Suche:q three

In 2018, Glonti started collecting LPs of Soviet-era Georgian composers at Tbilisi’s “Dry Bridge” flea market.The records mostly consisted of classical and chamber music released on Melodiya, the singular, state owned record label of the USSR. It was through this process that the idea of Recollection was born, as Glonti aimed to create an album that would utilize samples from his growing collection.


Recollections I-II will be the first release in a series of 7’’ records, followed by three more releases which together will make up a full length album. The artwork by Dmytro Nikolaienko of Day Night reflects the generic qualities of Soviet-era cover art.

Ocean Moon - alias of producer Jon Tye (MLO).

In addition to running the long-standing label Lo Recordings, Tye has recorded under various names and been involved in numerous projects over the past three decades. Keen fans of the label may also notice that this isn't Tye's first collaboration with MFM; his work during the 1990's as part of UK ambient group MLO captured our attention years ago, leading to the release of their retrospective album 'Oumuamua' in 2021.

Releasing archival work alongside new material from an artist has been a fundamental aspect of Music From Memory's identity since we began the label, and is something that continues to bring us immense joy. With Jon continuing to produce work under a wide range of names to this day, the short step to releasing this new work was organic and natural. Working under the name Ocean Moon Jon carries echoes of his work with MLO into the modern day, weaving an ambient electronic music that radiates gentle positivity.

The title 'Ways To The Deep Meadow' is inspired by the poem 'Universal Solar Calendar' written by poet, mystic, shaman, and visionary Angus Maclise. Maclise began as the percussionist in an early iteration of La Monte Young's Theatre Of Eternal Music and later played with the Velvet Underground before moving to Nepal, where he wrote and published an impressive collection of poetry and music.

Side one of the album was created at a time when Tye had been exploring ideas around artificial intelligence, delving into books such as 'The Physics Of Immortality' by Frank J. Tippler, 'Novacene' by James Lovelock, and '12 Bytes' by Jeanette Winterson, seeking an alternative to the prevalent, negative views of AI. He was also inspired by the Buddhist perspective of AI as an integral part of consciousness evolution, as evidenced by the creation of a Buddhist robot that preaches in the Kodaiji Temple in Kyoto.

Side two consists of two long-form pieces, one composed for Janine Rook's 'Made In Dreams' exhibition and the other for Vix Hill Ryder's 'Wild Edges' film. For 'Made In Dreams', text from the exhibition catalogue was processed via the Holly Herndon Holly + app to create an environment that is simultaneously otherworldly and warm.

As with much of Jon's work, this music seeks to nurture an optimistic outlook in the listener, something he achieves here with subtlety and a truly delicate touch. The immersive ambient music of 'Ways To The Deep Meadow' reaches out to the listener like gentle trails of light, offering it's spells,invocations and enchantments to all who choose to listen.

'Ways To The Deep Meadow' will be released on 31st January 2025 on LP as well as digitally. Sleeve art and design by Michael Willis.

Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording. AllMusic notes that with fine backup by pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, Bags and Trane stretch out on two of Jackson's originals (including "The Late Late Blues") and three standards: a romping "Three Little Words," "The Night We Called It a Day," and the rapid "Be-Bop." The highlight of the set is the eponymous opening track, which just oozes late-night cool.

This deluxe 180-gram 45 RPM 2LP reissue from Analogue Productions (Atlantic 75 Series) is a gem and will be a must-have for all jazz music fans.

STATES OF ART highlights the global network of creators of the forward-looking jungle drum & bass sound. Released on three vinyl EPs, the second instalment once again features the very best in modern jungle & breakbeat driven dnb.
DEAD MAN'S CHEST, FANU, AEON FOUR, FFF, ESC & MINERAL all contribute, with pioneering graffiti artist EGS delivering the second piece in the special three-part collectable artwork.

Released in October 1983, “North Of A Miracle” was Nick Heyward’s first solo album after leaving Haircut 100. Produced by Geoff Emerick (The Beatles, Elvis Costello, Badfinger, America, Supertramp and many more), the album features the hit singles “Take That Situation”, “Whistle Down The Wind”, “Blue Hat For A Blue Day” and “On A Sunday”. The album went on to sell over 100,000 copies in the UK, earning a Gold Disc Award.

Deluxe 3CD Edition:
Expanded to a Deluxe 3CD Edition, Disc One features the original album mastered from the original stereo tapes, Disc Two features the various 12” mixes, instrumental versions and non-album B-sides, while Disc Three, entitled “Recordings 1984”, features Nick’s 1984 single releases “Love All Day” and “Warning Sign”, along with the tracks from their accompanying 12” singles. Also featured are three previously unreleased tracks: “Teach Till You Reach” (an unreleased single), “Give Love More Time” (an alternate instrumental version of “Love All Day”), and “Kiss Those Tears Goodbye” (an unfinished recording featuring the backing vocals only). Annotated by author and journalist Daryl Easlea, based on a brand-new interview with Nick Heyward, this 3CD set is presented in Deluxe 7” Packaging, with a 20-page booklet.

180g Vinyl Edition:
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating an incredibly detailed stereo image with a natural high frequency response.

Presented in its original gatefold sleeve, pressed on 180-gram heavyweight black vinyl, featuring an obi strip and housed in a poly-lined inner sleeve, with a 2-page insert.

The first of three collaborative albums by Marvin Gaye and Tammi Terrell, United was released on August 29, 1967 on the Motown subsidiary label Tamla Records. It was the duo's as well as Marvin Gaye's most successful album of the 1960's, with sales almost reaching one million copies. It yielded four Top 100 Billboard chart hits, including the two Top 10 singles, "Your Precious Love," and "If I Could Build My Whole World Around You." United peaked at #69 on the U.S. Billboard 200 album chart and #7 on the U.S.

Billboard R&B albums chart upon its release. United received a 4 ½ star rating on AllMusic, with reviewer Andrew Hamilton stating that it "was the first of their three LPs, and quite possibly the best of the lot."

Repress!

There are few names as instantly recognisable, revered and respected in the world of dance music than Jamie Jones. This three-track vinyl release celebrates his 2022 anthem ‘My Paradise’, which quickly became one of the summer’s must-know tracks, as the Hot Creations label boss explored disco influences while his signature high-energy bassline and groove gave the heater boundless dancefloor appeal. What followed were remixes from respected exponents of contemporary electronic music that helped ‘My Paradise’ continue its clubland ascent. Brazilian superstar Vintage Culture gave the record a distinctly tougher feel, as a chugging bassline, rolling synths and melodic piano breakdowns worked together to captivate a dancefloor. Crosstown Rebels, Day Zero and Get Lost founder Damian Lazarus created an otherworldly mix that plays on the joyous disco feel of the original, while distorted synth lines and playful glitches offer a new edge to the club weapon.

**Including 12-page booklet including liner notes and artwork made by Vormlust** Lush house, electronic and italo tracks ready for club use. A beautifully produced album with absolute floor killers and emotional set-enders. FIGI's debut album, "fig.1", is a meticulously crafted compilation of 11 tracks that have been made and woven together over a span of three years. The album delves into the intriguing realm of figures, both in the context of shapes and language, where they possess the unique ability to evoke emotions and connections without being the exact representation of those sentiments. Each track on "fig.1'' originated in moments of creativity, allowing the smallest of ideas to sprout and grow into full musical compositions. Drawing inspiration from the serene landscapes of the Jura in Pays de Gex and the energy of club nights in Amsterdam, Berlin, London and The Hague. Throughout the album, FIGI skillfully captures the essence of pure bliss in some tracks, while others ignite extreme dancefloor excitement. "fig.1" marks an exciting new chapter in FIGI's musical journey, serving as a blueprint for innovative approaches to music creation. It is a demonstration of the artist's dedication to crafting a rich and diverse sonic landscape that resonates deeply with the listener.

Deluxe Edition, Double LP, Gatefold, alternative Cover. Comes with three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deluxe Edition, 2LP, Gatefold, alternative Cover. Plus three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Wild broken heart healing procedure through time distorted tape recordings by T. Delaunay (panoptique), D.L. Byrne (Charmaine’s Names) and J. Warmenbol (Kabaal). A new emanation from the Simple Music Experience collective (Fiesta en el Vacìo, Helen Island, Parasite Jazz...).

Minimalistic mystery pop by the clue chasers De Klok, who recorded their spontaneous first album under one moon and one sun during an intense session of investigation, bribery, calculations, doubts, and beard-scratching. The result: 14 tracks recorded on tape—including hazardous interludes. A glimpse into this post-spy-punk world, made up of croony voices, hypnotic basslines, and lo-fi drums, by the three international agents Charmaine’s Name, Kabaal, and Constance Chlore / Panoptique.

Originally released on cassette by Simple Music Experience, the vinyl version includes two new tracks, all remastered.

Fragility, modesty, delicacy... Frànçois’ voice evokes illustrious contemporaries, from Devendra Banhart to Vincent Gallo, whose vocal inflections sometimes echo behind the uniquely French timbre.

Artists like Malik Djoudi with his captivating pop, in-demand jazzman Thomas de Pourquery, and British folk artist Rozi Plain all lend their talents to Âge Fleuve. These three delightful collaborations blend seamlessly into the album’s 10 tracks. But the album’s fluidity is also felt in the flavor of certain compositions, like the upbeat “Où mène la nuit,” a kind of mystical inquiry into the whirlwinds of youth. Then there’s “Aïeul inconnu”, whose apparent melancholy pairs perfectly with its elegant groove. “Adorer”, the duet with Thomas de Pourquery, is an uplifting track that jumps wholeheartedly into the joy of living in the “present moment”.

Âge Fleuve—or rather, a “liquid inspiration”— is built on a heritage of memory. And when one delves into the mystery of this heritage, the answer becomes clear: “We’re here, under this part of the river, further downstream. Everything communicates, everything is in motion.” In other words, an album flowing through the river of our sensory, intimate, and universal heritage.

Grateful Dead archivist Dick Latvala considered this show to be the finest outing on the entire Spring 1977 tour, and, as any Dead Head knows, that is high praise indeed! At the time this was released on CD, the Dead weren’t sure a market existed (ha!) for three and four-CD packages, so this four-LP set leaves off eight songs from the show, but consider what songs are here: a phenomenal “Help on the Way”/”Slipknot!”/”Franklin’s Tower” comes after one of the definitive renditions of “Sugaree” and a terrific “The Music Never Stopped,” with Phil Lesh’s slithering bass leading the way in recording engineer’s Betty Cantor-Jackson’s mix.

But sides E, F & G offer one of those sublime (and, in this case, never to be repeated) sequences of songs that only the Dead could pull off in concert; after the rarely-performed “Sunrise,” a medley of “Estimated Prophet”/”Eyes of the World”/”Wharf Rat”/”Terrapin Station” (a truncated version two months before its official release)/”Morning Dew” brings the show home, as Jerry Garcia’s soloing on “Morning Dew” reaches heights seldom attained even by him. This was a knockout release on its first very limited vinyl run (check out those resale prices), and we’ve improved on it with a fresh mastering job by Jeffrey Norman (in his own words, “the sound is better than the original heard on the Brookvale release”), and lacquer cutting by Clint Holley and Dave Polster at Well Made Music.

Pressed on 180-gram black vinyl at the plant we’ve been using to great acclaim for all of our Grateful Dead releases, Gotta Groove Records, and limited to 2000 hand-numbered copies!

Sarang Bang Records proudly presents Eternal Afternoon, the latestfull-length offering from Auckland-based composer, producer, and multi-instrumentalist, Joe Kaptein. Drawing inspiration from the 70s jazz-funk innovations of Donald Byrdand Lonnie Liston Smith
and elements of dub and disco, Eternal Afternoon is an uplifting collection of five original Kaptein compositions - a joyful antidote to these troubled times.

Featuring Kaptein’s intricately layered keys and tight ensemblearrangements, the album is augmented by masterful touches of flute and saxophone by Aotearoa New Zealand jazz icon Nathan Haines and backed by local heavyweights Elijah Whyte (drums) and Wil Goodinson (bass), the backbone of Kaptein’s regular working band.

Seemingly out of nowhere, Kaptein appeared on the Auckland scene a few years ago and quickly made a name for himself owing to his versatility, impeccable taste and musicianship, and has established himself as thego-to keyboardist for the likes of Nathan Haines, The Circling Sun, Princess Chelsea, The Situations, and Muroki.

Before recording Eternal Afternoon, Kaptein somehow managed to channel his unrelenting creative energy into three low-key, but brilliant self-released digital albums in between his hectic international touring schedule and session work. These exploratory recordings touch on drummachine and synth-driven psych-lounge, Krautrock, experimental jazz, and Bacharachian pop, allowing the listener a glimpse into the depth of Kaptein’s vision and his wide-ranging musical interests.

VERY VERY LTD DELUXE CLOTH BOUND GATEFOLD SLEEVE RED VINYL EDTION, 2LP W/ DLC! "The first three songs alone are like love at first hearing." - Deluxe 2xLP clothbound sleeve edition of 'Car Button Cloth', featuring Lemonheads classics 'If I Could Talk I'd Tell You' and 'The Outdoor Type'. This reissue includes the original record alongside a whole extra LP of rarities and unreleased cuts, continuing Fire Records in-depth series of reissues from the legendary band. 'Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning "the most beautiful piano-led mourning in the history of the broken heart" that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic 'The Outdoor Type', penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard 'Knoxville Girl' and 'If I Could Talk I'd Tell You' co-written with The Vaselines' Eugene Kelly. All bases are covered. To further unravel where Evan's head was at during the period of its creation, this deluxe double album comes with a record of exquisite and typically eclectic scene setting covers that occupied B-sides and alternative format versions, plus other super rare offcuts, live takes and remixes. A diet of Volcano Suns, Glen Campbell, The Jacobites, The Sir Douglas Quintet and Whitney Houston influenced Evan's thinking and added further colour to an album that remains something of a Dorian Gray-style masterpiece. The first side of extras is rounded off with the never before released 'Arise', originally set for the remake of Great Expectations and later realised as Rancho Santa Fe on solo album 'Baby I'm Bored'. "One of the most distinctive voices of the '90s" The New York Times

Impex has always had a special place in their hearts for Shoji Yokouchi’s Greensleeves. Standards, original tunes, and traditional pieces (like the title track), are interpreted in unexpectedly funky, soulful ways. The master guitarist is given immeasurable support by organist Yuri Tashiro. Her playing is alternately moody and spry, fiery and funky. Impex’s vinyl reissue preserves the original’s clear, exacting sound (check out the bass on Tashiro’s organ!) while improving surface noise and presentation. This rare gem of Tee Fujii’s repertoire is yet another entertaining listen for Three Blind Mice fans from their friends at Impex Records!



"I cannot understand how Chris Bellman got 100% of the dynamics, power, subterranean deep powerful bass, delicate guitar, bass riffs, and drums all on a 33 RPM release without the instruments colliding into one another. I am shocked by the RTI pressing of such utter quiet and explosive punch... harmonics and layered realistic textures lived in the room as the needle found its groove. Imaging is pin-point stable and precise, and dynamics never overload."

"If this is not the ultimate audiophile demonstration LP released this year, then none will be released. I dare you to stop listening to this LP once the first cut has commenced! With mostly standards jazzed up for the brilliant musicians to love to play, I was constantly tapping my toes and reminiscing on when I first heard a certain melody. What great fun!"

" ...Packaged by Impex in slick classy gloss and full color, Greensleeves is a high-quality production for a top jazz collection. Prediction: this release will triple in price! For those smart enough to buy multiple copies and put extras away, a bonus awaits them! This is the best audiophile system demonstration LP I have heard in ages, and a must-own. Thank you Impex! Greensleeves receives my highest BUY recommendation!" - Robert H. Levi

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Rebūke’s original cut gets a three-way rework.
Konstantin Sibold, ZAC and CARMEE combine their creative energy to remix ‘Along
Came Polly’ by Irish producer Rebūke. This new incarnation transposes the original riff onto a more potent instrumental, with the added intensity of an extended breakdown. Bear witness to a sonic metamorphosis.

Single sided Vinyl!

Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.