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‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

In the penultimate episode of his widely popular and critically acclaimed HBO series, Painting with John, its creator, John Lurie, sat in a Manhattan recording studio, working out musical parts for the show’s soundtrack. “After the illness started, I didn’t think I’d ever be able to do this again,” said Lurie.

Even as he occupies an enigmatic, multi-faceted, five-decade career characterized by the unexpected, perhaps even Lurie is surprised by this new release of a double-album collection of music, Painting with John, extracted from the series.

Go back a quarter-century or so: As an exotic saxophonist and composer whose pieces alternately recalled cracked-mirror reflections of Thelonious Monk, or Fela Kuti, or Raymond Chandler, Lurie led the vastly influential, downtown NYC jazz ensemble, The Lounge Lizards, through dazzling albums and tours across the globe. He scored indie films and Hollywood hits, collecting a Grammy nomination for Get Shorty along the way and releasing his own surreality-TV series, Fishing with John.

Born out of revelry and resolution in a redwood cabin tucked into the California coast, endowed with a spirit simmering in wanderlust, and ornamented with the rich traditions of the Louisiana bayou, 'Lonesome Highway' marks the resilient return of Irena Eide, aka Rainy Eyes. These are eleven songs of triumph, punctuated with perseverance and perspective, here to sober up the soul and send it back stronger onto the blacktop. If Rainy's 2019 folk-infused debut, 'Moon in the Mirror', revealed the truth, 'Lonesome Highway' tells poignantly and poetically of the consequences.

'Lonesome Highway' was written as Rainy reflected on the juxtaposition of her circumstances. While she basked in the joy of her recent entry into motherhood, she was simultaneously confronting a troubled relationship that had turned toxic. "Songwriting was my therapy. It was basically how I dealt with the pain and the trauma. The music helped me heal," says Rainy. "This album is about how I had to help myself. To take that pain and use it. For it not to destroy me, but to make me who I am."

500 only pressed. 80s alt country punk outfit, Lone Justice, with Maria McKee, Ryan Hedgecock, Marvin Etzioni and Don Heffington are in full flight with the release of a brand new 7”. Taken from their forthcoming album, Viva Lone Justice, ‘Teenage Kicks’ is a rambunctious slice of punk angst that sounds like it was recorded in one take. It’s a timeless anthem with a joyous riff that explodes into a hail of feedback. A favour returned as Maria McKee, the songwriter of Feargal Sharkey’s only solo hit ‘A Good Heart’, Lone Justice cover The Undertones’ Peel-approved favourite with the artwork of the single being a nod to the original. “As much as we loved Merle Haggard, George Jones, and many other authentic hard core Country artists, we were also deeply impacted by Punk; from the Velvet Underground (we were playing "Sweet Jane" live as early as 1983) to the MC5 ("Sister Ann" is on the album "Viva Lone Justice").” Backed with ‘Nothing Can Stop My Loving You’ that’s cut with a wild, squeezebox-powered interpretation of the George Jones and Roger Miller country stomp. “Speaking of George Jones, here's one written by George Jones and Roger Miller. Two of our favorites! We played this song at nearly every show starting in 1983. This ragged and right live recording captures the fire from a sold out show at The Palace in Los Angeles and features Jo-El Sonnier on lead accordion documenting the only time Sonnier played with LJ. "Nothing Can Stop My Loving You" is the only live track on Viva Lone Justice." // “A roots rock band that took Los Angeles by storm in the 80s and developed a smaller but deeply enthusiastic following outside the Golden State.

BACK IN PRINT ON VINYL!!! Originally seeing the light of day in April of 1992, Harsh 70s Reality was not just a high water mark for that year, but for the ages. Technically this was the band’s fourth long-play outing, and as a double-album, it followed (and was ever so slightly informed by) two formidable juggernauts that preceeded it: Twin Infinitives and Lake. But it was Harsh 70s Reality that left the decade stronger and more resonant than it came in. People say that rock music died with the passing of Kurt Cobain. But The Dead C slaughtered it in its sleep with this tremendous set of grinding thud. It is in every sense the ultimate post-rock album. To hear it is to understand why one scribe back in the day referred to their sound as “a garbage truck backing over the abyss.” A legendary release from a legendary band on a legendary label.

The album “Capuchin Swing” by Jackie McLean, released in 1960, is a seminal work in hard bop jazz. Recorded with renowned musicians such as Blue Mitchell on trumpet, Walter Bishop Jr. on piano, Paul Chambers on bass, and Art Taylor on drums, the album stands out for its intensity and inventiveness. Tracks like “Francisco” and “Capuchin Swing” showcase McLean’s exceptional talent for blending technique and emotion, making this album a must-have for jazz enthusiasts.

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.

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.

A seminal set from Jorge Ben  one that mixes samba soul with more baroque arrangements from the legendary Arthur Verocai! The record's got a different feel than some of Jorge's other work  almost a wider vision of music that ties his usual funky style to some of the more ambitious modes being explored by Marcos Valle and Edu Lobo at the time  expressed here in some larger instrumental passages that shade the tunes lightly, while still letting Jorge step out strongly on vocals and the usual mix of tight percussion and raspy guitar. Titles include "Que Maravilha", "Rita Jeep", "Comanche", "Porque E Proibido Pisa Na Grama", "Cassius Marcelo Clay", "Palomaris", "Maria Domingas", and "Negro E Lindo".

2024 reissue

Another fine deep spiritual Jazz reissue on Japanese label P-Vine that came out on Strata East originally in 1974. Soaring vocals are charismatic of this album and it features the track Optimystical which Andres previously sampled.

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.

The legendary DJ Muro is behind this superb new P-Vine compilation, Diggin Groove Diggers: Best Of Tribe. Muro is a truly a-grade digger and one of his homeland of Japan's most famous. Here he collates together some of his favourite songs from Tribe, a rather legendary spiritual jazz collective from the Motor City. This music has been revered for more than 50 years and now for the first time gets put together on one album that is both a perfect primer for newbies and a great collection for those long-time fans.

2024 reissue

American jazz pianist and composer Weldon Irvine dropped his fourth and some say best album, In Harmony, in 1974. It came originally on the legendary spiritual jazz outlet Strata-East and now gets reissued by Japan's equally well regarded P-Vine. It has got a fresh mastering job for the occasion so sounds as good as possible with standout cuts like 'What Are Ou Doing For The Rest Of Your Life' and 'Pleasure, Pain & Me' exemplifying Irivine's unique conversational style and ability to lay down spiritual jazz sounds that energies and refresh mind, body and soul.

Techno icons Damon Wild and Tim Taylor, renowned for their influential track "Bang The Acid" on the legendary Missile label, are set to make waves once again.



We are thrilled to announce the release of a brand new remix by the illustrious DJ Dextro, coupled with a fully remastered version of the original mix. This highly anticipated release will be available on black vinyl, bringing a fresh yet nostalgic experience to techno enthusiasts worldwide. Don't miss out on this revival of a classic that has shaped the techno scene for decades.

Black/White Split Colour Vinyl. Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim and Grammy nominations, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape. In honor of the record's ten year anniversary, North Carolina-based indie label Psychic Hotline will release a deluxe reissue, complete with previously unreleased material. Featuring essential singles "Coffee", "Hey Mami," and "H.S.K.T.", the expanded edition also includes remixes from J Rocc, Rick Wade, Helado Negro, Dntel, and more. The deluxe 2LP package sports an all-over foil inversion of the original album's iconic foil "SE" logo.

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KMD (Kausing Much Damage, or a positive Kause in a Much Damaged society) was a Hip Hop group in the early 90s perhaps best known for launching the career of acclaimed MC/Producer MF Doom (known during his KMD tenure as Zev Love X). After guesting on 3rd Bass' "The Gas Face," the trio (Zev, brother Subroc, and Onyx) released the acclaimed and overlooked "Mr. Hood" full-length. Their political outlook was similar to the group Brand Nubian, who guested on Hood; however, the style was more comical and included a great deal of clips from old children's recordings, mostly notably a sample of the Seaseme Street character Bert on the single "Who Me" This is the official Elektra Records/Traffic Entertainment Group re-release with original artwork and track listing in it's entirety. Cutting edge, ahead of it's time production and skits from KMD and Stimulated Dummies (John Gamble and Mr. Dante Ross). Features the singles "Peachfuzz", "Who Me" and "Nitty Gritty" (feat. Brand Nubian). This is one Rap album that is not to be missed.

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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.

Iner and his wife Oiuna on vocals made a joint mini-album on DOBRO. Vadim invited legendary producers from France and Germany, Johannes Albert and Crowd Control, to make remixes!
The release turned out to be powerful! There are beautiful tracks and super bangers here!

ntroducing the third volume of the legendary collaboration series, "Trillstatik," by dynamic duo Bun B & Statik Selektah. Recorded live in New York City on December 20th 2023, this album encapsulates the essence of hip-hop's raw vitality and timeless appeal.

In this new installment, Bun B's unmistakable Southern swagger intertwines seamlessly with Statik Selektah's masterful production, creating an explosive fusion of gritty beats and poignant lyricism.

"Trillstatik 3" carries the traditional star-studded lineup of guest appearances, and joining Bun B and Statik Selektah on this volume are luminaries of the rap game, including the lyrical juggernauts Benny The Butcher, Method Man, Boldy James, Rome Streetz, Lord Sko, CJ Fly, Smoke DZA, Termanology, Lukah, and countless others.

With Bun B and Statik Selektah at the helm, "Trillstatik 3" leaves yet another indelible mark on the rap landscape and solidify its place as a timeless classic in the annals of hip-hop history.

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.

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.

"RZA’s third solo effort under his Bobby Digital alias is presented on vinyl for the first time ever. Digi Snacks continues the story line from Digital Bullet (issued on vinyl for RSD 2022) and includes features from Inspectah Deck (among others). Though RZA handles the production on almost all cuts, he does pull in a few outside producers for an assist. Most notably David Banner for “Straight Up The Block.” RZA describes the project as “simply fun hip hop - a perfect blend of reality, fiction, sci-fi and martial arts.” Digi Snacks debuts on vinyl for RSD Black Friday."

We're back! And we've brought some local aussie legends to join us on a cosmic outback bush boogie with 4 x epic dub-olicious, psych rock, Afro disco jams. On the A-side is the Space Jockeys who consist of Ash Moses (Tunnel Signs) and David Smith of mid 80's and 90's seminal dance act 'Boxcar' fame. If you don't know who Boxcar are then you need to hit that search tab and get familiar! Space Jockeys deliver an epic twist on Kingdom Comes - Time Captives, followed by Barney In The Tunnel with their take on classic Australian psych rock group The Ferrets - Tripsville. On the B-side Jerk Boy delivers some JB Edit re rubs of Snakeskin Tracksuit by African Head Charge followed by Super Mama Djombo's funky number tittled Dissan Na M'bera. JD Twitch (Optimo) - super good Charles Webster - headcharge edit is my fave here....thnx Fred Everything - Sankeskin and Time Captains for me thanks! Rob Da Bank () - wondrous music! Kenny Carpenter - Love this track. Horse Meat Disco (Severino) (Severino) - yeeeeees DJ Coco (Nitsa / Primavera Sound) - great, thanks!

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The 25th of September will see two of house and techno’s most-established talents collaborate on their debut release together, as Hot Creations head Jamie Jones teams up with Mood Records boss Nicole Moudaber on Pepper Shake.

Short, sweet and with no filler involved, Pepper Shake gets us underway swiftly, and the name certainly does the track justice. Up-tempo hats whistle beside a driving bassline, before a female vocal reels in and out. The styles of both artists are present throughout, with Jamie’s signature groove providing the foundation and Nicole’s deeper techno style coming through in the synths. Bubble Ride completes the release. Dark, gritty and harder-edged than its predecessor, this is a stripped-back peak-time club cut, with a penetrating bassline and hard-hitting kick patterns. The occasional pulse of an atmospheric sample further enhances the body of the track, to form something that’s built solely for the dancefloor.

As a world-renowned DJ and producer, head of Hot Creations and founder of the global Paradise event series, Jamie Jones has etched out a legacy in electronic music that few others can attest to. His personally curated Paradise series offers an international showcase of house and techno’s most recognisable artists, whilst his flagship label, Hot Creations, continues to pioneer a contemporary house sound. At the forefront of the MOOD brand, with offshoots including a record label (Mood Records), warehouse parties (MoodRAW), festival stages (MoodZONE) and a renowned global radio show (In the MOOD), Nicole Moudaber has rightfully established herself as a worldwide techno mainstay.

Facta returns home to his own Wisdom Teeth imprint with ‘So is the sun’ - a bold EP of artful club reductions that distill his unique and playful approach into some of his most assured and direct works to date. As ever with Facta’s output, there is a moreish push-pull between functionality and creativity on display here. Infectious hooks are sculpted out of warping, plasticine sounds, whilst melodic splashes of colour are painted in broad, bright brushstrokes. Bleeping FM synths fizz into shot before oozing out of frame again, dripping splashes of neon colour over the record’s skipping, nimble rhythms as they go. There are a few key reference points at play here - in particular the light-footed grooves of early 00’s minimal house and the space-age synths of artists like DBX and S-Max - but these influences are totally refracted and subverted to create something fresh, contemporary and of its own. Produced and honed across a year, the tracks took shape slowly alongside regular club play from the label crew and a clutch of trusted DJs who road tested the tunes at various demo stages. The result is one of Facta’s most decisive and focused club records so far. The EP marks the Londoner’s first solo outing in over a year, following on from his acclaimed 2023 EP, ‘Emeline’, which was released on Anthony Naples and DJ’J’s Incienso imprint. It forms part of Wisdom Teeth’s busy schedule of 10 year celebrations, which includes a string of releases from new and existing label members, merch drops, and a global run of live showcase events.

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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.

As the vinyl revival continues to sweep the globe, Copenhagen finally wakes up and launches this new white label edition, which showcase some of the hidden jewels that has stirred the floors of the Danish capital. Supplies are super limited, and demand is expected to be high because these stands out – and too hot to mention, but the focus remains squarely on the music itself…Copenhagen floor fillers…!!

Communique Records U..S.A. is re-issuing Ralph Laurenn - Proper Etuquette from 1997 on the sublabel called Party Rock.

Circling guitar lines; the rise of fall of delicate bass; deep, breathy horns: sonic elements that exist in a state of slow, perpetual motion, like ideas sprouting from some kind of cognitive compost. With wonder and charm, G. S. Schray's new solo album, Whispered Something Good, evokes a realm of new growth while offering a fitting soundtrack for its exploration, as if tailor made for both the daydreamer and silly adventurer.


We start in the darkness of "Unlit Center" with elliptical phrases of jazz guitar. A conversation between double bass, synthesiser, and piano plays out on "In Tears Twice A Page" before we're ushered into the reflective zone of "Another Haunted Mirror." There is synth mist which trumpet cuts through decisively like a shaft of light from the sun: warm and clear. As the album proceeds, firmer rhythms coalesce. On "Prelude for Probably," clattering drums lock into a triumphant groove with horns. And then, to close, the instrumental art-pop of "Gone in Amber," probing not necessarily towards a final destination but another stop-off, one of distant birdsong and the faintest flicker of synth. Intimate and inviting, the act of listening to Whispered Something Good is akin to digging through an imagination. It's a place of subliminal melodies blooming into rhizomatic musical shapes, stray musings coalescing as bolts of inspiration — change fostering yet more change.

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.

*REMASTERED ROUGH TRADE DEBUT LP LIMITED TO JUST 500 COPIES WITH EMBOSSED OUTER SLEEVE AND ORIGINAL INNER SLEEVE ON BLACK VINYL*

Dream POP, they called it. Given AR Kane’s Alex Ayuli once worked for advertising agency Saatchi & Saatchi, it’s no surprise that he and collaborator Rudy Tambala invented their own genre before critics could stick their oar in. It was a canny move, but more importantly, it was accurate: the music of AR Kane was made for dreamers, by dreamers, and its languor and longing made it particularly bewitching listening; their music is often smeared and blurry, happily lost in its own indefinable pleasures. “We wanted dream pop,” Tambala says, “that feeling of a dream where the rules are different. Dream logic.”
-UNCUT REISSUE OF THE MONTH

"A.R. Kane carved out a unique musical path, welding elements of pop, psych, dub, electronica, funk, noise, jazz, ambient and more in a way that had never been done before. Or since. Their debut in particular is a work of unbridled brilliance."
*Electronic Sound*

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves,
‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".
*Reissue Of The Week In The Quietus*

Love's Command have been "riding the rocket of Brit funk" ever since day one says ROCit who now serves up a pair of new cuts from them. This record is designed to spread love and pace and it does that with feel-good vibes from the off. 'Aliens From Above' is an out-there funk sound with tight, quick drumming, plenty of neat guitar riffs and a cosmic feel from the lush synths. Add in vocoder vocals and you have a trip to outer space that you will never want to end. Flip it over and you get a more dubbed-out version that is no less of an adventure.

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.

- 10TH ANNIVERSARY EDITION OF TESS PARKS DEBUT ALBUM.
- GOLD VINYL, GATEFOLD SLEEVE, HANDWRITTEN LYRIC BOOKLET.
A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music.
Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music.
Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her “gauzy psychedelic sound” and“smouldering voice”.
Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet ... her most beautiful quality is her lack of ego. Tess is an amazing lady”.
‘Blood Hot’ is inimitably confident. It’s slow and psychedelic at times, while being loud and ready to fill a stadium at others. There isn’t a moment on the album that isn’t relatable or that doesn’t ring to the tune of a timeless classic to be talked about for years to come (the same way people discuss The Velvet Underground or My Bloody Valentine records today).
Her cult-like following has turned into a movement. And Tess is gladly leading us all back into that space within ourselves, both deeply personal and entirely universal. Incredibly relevant yet timeless.Cool and anti-cool. An enigma that doesn’t need solving. Tess Parks is as she’s always been. Her best work is already out there. And her best yet is still to come.

Bereiten Sie sich darauf vor, mit der kommenden Veröffentlichung von Iptamenos Discos aus Berlin in ein Reich der klanglichen Verzauberung entführt zu werden. Boys' Shorts, das dynamische Queer-Duo aus Griechenland, bestehend aus Vangelis (ehemals LAGASTA) und dem in London lebenden Tareq, wird seine neue "Something To Forget" EP veröffentlichen, begleitet von fesselnden Remixen von Gabe Gurnsey und Whitesquare.

Nach ihrer von der Presse hochgelobten "New Era" EP, welche bei RBB Radioeins Monatelang auf höchster Rotation lief, und dem Remix für Local Suicide’s "Eros Anikate" sind Boys' Shorts mit "Something To Forget" zurück auf Iptamenos Discos. Das Duo besteht aus Vangelis und Tareq, die seit über einem Jahrzehnt befreundet sind und ein äusserst erfolgreiches Jahr hinter sich haben, mit einer Reihe von Veröffentlichungen auf Permanent Vacation, Live At Robert Johnson, HE.SHE.THEY & Pets Recordings und DJ-Sets in angesehenen Venues wie dem Londoner E1 und dem Berliner Berghain sowie einem offiziellen Remix für Alison Goldfrapp und als Support auf ihrer Tour. "Something To Forget", die erste Single und gleichzeitig Titeltrack, beginnt mit einem starken Kick und einer markanten Snare, die durch den Mix drückt und zu einer treibenden Kraft wird, die den Track verankert. Die federnde und energiegeladene Bassline steht im Kontrast zu den Texten, die etwas melancholisch sind, jedoch auf eine Art und Weise vorgetragen werden, die ihnen ein unterschwelliges Gefühl von Optimismus verleiht.
Der äußerst talentierte Produzent Gabe Gurnsey, ein regelmäßiger Gast bei Phantasy Sound und Mitglied von Factory Floor, legt einen tanzflächenorientierten Remix von "Something To Forget" vor, der das Tempo erhöht und den Fokus auf die Bassline verlagert, wobei er die Vocals anfangs nur bruchstückhaft anreißt und sie erst nach dem Break für einen Moment in voller Länge erklingen und entfalten lässt. "Flying Away" zeichnet sich durch verwaschene Synthesizer mit viel Hall und verträumte, emotionale Vocals aus, die einem im Kopf herumschwirren und zwischen fröhlich und traurig schwanken, wobei sie nie ganz auf einer der beiden Seiten landen und es dem Hörer überlassen, sie zu interpretieren. Der in Rom ansässige DJ und Produzent Whitesquare ist für den grandiosen Remix von "Flying Away" verantwortlich und wirft mit der Einführung einer euphorischen und nostalgischen Pianomelodie im Breakdown, die jedem ein Lächeln ins Gesicht und eine Welle positiver Energie auf die Tanzfläche zaubert, alle Fragen über den weiteren Verlauf des Tracks weg.
Die komplette EP mit beiden Remixen wird am 14. Juni 2024 auf allen Digital-/Streaming-Plattformen verfügbar sein und zusätzlich auf weissem 12"-Vinyl (gestempelt & nummeriert) erscheinen.

Format: Limitiertes nummeriertes & gestempeltes Color-Vinyl (weiss) im schwarzen Outersleeve mit Sticker

The Wrekin Crew is back for a seance outing on the peerless Is It Balearic? This new offering rather continues where the first one left off with two tracks of immersive sonics for sunny days. First up is 'Vapour Trails' which melds lush Italo disco melodies and nice emotinoal pop of the sort you would expect to hear in this duo's DJ sets. Goldsuite also step up with a remix to smooth the edges and lay down moon-lit Balearica then closer 'Broken Wings' has more meaningful vocals but this time over grooves more suited to a late-night setting. Cosmic arps finish it in style with plenty of dubby undercurrents.

Mental health charity label Serenity keeps it sophisticated with its sixth outing and once again donates all proceeds to Young Minds. It is underground house mainstay and DiY Discs legend Nail who steps up first with a much more breezy and balmy sound than you would expect but it sure is lush. 'Pad On' slips into his more usual and driving house sound but with swirling pads up top for summery refinement. Trixie, Connor Male & Thoma Bulwer then get deep and late night with their punchy 'Impromptune' while Trixie's solo cut 'Restless Sculptures' is a jacked-up and percussive number that leans into techno.

Lumberjacks In Hell is the Amsterdam based label run by Marcel Vogel that was established in 2010 and has long been a great source of leftfield club tunes. Having worked with a variety of international artists like Jamie 3:26, Philou Louzolo, Rayko, Karizma and Giovanni Damico, LJIH proudly presents its first release in two and half years from Lu/Lu & LYMA with ‘Hotmoltenlava’.

Production duo Lucas van Ee and Tjerk Lammers are collaborators extraordinaire, brothers speaking in code and working in unison, a hive mind of ideas and creativity that was always bound to erupt like a Vulcano. Lu/Lu & LYMA is a side project of the Amsterdam based LIKEMINDS, and together they share a studio together on the outskirts of the city. Both Artists are heavily involved in the local

Across the seven tracks of ‘Hotmoltenlava’, the music serves as a captivating odyssey of electrifying new house anthems that seamlessly combine the pulsating production rhythms of Lu/Lu with the sultry tones of LYMA. Prepare to be transported to euphoric heights as ‘Hotmoltenlava’ marks a triumphant return for Lumberjacks In Hell spearheaded by the visionary Marcel Vogel, propelling it into a stratosphere all of its own.