single 'Rock Lobster' and splendid cover of the ubiquitous Petula Clark standard 'Downtown.' You've never heard anything like this.

Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered limited edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.

Lunch Money Is A New Breed Of Psychedelic Jazz. Adventurous Compositions That Keep Both Body And Mind Fully Engaged, The Music Juxtaposes Expansive Textures With Off-kilter Hooks And Rhythms. Deep Basslines Rub Shoulders With Angular Post-punk Guitar Riffs, Floating Synths And Horns, All Blending Onto A Head Nodding Syncopated Drum Beat. A Heady Brew Of Dilla, Davis And Kraut Marks The Arrival Of London's Newest Jazz Deviants.

The Run Of 300 7" Singles Will Be The First Release From New Label None More Records. The Record Will Also Be Available Digitally.

Parisian label Chuwanaga is really proud to present In The Red Vol. 2 (A Britfunk Selection by Saint-James), almost a year and a half after the first compilation being released. This second volume still focus on the Britfunk genre - or British Jazz Funk - mainly produced in London between the end of the seventies and the
eighties. It defines a unique mix of Jazz-Funk & Disco including Reggae & Dub techniques from Afro-Caribbean communities who were at the heart of the movement. Parisian DJ, activist and producer Saint-James has again selected the most
exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap
bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing. Back in the days, these young musicians gave their music a unique British flavor and
raw energy pushing the needle "In The Red". Almost four decades later on these powerful tracks are again ready to burn up dancefloors. The compilation features an
insert with pictures and a few more words about the selection. The compilation is also available as digital download and CD along with Volume 1.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.


The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.