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Enjoy The Ride Records is happy to share an exclusive variant of the Milan Records release of Euphoria (Original Score from the HBO Series), Music by Labrinth.

Written and recorded in close collaboration with the Euphoria writer and director Sam Levinson, Labrinth‘s original compositions feature prominently throughout the hit HBO series as a sonic companion to the show’s angst-driven narrative and intoxicating visuals. The resulting 26-track collection is a genre-blending mix of gospel, soul, and electronic influences, indicative both of Labrinth’s imitable style as well as the show’s deeply moving storyline.

Of the album, Labrinth says, “My experience with Euphoria has made me a better musician. It was a dream come true to give wings and add magic to the different storylines. It was a collaborative effort among Sam Levinson, the crew, and the cast – I only added texture to an already phenomenal show. I hope that anyone who listens to the music embraces feeling something.”

Euphoria follows a group of high school students as they navigate love and friendships in a world of drugs, sex, trauma, and social media. The ensemble cast of Euphoria includes actor and singer Zendaya, Maude Apatow (Girls), Angus Cloud, Eric Dane, Alexa Demie, Jacob Elordi, Barbie Ferreira, Nika King, Storm Reid, Hunter Schafer, Algee Smith and Sydney Sweeney (Sharp Objects).

Euphoria is an American adaptation of an Israeli show of the same name, and all episodes are written by Sam Levinson (Assassination Nation), who also serves as executive producer.

The Enjoy The Ride Records Exclusive variant, ""Night Sky Blue,"" is limited to 1,000 copies. Euphoria is housed in a silver foil stamped & numbered soft-touch gatefold jacket with spot gloss and also contains a full-color insert.

Finland has long had a uniquely progressive underground, with thriving punk, avant, jazz, and rock scenes with oversized output and impact. Jussi Lehtisalo’s (Circle, Pharaoh Overlord, Mahti, etc) label Ektro has been at the center of this activity for the last three decades, with a stream of excellent and conceptually bonkers releases covering music of all types. Here Lehtisalo joins up with Jan Anderzén (of Kemialliset Ystävät among others) for an album of absolutely fun and unusual miniature duets that sound like alien Library music beamed in from the outerlands. Tracks like “Luukku Yksi” and “Puistossa” use a charmingly retro synth-y sound palate and Cluster-like melodic sensibility to make accessible some deceptively “out” music. Some cuts (like “Kylpy”) have a vague hint of early ’80s post-punk / new wave vibes, bouncing along in a friendly way with odd interjections of sample debris and electronics jumping out of the mix to keep it weird. The surging “Hymy yössä” could be music for the credits of the world’s hippest newscast. Beautiful jacket by renown Helsinki-based artist Dylan Ray Arnold, bringing the die-cut techniques of their gallery pieces like “Growth of the Night Plants” to LP form.

2024 repress

Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.

Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.

Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.

The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.

This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.

Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.

VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th.

This is the only album produced in 1975 by the 11-piece Turner Brothers, who were active mainly in Indianapolis, Indiana, USA!
As the band's name suggests, the Turner Brothers were a funk band consisting mainly of the Turner brothers. From driving high-speed funk to slow ballads, the rhythm section supports the backbone of the band, and the vocals and chorus are perfectly matched to deliver a superb groove that only a family band can deliver. The band's groove is as breathtaking as a family band can be! The opening number "Running In The Rain" (M1) starts with a thunderous sound effect and is followed by a thick brass sound, while "Please The People" (M5) starts with the sound of rain and shouts, with the brass blowing in all directions, The percussive beat of "Cause I Love You" (M3) with MJ-like boy vocals, the rich sweet soul of "I Remember" (M6) that will make you cry, and the killer soul of "Sweetest Thing In The World" (M7) that should be considered the highlight of this album, are just a few examples of the many soulful tracks on this album. The album is a top-quality disc that is full of the best of soul and funk, including the killer soul "Sweetest Thing In The World" (M7), which is the highlight of the album!
This is a newly remastered reissue with the latest specifications!

Repress!

Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

Vengaboys is one of the most successful Eurodance acts in the world. With a string of global top 10 hits, including ‘Up & Down’, ‘Shalala Lala’, ‘We Like To Party’ and the UK No.1 singles ‘Boom, Boom’ Boom Boom!’ and ‘We’re Going To Ibiza’ they dominated the charts in the late 90’s and early 00’s. These songs have also been embraced by younger generations, with several global viral TikTok trends.

This brand new 14-track Greatest Hits compilation is pressed on transparent pink vinyl.

Repress!

Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

Steve Reich remains one of the most important figures in 20th century music. As part of the so-called "Big Four" of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass), Reich influenced both the classical world and contemporary pop music.





Back in print ! Steve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid-1960s Reich set about dismantling the very orthodoxy that he had been trained in. Forming a new musical language based on repetitive processes, Reich became established as part of the so-called "Big Four" of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass). Reich's influence can easily be seen today in both the classical world and contemporary pop music."Four Organs" is the ultimate minimalist composition. Performed by Reich, Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibson's stoically-steady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound – stretching the tones to create (in Reich's words) "slow-motion music."

Inspired by Reich's early training on drums, "Phase Patterns" treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group. Originally released on Shandar in 1971, Four Organs / Phase Patterns is one of the most highly regarded avant-garde recordings of the past 50 years. This first-time vinyl reissue features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker.

" Since the release of his previous album 'Paradise for all' , the profile of Guts has grown a lot to become one of the main french producer and a recognized name on the European scene.

His hit 'Brand new revolution' was played by many radios worldwide and even synchronized in Grand Theft auto V. His compilation series ' Beach Digginï' is now a reference for summer and quality music.

After 3 instrumental albums, Guts decided to come back to his Hip Hop roots (he created the french rap Band Alliance Ethnik in the 90s) and invited quality MCs and singers to join him in the studio. You can find on this album, some Hip Hop legend as Grand Puba, Masta Ace, Bob Power, Rah digga some singers as Cody Chestnutt, Patrice and a batch of new talents as Leron Thomas, Lorine Chia, Quelle Chris & Denmark Vessey, Dillon Cooper.

This albums contains hit singles like'Man Funk' Want it back (feat. Patrice)' Open wide'

Vinyl deluxe edition : double LP gatefold Replica sleeve with insert & download card.

About this release:


Without hip-hop, Guts wouldn't be half the producer he is today. Hip-hop as inspiration, a gateway to so many different musical styles, the trigger for a continually expanding musical bulimia, the springboard from which he dived into a bottomless musical well.
Hip-hop � which has been Gutsïtrue love for the last 25 years, despite its taking futile, gangsta and materialistic paths.
Hip-hop � which in quarter of a century has driven him to spend whole nights with samplers, drum machines, expanders and vinyl, tapping on pads, adjusting the drums and honing his samples.
Hip-hop � which is often done remotely nowadays by sending digital files back and forth. Guts has opted to make it shine like when it was all brand new, decided after three entirely instrumental albums to re-establish contact with rappers, vocalists, jazz players and soul men by packing up his productions and heading across the Atlantic to record them in their home surroundings in New York and California.
Backed up on production by the inexhaustible DJ Fab (Hip Hop Resistance) and supported from Paris by his label Heavenly Sweetness (�A French label spreading colourful music for the soul, Guts explores a host of styles, flows and atmospheres to build up a mosaic of 16 tracks, each nestling inside the other to form a single concept: Hip Hop After All."


[b] Open Wide [Feat Lorine Chia]
[c] The Forgotten (Don't Look Away) [Feat Quelle Chris &Amp; Denmark Vessey]
[d] Go For Mine [Feat Tanya Morgan]%U2028
[e] As The World Turns [Feat Rah Digga &Amp; Akua Naru]
[f] Man Funk [Feat Leron Thomas]

[h] Forever My Love [Feat Grand Puba]
[i] It's Like That [Feat Dillon Cooper]
[j] Want It Back [Feat Patrice &Amp; The Studio School Voices NYC]
[k] Enlighten [Feat Cody Chesnutt &Amp; Murs]

[m] Innovation [Feat Masta Ace]
[n] Come Alive [Feat Lorine Chia]

[p] Roses [Feat Leron Thomas]

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.

Valley of Rain was Tucson’s Giant Sand’s debut album recorded in 1983, and eventually released by 1985. It included Howe Gelb on vocals, guitar and Winston Watson on drums for most of it, Tommy Larkins on drums for some of it and Scott Garber on fretless bass for all of it. At the time of the recording, Howe was unacquainted with the possibilities of tube (valve) amps and had recorded most of the album with a Roland JC120 at the miraculous 8 track facilities of The Control Center in Korea Town, Los Angeles by Ricky “Mix” Novak. This impromptu recording had occurred because the band refused to cancel their first Los Angeles live gig, at Madame Wong’s, when the band (Giant Sandworms) had broken up days before in Tucson. Instead, Howe headed out anyway with Scott, the newest member who’d only been in the band for about a year, after band mainstays Billy Sed and Dave Seger reasonably decided ‘enough was enough’ following a rough and tenuous year spent in the lower east side of NYC attempting to further the band circa 1981/82. Tucsonan Winston Watson, (who would go on to tour with Bob Dylan in the 90s, as well as Alice Cooper, Warren Zevon etc ) was already living in Los Angeles and was brave/kind enough to jump in for the live date with no rehearsal. The result was so sparked with adrenalin, that the trio set up an impromptu studio session the next day to attempt to capture the sonic thrust on tape. The total cost of the day and a half recording was $400 including one 1” reel of 30 minute tape. When Enigma Records offered to release the album they requested another 15 minutes of music to make it a full LP. Ron Goudie was then called in to oversee the extra recordings at a Venice, CA studio called Mad Dog with Eric Westfall engineering. Tommy Larkins, who had been on the previous country punk album of Howe’s “The Band of ... Blacky Ranchette” came in to drum for those last 3 songs. It was there when Howe borrowed an amp that had been stored at the studio did he discover the bolster of a tube amp and his world changed. The amp was a slightly modified Fender Twin Reverb owned by Robbie Krieger of The Doors. 30 some years later, now that the band had been put to sleep indefinitely, those very first songs had begun creeping into the last Giant Sand tours. It somehow seemed appropriate to give them another shot with the proper amp just to see what they could’ve been. What made the idea more approachable was the availability of both original drummers living back in Tucson. The first attempt came last summer with both Winston & Tommy and Thøger Lund on bass, as well as the 2 newest members, 29 year old Gabriel Sullivan and 23 year old Annie Dolan on double neck guitars. The sound was insane. The funny part was Gabriel, who engineered and mixed the session, gave it an intentional 80s production sound. Howe later explained to Gabe he had been at war with that production trend since those first original recordings. So they all tried it again at Christmas time, this time with a newly discovered Fender 30 amp that had only been in production from 1980 – 1983. This new re-recording of that first album now sounds like it should’ve sounded. It was re-done for $400 and the same day and a half session time as the original. Scott Garber even drove up from Austin TX with his fretless to play so that the album is literally the originally line up for at least half of the songs. And yes, no pedal boards were used too. The band intends to tour this summer playing only those Valley of Rain songs. Giant Sand Returns To Valley Of Rain.

Repress!

RYUICHI SAKAMOTO'S 1985 ELECTRONIC AND AMBIENT CLASSIC RELEASED OUTSIDE OF JAPAN FOR THE FIRST TIME SINCE ITS ORIGINAL RELEASE WITH NEW LINER NOTES BY ANDY BETA AND AUDIO REMASTERED BY SEIGEN ONO

Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the 1985 album "Esperanto", composed for a performance by New York avant garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, "Esperanto" is a fascinating instrumental work mixing electronica, ambient and synth pop. Released in Japan in 1985 on Midi Inc.s' School label, the album has never been released outside of Japan until now. This special reissue comes with original artwork including a 2 pages insert with a new introduction by Journalist Andy Beta. The audio has been remastered in Tokyo by Seigen Ono.
"Esperanto" originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra, and also the worldwide success of Sakamoto's 1984 soundtrack for the film "Merry Christmas Mr. Lawrence" (in which he starred alongside David Bowie), "Esperanto" was a return to Sakamoto's leftfield roots.
?Composed as the soundtrack to a performance by New York choreographer Molissa Fenley (a show commissioned by Japanese producer Shozo Tsurumoto), the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time (the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion).
?Indeed, the album is a fascinating soundscape experimenting with the new sampler technology - which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time.
?Esperanto is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" is pulsating with rhythms while "A Rain Song" adopts a minimalist mode with its distinctive
repetitive pattern. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones.
?One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album "Hidari Ude No Yume." "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note. It's interesting to note that, a year later, the tracks from "Esperanto" would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin.
?A unique album in Ryuichi Sakamoto's rich discography, "Esperanto" is a groundbreaking work worth rediscovering in its full glory.

Formed in Manchester over a decade ago, Hurts are an electronic pop band featuring vocalist Theo Hutchcraft and multi instrumentalist and producer Adam Anderson. Known for their striking and stylish videos, Hurts make epic, dramatic pop music that takes inspiration from a finely curated mix of influences including '70s Krautrock, '80s new wave, and '90s R&B. In August of 2010, Hurts' debut full-length album, Happiness, debuted in the Top 5 on the U.K. albums chart making it the fastest-selling debut album by a band in the U.K. that year. Featuring the singles "Better Than Love," "Wonderful Life," and "Stay," among others. The album was a huge success across Europe and Hurts' profile rose exponentially with the album reaching Platinum status 13 times over and 4 times Gold around the world including over 500,000 album sales in Germany alone. Several accolades followed in 2010, including topping the BBC's Sound of 2010 poll, winning a German BAMBI award, and garnering numerous nominations including an MTV Europe Music Award. The band have since gone on to win numerous awards including Best Band and Best Video at the NME Awards and Best International Newcomer at Germanys ECHO Awards. Hurts followed up in 2013 by releasing their sophomore album, Exile, which again hit the U.K. albums chart Top 10. The album again featured production from Hutchcraft and Anderson, along with Quant and Dan Grech-Marguerat, also featuring Elton John as guest Pianist on album closer “Help". Exile showcased a nuanced, somewhat more contemporary sound that incorporated more orchestral and rock instrumentation, yet retained all of Hurts’ core influences. In 2015, Hurts delivered their third studio album, Surrender, which featured production from Quant as well as Stuart Price (Madonna, the Killers) and Ariel Rechtshaid (HAIM, Vampire Weekend). The album spawned several singles, including "Some Kind of Heaven," "Lights," and “Slow. The epic video for “Lights", directed by Dawn Shadforth gaining the numerous nominations for Video of the Year. Two years later, they returned with the full-length Desire, featuring the singles "Beautiful Ones" and "Ready to Go.” Having sold hundreds of thousands of live show tickets around the world over the past decade, and often a fixture of the global festival circuit headlining stages around the world, the band have built an enviable touring fanbase including becoming one of the most successful British bands in Russia of the past decade.

Freerange regular Simbad is back with a new 4 track EP following on from his 2021 Peaceful Revolution EP which got big support from Ron Trent, Gilles Peterson, Osunlade and Horse Meat Disco to name a few. Having based himself in Cape Town the last 5 or so years, the French born producer and DJ is one of the most prolific artists in the scene having notched up countless EP’s, remixes and production work for labels like Apron, G.A.M.M. Faces, Hyperdub, Atjazz, BBE & Brownswood. His association with Gilles Peterson and Worldwide runs deep, hosting regular shows on WWFM as well as traversing the globe delivering his unique and eclectic sets from Africa to Asia and beyond.

Lead track Nuphoria kicks things off in typical Simbad genre-bending style, sitting in a sweet spot between the Baltimore house of Karizma, the epic, uplifting techno of Laurent Garnier and the UK-centric rave sounds of Bicep and Kieren Hebden. Not an easy track to pigeon-hole but one that can’t fail to grab the dancers attention if dropped at the right time on a discerning dance floor.

Up next we have Dream featuring SA native Sanele who delivers a beautiful, raw and intimate vocal performance which fits perfectly with Simbads’ roughed-up drums and chiming Rhodes chords.

Flipping over Simbad delivers an alternate Pretoria Mix of Nuphoria which slows the pace of the original, adds a more rhythmic bassline and spoken word sample. A deeper alternative to the original which retains the euphoric quality thanks to its epic synth line and chords.

Closing out the release we have Wake Up featuring Frederick of Fifty Fathoms Deep who contributes to a bright and breezy house track with soulful chords and bouncing square wave bass line.

London-based Lewi Boome brings his class to this new release on Well Street, strictly limited to just 100 copies so you better act fast! 'Dust Devil' opens with a deft touch - the pinging synth lines and airy drum loops suspending you in a tripped-out world of futurism. That cerebral style continues through the lithe and elegant, dubbed-out rhythms of 'Etched Alive' and the more unsettling moods of jungle-techno cut 'Tumble', complete with distant bird calls and humid pads. 'Deep Sheer' rounds out with a little more low-end grit as the fourth and final cut on a superb EP.

LIMITED EDITION SPLATTER VINYL WITH NEW ARTWORK
For over 15 years, Zu’s modus operandi of straddling and abusing musical genres has resulted in over fifteen unique album releases across labels such as Ipecac, Atavistic and Headz (Japan). Their experimental amalgam of metal, math, no-wave, noise and electronics, led acclaimed composer John Zorn to describe their sound as “a powerful and expressive music that totally blows away what most bands do these days”.

In the running for the title of “the world’s hardest working band,” Zu have performed over 1000 shows throughout Europe, US, Canada, Asia, Russia, Mexico and even Africa, touring with the like of Mike Patton (as the Zu/Patton quartet), also sharing the stage with Faith No More, Fantômas, The Melvins, Lightning Bolt, Sonic Youth, The Ex, and countless others. They have also collaborated with a vast number of musicians including Mike Patton, The Melvins, Dälek, Jim O’ Rourke, FM Einheit (Einsturzende Neubauten), Peter Brötzmann, Nobukazu Takemura, Eugene Robinson (Oxbow), Steve MacKay (The Stooges), The Ex, Thurston Moore, Stephen O Malley, Damo Suzuki (Can), Mats Gustafsson, NoMeansNo, Joe Lally (Fugazi).

CARBONIFEROUS is their masterpiece, originally released on Ipecac in 2009, it includes collaborations with Mike Patton, King Buzzo, Giulio Ragno Favero.

Apocalyptica Plays Metallica Vol. 2 continues the journey that began in 1996, when four cellists from the world-famous Sibelius Academy in Helsinki created a symphonic tribute to the greatest of the Big Four - heavy metal titans Metallica. For their tenth album, the classically-oriented rockers return to their roots to bring a legendary story full circle. There are also a number of surprises, starting with a unique collaboration.

The third single from the album "One" of Metallica's 1988 milestone "And Justice For All" is a stunning reinterpretation of one of the Big Four's greatest musical moments - a true highlight in their 40-year career. The single features Metallica frontman James Hetfield himself performing the inimitable, now immortal lyrics in a stirring spoken word interpretation. This is more than a unique collaboration, this is history in the making.

Apocalyptica Plays Metallica Vol. 2 was produced by longtime collaborator and studio superstar Joe Barresi (Queens of the Stone Age, Soundgarden, Nine Inch Nails, Tool) and will be released on June 7 via new label Throwdown Entertainment.

Skin Bank is the second full-length vinyl release from Italian techno deviant Crypto Order. Drawing inspiration from conspiracy theories, occultism, transhumanism and the New World Order, the project mixes confrontational themes and recycled propaganda with a haunting blend of dark beats and ominous melodies. Thanks to a prolific body of work amassed over the last few years, savvy listeners who have been paying attention to the right places will know him already as an unorthodox force to be reckoned with in today’s underground music world. A hallmark of Crypto Order’s work is an enigmatic deployment of both sound and vision. Heavy electro-style breakbeats and extra-terrestrial atmospheres create a warped-yet-familiar sound reminiscent of early techno, whilst a compelling visual aesthetic evoking echoes of the early industrial and power electronics scenes infuses it further with a sense of mystery. Themes of power and control have been par for the course in the music of Crypto Order and Skin Bank is no different, manifesting a world that invites the listener to question the reality around them and dive deep into the shadows of their own repressed and murky consciousness. This is a kind of electronic body music which sends you into a dystopian realm of chaos and intrigue, throwing up uncomfortable questions along the way.

Lossapardo's new album "If I Were To Paint It" releases on May 17th. Known for blending art and music, Lossapardo has caught the eye of big names like The New York Times Magazine or Netflix and building a strong artist community around him (FKJ, Luidji, Bas, Joseph Solomon, Montell Fish, Olivia Dean…).

His music, filled with feelings of wonder and a bit of sadness, tells stories that connect with people everywhere. From painting to composing music, every piece of his work is a journey into emotions. His album invites listeners into a world where every note and color creates a vivid picture of life's ups and downs. Lossapardo crafts experiences that speak to the soul, promising an album that continues to share his unique vision with the world.

Annechoic, the force of consciousness behind the acclaimed cult label Audiofugitives, steps out of the shadows once again to present her latest sonic endeavour, 'Eclectic Sugar'. Ana De Giles, whose career has been shrouded in secrecy since the early 2000s, continues to captivate audiences with her eclectic mix of electro, techno and the ethereal sounds of ambient, leaving a trail of enchanted listeners in her wake.

"Eclectic Sugar" represents an exciting new chapter in Annechoic's musical adventure, demonstrating her unparalleled ability to traverse sonic environments with sophistication and refinement, the EP's emotional depth and strength resonates profoundly.

Annechoic's musical journey has been marked by a dedication to sonic exploration and a keen ear for genre-bending compositions. She has carefully curated her craft, spending much of her career balancing roles in film post-production and co- running the label Audiofugitives. Nowadays, her DJ sets have earned her residencies and performances alongside esteemed artists.
With Eclectic Sugar, Annechoic invites listeners into her world - a world where boundaries blur, emotions soar and sonic landscapes unfold in fascinating ways. As you delve into her latest offering, prepare to embark on a border-crossing journey unlike any other, guided by the masterful hand of Annechoic herself.