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Limited Bubblegum Pink Vinyl. Within the quiet, cascading corners of Pittsburgh lies a community - essentially one large family - that spans neighborhoods and generations. Upon this foundation, Merce Lemon built her latest album: Watch Me Drive Them Dogs Wild. These are earnest songs, of belonging and longing, in which romantic and familial love rip into and out of themselves in a flurry of reckoning. There is a fierceness, a persistence in this vulnerability, that is matched by the wildness of her band. Merce took a step back from music in 2020, after releasing her debut album Moonth, to reassess. "Music was just something I'd always done, and I didn't want to lose the magic of that - but I was just having less fun." In this time of restless confusion, she got back to her roots. "I got dirty and slept outside most of the summer. I learned a lot about plants and farming, just writing for myself, and in that time I slowly accumulated songs." A creative hunger, supported by her community, had been newly fertilized. From this rediscovery, imbued with the vitality of earth's green magic, Watch Me Drive Them Dogs Wild sprouted forth.

In 2007, Céu debuted her self-titled album, becoming one of the select Brazilian artistsnominated for an American Grammy in the World Music category and is widely regarded as one of the most in_¼éuential Brazilian artists of her generation. With now six albums to her credit, Céu has transcended borders, captivating audiences on five continents at prestigious festivals such as the Montreal Jazz Festival, Coachella, Roskilde, Rock in Rio and Lollapalooza. She is renownedfor her collaborations with both Brazilian and international artists like Duran Duran, Herbie Hancock, Jorge Ben Jor, Gilberto Gil and Emicida. Recorded in the USA, the album features musical production by Céu as well as Brazilian musician and producer Pupillo (drummer of Naçao Zumbi) and American multi- instrumentalist and arranger Adrian Younge (co-founder of Jazz Is Dead). Recorded at Linear Labs Studio in Los Angeles, Novela is Céu"s sixth studio album. It was captured live on tape, in a dynamic moment that demands total presence. A number of artists feature on the record: American MC and songwriter LadyBug Mecca, Franco-Senegalese singer and songwriter anaiis, American singers Loren Oden and Jensine Benitez, American DJ and producer Frankie Reyes, French artist Hervé Salters (General Elektriks) and Brazilian national treasure Marcos Valle. In Novela, ancient technologies, healing, creaminess, bolero, polished stars, echoes of soul music, things of the earth, rap, and whispers to guides emerge. Throughout the record, there is a reaffirmation of the author"sfearlessness, committed to her time, in the complexity and beauty of creative work. Always keeping the diversity of Brazilian music on the horizon.

The core members of Jaubi are true masters of their craft, coming from a rich lineage of accomplished musicians. Kashif Ali Dhani is a classically trained tabla master from the Punjab gharana, and is the accompanist of choice on the local scene for some of Pakistan's great classical vocalists and instrumentalists, as well as in Europe and the USA. Zohaib Hassan Khan is a 7th generation sarangi master, who has performed globally, and is one of only 3 professional sarangi players left in Pakistan. Multi-instrumentalist, composer and Jaubi bandleader Ali Riaz Baqar aka Ila Zair began his musical journey as a hip-hop enthusiast, evolving into a jazz guitarist following the exposure to the genre’s rich sampling culture. He then became a disciple of the Senia-Shahjahanpur gharana, a lineage of musicians specialising in the sarod. His playing now focuses on merging North Indian classical music with modern jazz harmony on a traditional, unaltered 6-string electric guitar.

The collaborative relationship between the core group and wider collaborators dates back to April 2019, when 22a label founder and multi-instrumentalist Tenderlonious and EABS/Bloto keyboard and synth maestro Marek ‘Latarnik’ Pędziwiatr travelled to Lahore, Pakistan to take part in some improvised recording sessions with Jaubi. Nothing whatsoever was written down during the recording sessions – no sheet music, no song titles. It was sincere, bottled lightning. All egos were left behind, with hearts and souls being opened and poured into the music. The result has been described as spiritual jazz-fusion meets psychedelic Hindustani classical with nods to golden era hip hop.

An adventurous and absorbing record ‘A Sound Heart’ is the next chapter for Jaubi, both sonically and spiritually. The title is inspired from a verse in the Holy Qu’ran (26:89), where one comes to God with a spiritual or sound heart (Qalb) which is sincere, without doubts and free of materialistic attachments. Importantly it refers to a state where the heart is spiritually healthy and content with only God. A Sound Heart’s basis is goodness, rooted in love. In this case, it is the love for one’s creator. The album also acts as a tribute to fallen heroes, paying respect to the greatness that has come before, casting new light via cross-cultural collaboration and improvisation.

Throughout this incredible journey, meditative ragas blend with Herbie Hancock-esque motifs, joined by lament-filled contemporary melodies intertwining with the intricate sounds of the sarangi and earthy layering of the tabla. A true masterpiece of composition from start to finish.

For those of you who"ve mislaid your history goggles, this archival release recalls an ancient time in the world of recorded music. Yes, back in the dinosaur days of the 1990s, a creature known as Aerial M walked the earth, before evolving into Papa M and PAJO and beyond and back. Even then, the music of M had a next-wave vibe, walking upright among the knuckle-draggers (and having drinks in the evening with others of its genetic detatchment). It was too much to last very long, of course - but some things end up lasting forever, don"t they? Fuck! So it is today that Drag City, an organization largely set up to bring you the best of all available M recordings, is proud to be there for the release of the only Aerial M session ever recorded for John Peel"s BBC Radio One show, as it was originally recorded on 3rd March 1998 and broadcast on 2nd April of the same year. The studio versions of these songs, which appear on Aerial M"s S/t album (DC114) and Papa M"s Hole of Burning Alms comp (DC231), were played by "M" himself (now revealed to be David Pajo!), which makes this album a rare alternative view of the canonical M, played by an actual Aerial M band who, all too briefly, embodied the sound for a year or so before Papa brought a brand new bag. This Session found them fortuitously roadburned from several weeks in the European Theatre. So much the better for our archival ears, as OG-M"s signature minimalist long-fuse sizzle is thrillingly intact here; in fact, even more so, as the tunes are jammed out past the studio versions" originally delineated borders, reaching rudely across the table in moments of liveness that the studio-bound project might have decided against when conferring only with the walls. For fans of their epic version of "Turn Turn Turn", this is more sweetmeats from that raucous old skull - but if you"ve not been down this road before, be prepared: the taste will set you slowly aflame. And then, before you know it, the band is dined and dashed - just like the band that Aerial M was, all too briefly amok on the earth that was too.

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

In contemporary usage, genius loci refers to a location's distinctive atmosphere, or a "spirit of the place"...

Genius Loci is a new audio work by sound artist Brian d'Souza (fka Auntie Flo). Referencing the notion of the protective 'spirit of place' from ancient Roman times, d'Souza used a vintage accordion to capture the acoustic properties of the Het Hem building in Zandaam, Netherlands. A former munitions and gun testing factory, Het Hem is a space full of character made up of a range of rooms that each hold a different acoustic property. d'Souza is interested in the connection between sound and space, using the accordion as a sound source with a variety of microphones placed around each room to capture the resonance and reverberation. The results are presented as part of an immersive audio visual website which incorporates generative audio technology developed by d'Souza's Swell Studio in collaboration with The University of Arts in London and is now available at https://thecouch.hethem.nl/genius-loci/ .

The original artist versions of Genius Loci are available on this release for the first time, available on 12 inch vinyl and download.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

2024 Repress

180 Gram, Tip On Sleeve RSD version of this classic. One of the rarer records of the mythical Strata East albums is finally reissued for the first time on Heavenly Sweetness!
The recording of Earth Blossom, the John Betsch Societys one and only album, seems something of an enigma nowadays. For even though Nashville is clearly one of the towns in the US with the highest number of recording studios, who would have thought that the capital of country music would give birth to one of the forgotten masterpieces of 1970s spiritual jazz. The path leading to the album starts in 1963 when John Betsch, originally from Jacksonville in Florida, arrives in Nashville to study at Frisk University. He is a young drummer and joins Bob Holmes trio. Holmes is one of the towns major jazz organists and pianists; he becomes Betschs mentor and, over the space of two years, John will play alternately with him and with the trumpeter Louis Smiths group. However, in 1965, John leaves town to go to the prestigious Berkeley University in Boston and do a two-year course along with his fellow debutants with names like John Abercrombie, Ernie Watts and Alan Broadbent. Two years later, he is invited by a pianist friend, Billy Chilf, to join the legendary singer/songwriter Tim Hardins group. Just after Woodstock, John Betsch and Tim record a psychedelic album Columbia will never release together with the members of the future group Oregon: Colin Walcott, Glen Moore, Paul McCandles and his friend Billy Chilf. But he soon leaves this group to return to Nashville where he hooks up again with his friend Bob Holmes. Two years later, he is accepted on Archie Shepp and Max Roachs famous course at the University of Massachusetts Amherst (UMASS) and for the next four years he participates in this collective of intellectuals and musicians under the aegis of the two masters.
During this period he returns to Nashville to form his Society whose music is obviously influenced by the Afrocentric ideas of the UMASS student and political movement. However, the album, recorded in one day and in one take, also bears the hallmark of their generations psychedelic experiences, and in the themes and playing of the musicians we can hear a less violent form of music than the radical free jazz of New York or Chicago. Nature and environmental themes are the inspiration behind tracks touched by the spirit of Coltrane but also of Flower Power.

After Amherst, John Betsch joins Marion Browns group in 1976, leaves Tennessee for good and makes his home in New York over the next ten years or so. He plays and records with Dollar Brand, Kalaparusha Maurice McIntyre and many others, before heading off to France. He has lived in Paris for the last twenty years and played in Steve Lacy, Mal Waldron and Archie Shepp bands, as well as forming groups of his own. He now lives in Paris and plays with many musicians/bands.

Keep on Dancing EP by Marky Ramone's Blitzkrieg on 10-inch 45 rpm vinyl with four versions fresh out of the oven. Faithful to the essences, the band of the only Ramone still standing trims all the fat off the originals and makes every second count. High voltage. DESCRIPTION Marky Ramone needs little introduction. The only Ramone still standing was born in 1952 in Brooklyn and joined the band in 1978, replacing Tommy, and remained with the Ramones until they disbanded in 1996 (with a 1983-1987 hiatus due to personal problems). He is a restless person and has never stopped recording and performing live, either solo (MR & the Intruders, MR & the Speedkings) or in projects and collaborations (Joey Ramone, Teenage Head, Tequila Baby, Wardogs...). MARKY RAMONE'S BLITZKRIEG is the name of the band with which he has been touring the world for 15 years celebrating the Ramones' legacy, as well as adding some own-penned songs and some covers of other iconic punk rock bands to his repertoire. Over the years the line-up has varied, but in recent times the band has consolidated its position on stage with the resounding presence of Vitoria-Gasteiz's own Iñaki Urbizu "Pela" (La Excavadora, Victima's Club) as frontman and vocalist, and the Argentinians Marcelo Gallo and Martín Sauan (Expulsados) on guitar and bass. So, the time seemed right to transfer all the energy generated live to a 10" plastic EP. Four versions fresh out of the oven. Three tracks under two and a half minutes and one just over three minutes. True to the Ramones essence, they remove all the fat that was left over from the originals and make every second count. The Gentrys' "Keep On Dancing" opens the selection. The original track reached number four in the US charts in 1965 and, after passing through the hands of MARKY RAMONE'S BLITZKRIEG, classic Ramones covers like "Do You Wanna Dance" inevitably come to mind. The idea is easy, speed up the original a bit, in 4/4, and then play it faster. The hard part is that the result is so exciting and energetic. "It's Not Unusual", the Tom Jones hit, becomes maximum fun. The familiar, catchy tune is elevated to a whole new level of energy and intensity so that the chorus can be belted out loud. The Beatles' "Octopus's Garden", originally composed and sung by Ringo Star, is transformed into a playful punk-pop song to escape, if only momentarily, from the worries of the earthly world in the backdrop of a bar with a good sound system. Closing "New York, New York", the classic song from the Frank Sinatra songbook, celebrates New York City. It fits perfectly with Marky's identity as a native of the city, rooted in its culture and spirit, capturing the vibrant energy and rebellious attitude of the city that never sleeps. Some can cover hundreds of different songs and make them their own, and others can't. MARKY RAMONE'S BLITZKRIEG, like their originators, are certainly one of those who can. The band is just as comfortable with a colossal song as they are with a ditty, it's all about electric atmosphere and chemistry and, on each of these new recordings, the voltage is very high. One euro from the sale of each record will go to the victims of war. Stop the war!

repressed !

Classic Music Company are proud to present Black Girl Magic, the highly anticipated sophomore album from the inimitable Honey Dijon. An artist in every sense of the word, across 15 tracks of attitude, energy, heart and community, Honey demonstrates a broad range of disciplines and influences, enlisting A-List collaborators such as Channel Tres, Eve, Pablo Vittar, Josh Caffe, Mike Dunn and more for an unmissable, boundary-pushing LP.

Redefining what it is to be a DJ in 2022, this year Honey’s production capabilities have been enlisted by the upper echelon of musicians. Producing two records for Beyonce’s chart-topping album Renaissance and remixing lead single ‘Break My Soul’, as well as working in the studio with Madonna on new material. Now unapologetically expressing her own sound on Black Girl Magic, she unveils the next chapter of her development as a producer and songwriter.

Since the first teaser of the album, the BBC Radio 1 playlisted collaboration with Atlanta singer-songwriter Hadiya George ‘Not About You’, to the most recent single ‘Show Me Some Love’ featuring Compton royalty Channel Tres, the Black Girl Magic project has consistently illustrated Honey’s dedication to profiling diverse vocal talent. Shining a spotlight on a new generation of queer people and people of colour, Honey’s intentions to “keep this culture in the conversation,” are demonstrated with the featured artists on the LP.

Behind the scenes Honey has worked closely with Classic Music Company founder and close friend Luke Solomon, as well as regular collaborator Chris Penny on the production of the album. Her most adventurous and explorative output yet with a diverse range of influences, Honey’s Chicago musical upbringing is a driving force behind the LP, with her sights set on demonstrating how she first experienced the music of her hometown felt deeply across the record.

Working with British sculptor Jam Sutton, an artist who explores the relationship between technology and antiquity, 3D sculptural digital renderings of Honey have formed the artwork for all preceding singles leading into Black Girl Magic. Exploring identity, form, technology and classical portraiture, the artwork for the album comes as the final piece in the series of bespoke displays of Honey.

From her stratospheric DJ career, to her fashion line with COMME des GARÇONS: Honey Fucking Dijon, to soundtracking some of the most iconic fashion shows of the 21st century, Honey’s influence is felt far and wide across the worlds of music, fashion and art, with Black Girl Magic a powerful physical statement of her interdisciplinary artistic impact.

Vertigini is the alias of a prodigious talent. To date, Arthur Mukharlyamov’s infectious hooks have only been available digitally. Bordello A Parigi are more than excited to give this analogue alchemist his full vinyl debut. Four tracks make up the aptly named Thunder. The title piece rumbles from speaker cones, thick banks of bass and crisp rhythms crack before smooth strings give way to flashes of melodic radiance. Inspiration lies in the heavens with this EP, he’s leaving the bonds of earth for “Galaxy Funk”. Textured percussion is cut with acid grooves while generous breaks fuel this expedition. A fierce arpeggiator immediately ignites the flip, lancing beats pierce this burbling bulwark as honeyed notes melt in the muscled sweetness of “Final Space”. The journey back to Earth is imminent, but not without one final fun-filled flurry. Rich drum patterns are the foundation for the sticky groove of “Space Trip”. Vocals echo skyward while Vertigini weaves a dancefloor delight to ease re-entry to reality.

Four years after releasing their debut record, Indus are back in 2024 with Negra, their second album. This record explores the essence of the night through dance, seduction and mystery, while paying homage to Colombian amphibious cultures and the land as that place that has seen us moving and that we always return to. With these ten songs Barranquilla producer Oscar Alford, along with Andres Mercado and a select group of collaborators, builds a bridge between the sounds and histories of the Pacific and the Caribbean, bringing together territories like a river running through them and connecting them. Oscar says that on this record "there's this confluence of various cultural universes, on the one hand there's the traditional music of the coast and river areas, there are various maestros who collaborated on the record and they brought that, also there's electronica which is a universal language, and even hip hop and more urban genres like dembow." The record kicks off with "Deja," a ritual of initiation, a galactic, synthetic entrance into a place of plenty, a journey to the ethereal and the night. It's followed, like light and guide, by the song "Alfa Indi," with Gamero singer Nelda Piña, a release of electronic sounds evoking creation in all its senses. The night is an excuse for and a generator of desire, seduction and flirting in "Candela tu Trá," in collaboration with Tomás Llerena, grandson of the legendary Petrona Martínez. The earth is evident in tracks like "Canción del muerto," homage to the marimba maestro Gualajo, with his brother Pacho Torres and Bogotá rapper N. Hardem, a song that could be a farewell ritual and tribute to the land as the place to which we always return, one that holds the history of those who walked that land and left their mark on it. We hear this in "Corre Cimarrón" with Ka Oddun, portraying the journeys of fleeing enslaved ancestors as they tried to survive until they reached the palenque, a place of freedom. Negra explores the mysticism of the night and the cosmos within the Colombian musical tradition. A dialog between root rhythms, voices and synths with bases oscillating between techno-champeta, afro-tech and future-dembow. With this record Indus comes across as one of the most versatile acts on the Latin American scene, especially in the way they reinterpret ancestral music and resignify its sound.

Continually in a state of evolution with a future-focused vision, yet ensuring the signature sound that has defined the label and event series for over a decade remains at its core, Enzo Siragusa’s FUSE imprint is once again keeping things moving with new ventures, projects and concepts.

Having previously introduced the label’s collaborative X Series in addition to the launch of sister imprint LOCUS, summer brings a new project for 2024 as the label now presents its new vinyl-focused VA, welcoming four label debuts for the first instalment of the project. First up is Amstedam-based Nachtbraker, whose classy house sound has welcomed releases via Aus Music and Peach Discs, amongst many. His contribution, ‘Banda’, is deep and trippy, balancing light and dark moments via a warping bassline, sweeping pads and slinking drums.

Next, Phone Traxxx member and live wizard Rob Amboule makes his debut on the label following his appearance for the collective’s 15th birthday at fabric. Playful and vibrant, with wicked acid-dipped and funk-fuelled bass licks, ‘Capnhat’ perfectly showcases his sound as he delivers another gem.

On the flip, Melbourne-born, Berlin-based Reflex Blue lands fresh from his second EP on Gene On Earth’s The Sound Of Limousine imprint with the glitchy yet smooth ‘Life’s A Bleep’ - combining spacey tones, skippy drums and sporadic bleeps and lasers. To close, Un_Mute resident Mario Liberti harnesses influences from a classic to deliver a heady dancefloor anthem, fusing hooky vocal samples, murky low-ends and those iconic synth stabs.

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

LP Ltd Edition CREAM Vinyl, DL card. Originally released in 2002 ‘Edge Of A Dream’ will be reissued on limited edition Cream vinyl as part of ‘Bert Jansch 80’, celebrating the enduring legacy of Bert Jansch’s peerless guitar playing and songwriting. Following ‘Crimson Moon’, ‘Edge Of A Dream’ is one of Jansch’s last studio records featuring original and traditional songs that are modal with his trademark bluesy and folk sound. It features some traditional reworkings including the lesser-known instrumental ‘Gypsy Dave’ with fiddler Dave Swarbrick and the stunning ghostly track ‘All That Remains’ with Mazzy Star’s Hope Sandoval. Known for his collaborations, ‘Edge Of A Dream’ sees Jansch accompanied by Bernard Butler, Ralph McTell, Johnny ‘Guitar’ Hodge’, Makoto Sakamoto, Paul Wassif, Colm Ó Cíosóig and Loren Jansch. “One of the most revered artists of his generation” Shindig. “Edge Of A Dream remains that period's most overlooked beauty, featuring some beautiful playing and some great collaborations” The Quietus. “Despite 40 years at folk’s vanguard, Jansch was still bright and inventive, as new generation of musicians embraced his music” Mojo

Since 2008 our Spiritual Jazz series has presented unlimited horizons. Each album celebrates the rich tradition of African-American songs based on the belief in a higher force than oneself and has also focused on geographical areas, such as Europe or Japan, thus recognizing that these territories have immense cultural riches. Religions, like Islam, whose musical traditions have vivid Arabic and North African resonances, have also been highlighted. The stylistic range of all the above is wide.

Yet historic record labels, from Blue Note and Impulse! to Prestige and Steeplechase, have also featured because their catalogues are musical treasure troves that could not be more relevant to Spiritual Jazz, even though they issued vast amounts of music between the late '30s and present day, that have not been confined to any one school.

Spiritual Jazz 16 is a focus on Riverside and its associated sister labels. Riverside itself was founded in 1953 by Orrin Keepnews and Bill Grauer, and became an important purveyor in that decade and beyond of what would be marketed as of modern jazz. That coinage was itself an amorphous, umbrella term that essentially created a demarcation from the vocabulary of pre-war classic jazz and inter-war big band swing, thus recognizing that improvising artists were breaking new creative ground that would subsequently give rise to a flurry of sub-genres, for example bebop, hard bop, cool, modal and Latin jazz. And it's from this multiplicity of sub-genres that we choose the deepest, most vibrant selections that the vast, pan-generational catalogue of Keepnews & Grauer has to offer

Veteran electrohead and former artist on the Rephlex Records roseter DMX Krew's Ed DMX takes the well-known story by Jorge Luis Borges of The Library of Babel, said to contain all the different languages of the earth. Some deep philosophical thought has gone into the album's concept, but we'll leave that to Ed to explain. Instead, we'll tell you that from beginning to end there's plenty of the kind of trademark 80s synth playfulness in evidence, with a generally more mellow and soundtrack-related rather than frenetic and dancefloor-filling vibe in evidence, even on faster tracks like 'The Combed Thunderclap'. Still, Ed knows what he's doing when it comes to this kind of leftfield electro gear, and it's a rewarding, never boring listen.

Head X'Change is the new album by Scythe, a long-distance collaborative project of David West and R.A. Jones. First appearing on two cloak-and-dagger cassettes distributed by Low Company in 2019 and 20, Scythe's "expertly modulated space blues and isolationist architectures" betrayed a uniquely sleep-deprived, DIY take on kosmische atmospheres, where brittle, decaying synthesiser loops found solace in endless trails of feedback and reverb. X'Change was recorded with modest instrumentation but grand ambition, recounting a journey, a memory... of leaving earth, a loved one, a body. Lifting off from tense, unnerving Tennessee, an ode is made to Genevieve, for perhaps the last time. Landing in eerily familiar valleys and amongst the lunar debris of Dawngarden and Superwillow, marvelling back at Earth inflicts a feeling of tininess and innocence, captured in the stargazing blues of Embryo. The titular track then marks a sudden inward trajectory and shift in mood: cool winds and amorphous bursts of black and deep blue emanate from fissures, ominously foreshadowing tunnelling paranoia. "Mark, Ring Me" is a distant plea for human contact... but it may all be too late, for the aching psychedelia For Iris grieves alone into the abyss. For fans of Cluster, Craig Leon, Pete Namlook, space travel...

Warehouse Find!

FIRST TIME ON VINYL
HALF SPEED MASTERED 180 GRAM VIRGIN VINYL PRESSINGS
INCLUDES COVER ART PRINT
INCLUDES EXCLUSIVE CHRIS ISAAC COVER VERSION
INCLUDES DOWNLOAD CODES FOR THE ORIGINAL MIX AND UNMIXED VERSION IN WAV AND MP3 FORMATS

Trentemøller is the Dane who did. He's been making electronic music of one kind of bent or another for over 15 years, first making his name as part of Trigbag, a live house act that toured extensively. But it's his solo material that has impacted on the dance community - and beyond. 'La Champagne' was a game-changer and his remixes of artists like Sharon Phillips secured his place as an artist with some serious chops. But that's not all he is. You can hear that yearning in his productions and it's evident here, a sort of Protestant northern European melancholy. He is aided on his journey towards the Baltic by some heavy hitters, of course: Velvet Underground, Mazzy Star, This Mortal Coil. But that's not the story, it's not where the plot comes from, it's not where we're going. It's just a little indicator to reassure you we know the way. No. For it's in the dark beauty of Low's tremulous 'Amazing Grace' or even the way that the Shangri-Las' '(Remember) Walkin' In The Sand', surrounded by the similarly inclined, takes on a funereal gait. As we navigate the flatlands of your mind, we're helped along by a generous sprinkling of Anders' fellow Danes, like Darkness Falls (the atmosphere of this mix aptly encapsulated right there), Ekko, Chimes & Bells and the Late Night Tales tradition, Trentemøller's cover of Chris Isaacs' 'Blue Hotel', sung by Marie Fisker and Steen Jørgensen.

Originally released in 2010 this mix has gone on to become a classic, it was never released on vinyl at the time, so due to public demand we have carefully mastered each track and carefully cut at half speed for optimum sonic reproduction.