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Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

Four years after his last album "TRICKSTER," DJ KRUSH has faced, sharpened, and overcome himself during a new coronavirus pandemic with "Rebirth -Saisei-,"

his first album since becoming independent. In Japanese, "Rebirth" means "Play" to regenerate music and art, "Rebirth" to be reborn, "Reconstruction" to be reborn,

"Renaissance" which is also translated as "literary revival".... With its multifarious connotations, the year 2024 will see DJ KRUSH take the opportunity of his

independence to "Play" and repeatedly "Rebirth" his way into the future. Guest artists include Jinmenusagi, Chinza DOPENESS, and D.O.

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco grooves and lashings of cosmic intent, but this one just feels a little more special. Island Boogie is certainly special. Meecham’s “most personal” full-length to date, it was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion. Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Severine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Por Amor’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Devoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’. Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring headline-grabbing lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

The group led by North Carolina-based singer/songwriter/guitarist Ron Henderson released this extremely rare album on the Los Angeles-based Chelsea label in 1976 -now priced at over 150,000 yen!- is being reissued on LP for the second time! As with the 2020 P Vine reissue, which has already skyrocketed in price, the cover is in the original Chelsea vinyl specification and the contents are in the reissue (probably boot) specification released in the 1980s with two additional singles from 1983, and also in 180g weight vinyl. Ron's singing is wonderful, with a hard and soft range from mellow medium, modern to crossover soul, ballads and funky, sometimes interwoven with falsetto! A great album that will make soul fans incontinent and weep!

Heavenly Recordings are pleased to announce they will be releasing Mildlife’s new single ‘How Long Does It Take?’.

The original version of ‘How Does It Take’ plus two remixes by Italo-disco legends Daniele Baldelli and Marco Dionigi will be released across all digital platforms on April 12th, followed by 12" vinyl on May 12th.

“’How Long Does It Take’ is an homage to the dance floors and clubbers who championed our music from Day 1,” the band say of the single. “We’ve been delighted to watch heaving crowds burn holes in the dance floor as we close our set with it so now we’re equally delighted to offer it up on record as a late night thumper.”

The B-side of the ‘How Long Does It Take’ 12" comes with remixes from Daniele Baldelli and Marco Dionigi, the originators of legendary Italo-disco club night Cosmic Disco, found on the shores of Lake Garda in the late 1970s. The band met Baldelli on tour in Sicily where they had been invited by Giles Peterson to play at his Ricci Weekender on the outskirts of Catania. They bonded over a mutual sound and Baldelli jumped at the opportunity to remix the song.

"Relive Enoch's mystical journey in his quest to defeat the fallen angels!

El Shaddai Ascension of the Metatron is back on Nintendo Switch in full HD and for the first time in vinyl format!

To celebrate the occasion, in partnership with CRIM headed by creator and designer Sawaki Takeyasu, here's the game's original soundtrack in a magnificent Gatefold 2 x LP edition with white discs.

The El Shaddai Ascension of the Metatron soundtrack is composed and arranged by Masato Kôda and Kento Hasegawa, and features a variety of epic orchestral pieces and sacred, dreamlike melodies.

It has been praised for its quality and distinctive style, which fits perfectly with the game's artistic design and narrative."

Following a ten-year hiatus, multi-instrumentalists Rafael Anton Irisarri and Benoît Pioulard return with »How to Color a Thousand Mistakes«, their third LP together as Orcas. Building on the electronic minimalism of »Orcas« (2012) and the Twin Peaks-inspired haze of »Yearling« (2014), the duo have expanded their sound and vision into a full-spectrum ensemble.

In the time since their last major collaboration, Irisarri and Pioulard have done plenty on their own, while also traversing significant life changes: relocation from Seattle to New York, separation and divorce, illness, hospitalizations, and the loss of siblings, parents, and friends. Yet from these tribulations, they gleaned inspiration to reconstruct their lives, creating music with new collaborators and partners. Recorded in a variety of studios and cities including Brooklyn, Cambridge, Oxford, Seattle, and upstate New York, the resulting album, under the tutelage of UK producer James Brown (Arctic Monkeys, Kevin Shields, Nine Inch Nails), is a patiently-crafted beast, equally inspired by impressionism, British new wave, and dream pop.

With Irisarri’s guidance and Brown’s encouragement, Pioulard brings his velvety voice to its harmonized peak on songs like »Wrong Way to Fall« and the Durutti Column-indebted »Fare«. Where his most recent solo albums for Morr Music (»Sylva« and »Eidetic«) navigated foggy forests of ambient pop and stacked tape loops, here his characteristic blur shifts into focus with a unique degree of clarity and confidence. »How fare against balance do I / Navigate my errors?«, Pioulard sings in a heartbreaking tenor, echoing the album’s broader themes of introspection, grief, loss, trial and trauma.

Lead single, »Riptide«, is a summary of Pioulard’s life changes and personal upheavals in the past decade, »flitting eastward toward a yen deep in the past« and learning to glide through the tumult of ocean waves, as a metaphor for the punches one takes in pursuit of grace. Its towering, key-changing midsection arrives with the monumental drumming of Slowdive’s Simon Scott, a long-time friend and cohort who appears on most songs in the set. Scott’s quintessentially English, jazzier approach offers a balance of force and restraint as the backdrop for Irisarri’s majestic guitars, analog synth lines, and Martin Heyne’s Fender Rhodes counterpoints.

Second single, »Next Life«, began as a sketch by Scott, and reached its final form in the hands of Pioulard and Irisarri, at a point that each had endured major concurrent losses, finding a commonality in the need to gaze over the horizon while acknowledging the unavoidable bittersweetness of letting go – not only of people, but of routines, places, and expectations. It’s one of Orcas’ most nuanced pieces, with a mid-tempo, sunset glow that unfolds into a sparkling, slide-guitar finale as it disappears in the rear view.

On third-act highlight, »Bruise«, Scott is doubled on the drum kit by MONO’s Dahm Majuri Cipolla, whose Liebezeit-influenced metronomy anchors a nimble bass groove from Andrew Tasselmyer (of Hotel Neon), and some of the album's most syncopated, spaced-out interplay, courtesy of Puerto Rican guitar player Orlando Méndez (a childhood friend of Irisarri’s). Originally a droney, fingerpicked guitar demo, »Bruise« is the most storied composition here, having gone through almost a dozen versions and lyrical edits, with Brown distilling hours of improvised performances into the final arrangement.

Throughout »How to Color a Thousand Mistakes«, Irisarri uses his deep well of production experience to paint the stereo field with meticulously designed textures, exemplified on the slow burn of »Heaven’s Despite« and the heady rush of »Swells«. As a mixing and mastering engineer with Black Knoll, he has built a client list that reads as a who’s-who of modern, forward-thinking composition, including Temporary Residence, All Saints Records, and Ghostly International, among many others.

As with previous collaborations, Irisarri and Pioulard bring disparate styles and specialties to the table, but with an interpersonal dynamic that transcends friendship into brotherhood, their open-minded workflow and mutual respect are evident at every turn. »How to Color a Thousand Mistakes« brims with tight, complex art rock songwriting, masterful production, and sonic versatility, informed by a plethora of genres and tonal hues. The title might promise answers, but the gravitational center of the album is the dawning realization that, as you reckon with the infinite whims of the cosmos, there could be none.

Having spent the last decade evolving into one of dance music’s most sublimely effective producers, CWPT is delighted to welcome Theo Kottis at the peak of his powers, delivering a further four tracks that demonstrate a playful mastery of widescreen sounds for wide-eyed dancefloors.

Capturing the light still shining from his beloved ‘Lighthouse’, finally released earlier in 2024 via Dekmantel and escalated into notoriety thanks to support from trusted selectors such as Ben UFO, Francesco Del Garda and our own Palms Trax, title track ‘Rain’ retains a similar, blindingly authentic nineties reverence, finding ecstasy in a wash of cascading synths, powerful plunges of sub-bass and layer upon layer of elasticated everything.

The Scottish producer’s positive education in the foundations of club music with real personality makes itself known without indulgence; a belief in the subtle tweaks and imagination of classic tech-house, alongside a welcome flirtation with the over-the-top elements that create something potentially anthemic. In this regard, ‘Benirras’ proves to be pure pleasure for dancers who love to be toyed with, its stripped back opening giving way to slowly-escalating, wobbly-jawed hysteria.

On the flip, ‘Grazie’ proves as cordial as its title, a warm and refined slice of sleek house minimalism, a roller with Alfa Romeo sensibilities. Things take a more aquatic turn on ‘Lowkey’, a logically headsy conclusion that sees Kottis sensually bounce the word ‘electro’ around in that very style, its slower tempo and wider space allowing the impressive intricacies of his productions to float up for fresh air.

Everyone’s favourite Instagram music account is now a label!

Belters4u has been sharing a steady stream of forgotten club bangers over the past few years and now arrives with original material. The inaugural release sees Tre Turner serve up three belting hardware jams straddling 90s euro-house, trance and early prog with a subtle nod to Scotland’s notorious old-school rave scene.

First dropped by Job Jobse at last year’s Nachti Festival, title track" Can’t U Feel" is a feel-good party pumper resplendent with galloping euro bass, gated filter sweeps and catchy pitched vox destined for a festival near you. The two mixes of “Mixed Emotions” on the flip take a hazy, trancier path, keeping the emotion and euphoria running high.

Available on vinyl via One Eye Witness and digitally via all decent platforms.

Engelbert Humperdinck, der legendäre Schlagersänger, der für seine samtige Stimme und zeitlosen Balladen
bekannt ist, zieht mit der Wiederveröffentlichung von zwei seiner kultigsten Alben, ”A Man Without Love”
und ”Please Release Me”, zum ersten Mal auf farbigem Vinyl das Publikum weltweit in seinen Bann. Diese
Alben haben Humperdincks Status als einer der beliebtesten Entertainer aller Zeiten mit über 140 Millionen
verkauften Alben im Laufe seiner glanzvollen Karriere gefestigt.

At the latest with the release of the albums "Zauberberg" and "Königsforst", in the mid-1990s, one associates GAS, Wolfgang Voigt's very own artistic cross-linking of the spirit of Romanticism and the forest as an artistic fantasy projection surface, with intoxicatingly blurred boundaries of post-ambient infatuation and the impenetrable thicket of abstract atonality. The distant, iconic straight bass drum marching through highly condensed, abstract sounds taken from classical music by the sampler or modulated accordingly, and the enraptured gaze through pop art glasses into the hypnotic thicket of an imaginary forest, manifested over the years this unique connection of audio and visual, which to understand fully, then as now, would be neither possible nor desirable.

Quite the opposite. The album GAS - DER LANGE MARSCH once again invites us to follow the deep sounding bass drum, to give in to its irresistible pull into a psychedelic world of 1000 promises. In the process, the journey leads us past stations of memories sounding from afar, from "Zauberberg" to "Königsforst" and "Pop", from "Oktember" to "Narkopop" and "Rausch", back and forth, now and forever.

Way. Destination. Loop. - Forest loop.

No beginning. No end.
Spätestens mit der Veröffentlichung der Alben „Zauberberg“ und „Königsforst“, Mitte der 1990er Jahre verbindet man mit GAS, Wolfgang Voigts ganz eigene künstlerische Vernetzung mit dem Geist der Romantik und dem Wald als künstlerische Fantasie-Projektionsfläche, rauschhaft verschwimmender Grenzen von post-ambienter Betörung und dem undurchdringlichen Dickicht abstrakter Atonalität. Die entfernt, durch stark verdichtete, abstrakte, der Klassik durch den Sampler entnommene oder entsprechend modulierte Klänge marschierende, ikonische gerade Bassdrum, der entrückte Blick durch die Pop-Art Brille hinein in das hypnotische Dickicht eines imaginären Waldes, manifestierten über die Jahre diese einzigartige Verbindung von Audio und Visuellem, die ganz verstehen zu können, damals wie heute, weder möglich noch wünschenswert wäre.

Ganz im Gegenteil. Das Album GAS - DER LANGE MARSCH lädt uns einmal mehr ein, der tief tönenden Bassdrum zu folgen, ihrem unwiderstehlichen Sog hinein in eine psychedelische Welt der 1000 Verheißungen nachzugeben. Dabei führt die Reise vorbei an aus der Ferne klingende Stationen der Erinnerungen von “Zauberberg” bis “Königsforst” und “Pop”, von “Oktember” bis “Narkopop” und “Rausch”, vor und zurück, in alle Ewigkeit.

Weg. Ziel. Loop. - Waldloop.

Kein Anfang. Kein Ende.

Lucta from Milan finally unleash their debut album ‘Eterna Lotta’ which follows the demo 'Black Magic Punk’ from way back in 2018. The 9 track album takes you by the throat and never lets go. The music rages with a fierce atonal guitar tone and drums that push each track to its limits but it’s the vocals that really make this special. They are passionate and enraged and spat out in Italian. The band mixes the furious years of Italian hardcore from the 80’s, Rudimentary Peni and some classic pogo punk with a sense of paranoia to the overall sound. ‘Eterna Lotta represents the continuous internal and external struggle with life: from social interactions to self expectations and how everyone deals with it in eternal conflict. Lucta is the Latin word for "fight" and Lotta fully embraces every aspect of their lives. The band are outcasts, freaks, queers and punks and will forever fight for rights for those that need a voice and push towards a better future.' Limited to 500 copies on pink vinyl.

We're beyond excited to be announcing the next release on our Classic Cuts series, pertaining to none other Israeli duo, Red Axes. The Tel Aviv techno stalwarts are veterans of the scene, over the years honing an inimitable sound which draws on a unique concoction of influences ranging from post-punk and EBM to disco and new wave.

As is encapsulated in the title, Electric Bees EP focuses on constructing strange, uncanny worlds which at times are disorienting, spooky and hostile ('The Electric'); and at others transportive to times past. 'Next One Is Bill' and 'The Bee' combine the retro quality of squelchy, square wave acid synths with an uber-polished production value to see a modern take on the classic sound, whilst 'Axes In The Sky' sees the EP's energy climax. Set apart from the rest of the tracks with a BPM of 130 and distinctly contemporary feel, it gives you a whiplash tour around a myriad of sounds, taking sharp and unanticipated corners at each breakdown.

TIPP! :)

For the latest Cognitiva release the label present the 4th release of their Point of View series which focuses on dance floor-oriented sounds, this time they invite the marvellously talented Dr. Sud to deliver a wondrous, jazz laden odyssey, which entices as much as it delights - with some expert remixes to boot….
Dr Sud is the main alias of Gregorio Marigliano, an Italian music maker who was raised in Berlin. Marigliano’s music revolves around the principles of Jazz-meets-Dance music, drawing up the rich tradition that has come before in bringing a high level of musicality and ingenuity within his tunes. Moving fluidly between rhythms and feels, as Dr Sud he captures the imagination with thought provoking and captivating sequences, striking a fine balance between depth and danceability. Harmonies and groove play a key part within his music, such as was highlighted on his 2023 EP ‘Heading South’, coming courtesy of the Q1E2 imprint. This record really highlighted his profound abilities and deep set affection for instrumentation but also mood and tone, and it left many waiting for his next release with baited breath.

‘Point of View 4’ continues forth with the supreme feels that permeated through ‘Heading South’, with the key movement onwards being the inclusion of some killer remixes from Gary Superfly, Broke One, Turbojazz and Reekee. Two original cuts, ‘Breakfast Sun’ and ‘Desert Wind’, lead Sides A and B respectively, and do much to help create a distinctive balance and bookend kind of feel to the record. ‘Breakfast Sun’ begins with a wondrous polyrhythm to get things going, a lone vocal sample thrown in for good measure, and before long we are joined by some delicate but hyper precise melodic features. The slow drawn out chords contrast superbly with the short sharp stabs, acting in accordance with the drums, with the first breakdown providing space for the keys to really flourish and take over. The breakout back into the core rhythm allows for a lead synth line to emerge, and provide those bountiful feels we were all yearning for. The remixes do much to add flavour and some diverse alternative perpectives on the original, with the Turbojazz/Broke One remix taking things in a house-y leaning direction, with the hats and kicks shifting the rhythmic perspective towards sun kissed horizons. The Gary Superfly remix however takes things into a much more cosmic space, with a punchy acid line weaving within the underbelly of the track, providing that late night dance feel for club land scenarios.

On the B Side, ‘Desert Wind’ kicks things off, and once again the drums here start us off in a winning space. The groove is so delicate, poised and perfected, and when the first breakdown arrives the chords come into view, and its glorious to say the least. This track focuses on a much more smooth melodic sequence, with a greater emphasis placed on the lead line, but its just as impactful and soulful as the EPs opener. Delicate waterfall style keys shift in and out of view, providing an overall picture of sonic beauty that we can get behind time and time again. To wrap things up, the Reekee remix of ‘Desert Wind’ comes into view, with this track again moving into dance floor realms with a swinging garage beat that feels unstoppable, shifting and moving between the lines with a joyous ease.

Dr Sud may be a producer to keep a keen eye on, with this latest EP certainly doing that sentiment a great level of justice. This EP provides not only two beautiful original cuts from the man himself, but some imaginative remixes that honour the originals and provide us with an record that will linger long in the memory. For home use, down by the rivera, or in the club, this one has the lot…..

2024 Re Edition
French producer and DJ Nathan Melja returns with his debut album, "With Dan!", out via his own imprint Parodia, the follow-up to a series of breakthrough releases on cult labels Mister Saturday Night, Technicolour, Antinote, Kalahari Oyster Cult and more.

Produced and recorded over the past two years hand-in-hand with his father Dan, a seasoned guitarist and sound engineer, this album is his most personal project to date and holds a true feeling of spontaneity, juggling between genres and driven by Nathan's characteristic unrestrained creative approach.

Over the course of its ten tracks, Nathan gently steps away from his previous dance offerings in favor of exploring new paces and rhythms, while consistently delivering a refreshed take on his trademark hybrid sound palette and textures. On "With Dan!", he embarks an array of local and international friends on vocals, which bring yet another dimension to his rich, at times lush, at others challenging music.

Forget what you know! We don't know nothing!

Originally released on two tapes on Stucco, now available on vinyl. Ferocious, manic Punk via Austin, Texas. Overpublicised rock hack/full-time gobshite Charles Shaar Murray said of The Clash that they were ‘the sort of garage band who should be speedily returned to the garage, preferably with the motor running’. Now that’s all well and good, but what if I told you there was a band that sounded like they’d taken this to heart and replaced the petrol fumes with all the gnarliest uppers and the cheapest booze? Meet Texas’ Insane Urge, a band for whom no fidelity is too low, no riff is too snotty, and there’s no hook that wouldn’t sound better being crushed into the dirt by a combination of velocity and curled-lip, devilish delirium. This is their ‘Two Tapes LP’, compiling their (you guessed it) two tapes for Down South Tapes - and what a compilation it is! Rattling through 15 songs in 18 minutes, it condenses the primal chords of The Sonics, the dumb thrills of the Oblivians and the smash’n’grab speed of hardcore punk to create something that sticks to your synapses like paste. Almost feels like someone should call Bomp!, Sympathy For The Record Industry and Crypt to check this hasn’t leaked out of their archives - that classic raw vibe is unmistakeably here and it’s an instant winner. From the opening instrumental that shares its name with the band to the minute-long thrill ride of ‘Job’, ‘Two Tapes LP’ is rock’n’roll at its stoopid best (and trust me, you’ve gotta be smart to play this stoopid). It’s a record that’ll cement its place on your speakers, its brevity only serving to make you demand another immediate fix - which you’ll do again and again and again. If the band moniker reflects anything, it’s the fact that you don’t make music like this because you wanna. You do it cos you can’t see any other choice. Listen and love.

INSIDE is the third album (and second in a row on Brixton Records) by the respected ten-piece group from Barcelona that fuses Jamaican music and jazz. DROP COLLECTIVE bravely faces the so-called third album syndrome and makes a sincere declaration of principles, a public manifestation of their musical identity. The two sides of the album are clearly identified. Side A is Inside-Out, displaying five own-penned compositions, including three songs sung in Catalan and two in English, in which DROP COLLECTIVE make it clear what they like to do and what they are capable of offering. The album opens with "Com Estimo Jo" (The Way I Love), a reggae ballad composed by Andreu Domènech (baritone sax) that is dedicated to the growth and learning we do when we love. It is followed by "Let Us Dance", a fluid ska with Latin airs and an invitation to dance, which recaptures the sound of some of the most celebrated passages from their previous album. "Estel" (Star) is a melancholic reggae song, sung in Catalan, in homage to someone who is no longer here - "now you are the star that watches over us from up there, bright, bright". Prior to the release of this LP, four advance tracks have been published on digital platforms, but "Life's Too Short" is, perhaps, the album's single. This resounding reggae with a powerful brass section could have easily taken more elaborate instrumental and studio developments, however, the band has preferred to produce a compact track brimming with strength and lasting less than three minutes. “Ombra" (Shade) closes this side of the album with solemn roots sonorities. The B-side is Outside-In, four reinterpretations of jazz classics that DROP COLLECTIVE internalize, make their own and, therefore, also form part of their identity. The choice of pieces is hair-raising, because of the risks they take. "Yearnin'" is a cover of the song originally included in one of the most epic albums in the history of jazz, "The Blues and the Abstract Truth", by saxophonist Oliver Nelson. DROP COLLECTIVE take the song to their own territory with the skill and freshness of expert ska-jazzers and with the special collaboration of trumpeter Joan Mar Sauqué, they make one of the most famous riffs in jazz sound unashamedly contemporary and... Caribbean. "Day by Day" is an adaptation of the standard from the late forties of the last century that was part of the regular repertoire of, among others, Frank Sinatra. The result is a swinging ska love themed, sugary and romantic, with an exquisite interpretation. And to close the album, two extraordinary trials by fire for Maria del Rio, the band's vocalist, which she solves with total ease and mastery of the situation. "What a Little Moonlight Can Do", a composition by Harry Woods that the legendary Billie Holiday recorded in 1935 and which, after 90 years, still sounds fresh in up tempo ska mode, and "Sinnerman", a traditional spiritual from the early 20th century made popular worldwide by Nina Simone, becomes a lively ska-jazz with soulful touches and an infectious organ solo by Daniel Ferruz. INSIDE is an album with a compact, solid, and synchronous sound, but full of details, which gives a total sense of permanence and singularity to their skareggae- jazz mastery, in which many universes fit.

Enjoy The Ride Records in conjunction with Morgan Creek proudly presents Stay Tuned (Music From the Original Motion Picture). Available on vinyl for the first time, Bruce Broughton's score to the 1992 cult classic comedy featuring John Ritter, Pam Dawber, Jeffrey Jones & Eugene Levy takes listeners on a musical adventure.

Saying Roy Knable loves television is an understatement. He's so hooked on it that his wife takes a baseball bat to the screen and shatters it. Mr. Spike soon appears at the Knable's door, selling Roy a Satellite dish with 666 channels that aren't available on regular cable (because Spike is sent from hell, and the Knables are about to become part of the Hellevision network lineup). The Knables have 24 hours to make their way through the channels (which are hilariously gory parodies of popular television shows and films of the era) to survive.

Stay Tuned (Music From the Original Motion Picture) is a 2xLP pressed at 45 RPM. It's housed in a gatefold jacket featuring original cover art by Drew Struzan, along with new gatefold and back cover art by Garreth Gibson. Pressing is limited to 1,000 copies.

Northern Soul’s most loved and hardest working DJ looks back at his pioneering Rare Soul Uncovered album series that shook the scene in 1984. Compiled and researched by Dave shortly after Wigan Casino had closed its doors where he was a main-stage DJ for eight years. At the time Dave hosted a weekly Northern Soul show on Signal Radio and was the Midlands regional sales manager for Charly Records. Now, forty years on, Dave Evison is reunited with Charly to present the ultimate in Rare Soul Vinyl – 16 unreleased at the time recordings – some of which have never been heard before.

Julian Cope's second album of 1984 - Never re-pressed in its original format, this re-issue faithfully replicates the original Mercury Records UK release with poster, and is pressed onto high quality 180g vinyl. Fried is one of Julian Cope's boldest. It made many think that after a while teetering on the edge, Julian Cope had finally tipped over into an artistic madness, amplified by his wearing a turtle shell and staring at a toy van on a landscaped spoil tip in Warwickshire on the album's sleeve. Opening track Reynard The Fox added to it all, a six-minute psychedelic garage rock tour-de-force, breaking down to a Cope monologue where he gravely intones English folk tales from his vantage point, referring also to an onstage stomach-slashing incident from 1983. Sunspots, the sole single taken from the album, is one of his greatest recordings in a career that spans over 40 years. Fried is up there with some of the very best works of the singular British eccentric.

oreglo is made up of c-sé (keys), Linus Barry (guitar), Nico Rocco (drums) and Teigan Hastings (tuba), who all met growing up in London. Nico and Linus met at secondary school, before Nico went on to meet Teigan and c-sé through the youth organisation Tomorrow’s Warriors, bringing them all together.
Across the Not Real People EP, oreglo showcase their innovative take on multiple genres: freewheeling through heavy rock riffs to drill-inspired percussion and breezy reggae, the quartet have cultivated a unique sound that acts as a melting pot of all the sounds they know and love from London.
Since officially forming just over a year ago, they've already been hand-selected by Ezra Collective to win the 2023 Lambeth Sounds Emerging Artists x Cross The Tracks competition; played the recent Steam Down–curated World Island event in Leeds; supported Gabriels at Somerset House; composed for The 1975's North American tour; and have seen support from Steve Lamacq, Jack Saunders + more across national radio.

Enjoy The Ride Records proudly presents the Don't Fall In Love With Yourself Soundtrack.

Don't Fall in Love with Yourself is a documentary that explores the life of enigmatic musician and artist, Justin Pearson (The Locust, Swing Kids, Dead Cross, Planet B, Head Wound City, Deaf Club). From childhood tragedy to his rise in the San Diego punk scene, Don't Fall in Love with Yourself takes an in-depth look at a career made of blood, sweat, and spit.

Much of the footage has been sourced from dozens of VHS & Mini-DV tapes recorded over the past three decades. With never-before-seen footage of one of the most interesting and unique musical movements in recent memory. Interviews include Justin Pearson, Dave Lombardo, Eric Paul, Gabe Serbian, Jason Pettigrew, Travis Ryan, Jeremy Bolm, Jon Syverson, Molly Neuman, and more.

Don't Fall in Love with Yourself includes tracks from throughout Justin Pearson's career plus previously unreleased score music by Luke Hensgaw (Planet B), Alex Edkins (Metz) and Graham Walsh (Holy Fuck). It features music by The Locust, Swing Kids, Struggle, Crimson Curse, Retox, Planet B, and Justin Pearson/Gabe Serbian. Remastered by Dave Marino for vinyl.

Don't Fall in Love with Yourself is housed in an embossed silver foil laminated jacket, which includes a full-color double-sided insert.

2026 Repress

Hometown to Come' is the second full-length album by Minhwi Lee from Seoul, South Korea. The eight tracks were written over a period of seven years after Lee's first album and loosely form a single story, contemplating how people who have lost their hometown can return.

“What I had imagined from the title, Hometown to Come, was something forever delayed yet constantly approaching; however, upon repeated listens, it takes on a different meaning—a promise of hospitality being realized every day. Even if our places to meet disappear, ‘the song we sing today’ will remain. We will continue to grow, cross paths again, venture far away, and encounter more faces. And when time has passed and you, having forgotten me, ask about my smile or sadness, I will hum ‘the same song,’ cherishing it as a keepsake.” (morceau j. woo, sound designer)

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.

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.

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.

Two years after her debut on SPFDJ's Intrepid Skin, Valerie Ace is already counted as a quickly rising voice in techno, her work featuring on Anetha's Mama Told Ya, Mala Adh, Haven, and more. In 2023 she founded her own Hardwon imprint, now on its 8th release and featuring established and upcoming names like Ryan James Ford, WTCHCRFT, and others. Now Rant & Rave offers her third vinyl full EP, Givers & Takers, confirming her premier place in contemporary techno. The title track starts ominous, pensively drawing tension over a slow breakbeat as busy percussion patterns interlock, leading into its intense second half, where heavy bass doubles down and pushes to a bruising climax. 'Eat Dirt' takes after its title, grinding faces into grit as it switches between breaks and straight sections while pounding the floor into submission. 'A Moment Lost' loses no time charging out of the gates, ratcheting tension with quickly evolving snares, the filtered bass punches driving the track over steadier, atmospheric background sounds. The afternoon or afterhours vibe of '3PM' is accentuated by seasick synth layers contrasted against malignant drums, unsure if the drugs are wearing off or kicking back in for another trip.

BOBBY ROBINSON was more than a fixture in hisNew York community, he had been an essential part of its lifeblood for over 60 years. Had he just been the proprietor of the first record store (and reputedly the first black-owned business) on 125th Street, he would have been important enough, but he also had an ear for talent, recording landmark music across four decades, always at home with the music of his neighbourhood, be it doo-wop, R&B, soul or even rap.

He was an entrepreneur involved in over a dozen different labels, sometimes on his own, sometimes with a partner, often with his brother Danny, and he was behind records that became internationally famous by Gladys Knight, King Curtis, Elmore James, Lee Dorsey, Wilbert Harrison and Grandmaster Flash. He made many more that were simply good, and this compilation takes aim at the great work he did as a soul and R&B producer during the 1960s and early 70s. It’s an introduction that shows the quality that he created had depth beyond the headline names.

Joe Pernice has been writing for a long time—most of his life, in fact—and has crafted a remarkable catalog that boldly reinterprets and recasts classic American pop. Who Will You Believe may be his most moving and nuanced album yet; it’s certainly his timeliest. “These songs were all written during the same time period,” he says, “and they all seemed to tap into a mood I was in at the time. I go through spells where I’m a certain way for three or four months. I might be more reticent than usual, or more outgoing. With all of my records—and especially with this one—the songs all feel like they belong together, probably because they all arrived during the same stretch of time.”

In a single six-month stretch he was left reeling from the deaths of three close friends, including David Berman, poet and songwriter for Silver Jews and Purple Mountains, and Gary Stewart, the Rhino Records co-founder and tireless Pernice Brothers supporter since their first album in 1998. “That was such a bad patch when David and Gary both took their own lives. And my cousin Joe Harvard, who started Fort Apache Studios in Boston and was like a brother to me—he died, too. It was such a tough year. I was thinking about them a lot and watching how divided America had become. I was doing my best to try and take nothing for granted.”

Pernice has been releasing albums for over 25 years. And with age comes a greater patience and an immense appreciation for the act of creation. Who Will You Believe showcases a beautiful balance between such sadness and moments of solemnity with warm humor and camaraderie.

Suburban Architecture are pleased to announce the fourth in their 'Architecture Dubs' series of limited edition 10" vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material in homage to that most innovative of periods.

Following on from the now sold out release of Architecture Dub #001 (featuring remixes from Peshay and DJ Trax), #002 (featuring Blame and DJ Trace), and #003 (featuring Nookie and DJ Crystl), edition #004 enlists two further legendary names to put their stamp on the duo's material.

Ray Keith is a DJ and producer who requires little introduction. From his beginnings in the Acid House scene of the late 80s through to the present day via Hardcore and, of course, Jungle, Ray's output has been a steady presence in UK dance music for over 3 decades. From manning the counters of legendary record stores including London's infamous Black Market Records to masterminding bonafide dancefloor hits such as 'Terrorist' and 'Dark Soldier', Ray has touched every corner of the scene. For this remix, Ray brings some of his trademark Dread flavour to 'The Drifter' injecting some tough Amen and Bassline energy to the track.

DJ Harmony is another DJ who cut his teeth behind the counters of some of the scene's pivotal record stores, having worked in Lucky Spin and Section 5, while releasing music on some of the most important imprints in the genre, notably including Moving Shadow. Today Harmony is best known as the driving force behind the brilliant Deep Jungle imprint which delivers classic, new and unreleased music from Jungle's heaviest hitters. Recent releases have come from names including Adam F, Dilinja, DJ Trace and, naturally, Harmony himself. Harmony's remix of 'The Believer' takes cues from classic Jungle with a half time break down, giving way to a smashing Amen workout accompanied by the rousing vocal refrain of the original.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

Following their ground breaking "Wet Dirt" album from 2019, CRIMEAPPLE and DJ Skizz are back to take you on a worldwide flight starting off in Hradec, Czech Republic. The New Jersey rapper and Brooklyn producer step up their game once again on this new offering, with CRIMEAPPLE solidifying yet one more time his position as one of the best lyricist out there, painting perfect pictures all by himself over Skizz's top-tier productions, with an extra soulful and vintage touch added to it. Fasten your seat belts as this one is yet another classic to listen up above the clouds!

We are proud to announce the 20th anniversary of "The True Meaning", the 2nd studio album by legendary Queensbridge MC Cormega. This critically acclaimed album was the first Independent Hip Hop album to win the prestigious "Independent Album of the Year" at the Source Awards in 2003. This is a true classic featuring Mega's sharp and heartfelt rhymes over tight well-crafted beats produced by The Alchemist, Large Professor, Buckwild, Hi-Tek, DR Period, J. Waxx Garfield, J-Love and others. Standout tracks include "The True Meaning", "The Come Up" Produced and featuring Large Professor, The Alchemist produced "The Legacy", "Built For This" produced by J. Waxx Garfield and the J-Love produced "Love in Love Out".

Simple Symmetry are back on Calypso for a second offering but this time around it's in a different format. They've enlisted remixes of tracks from their Sorry We Did Something Wrong album which first landed back in 2021 as a self-released project, which won over many fans with a sound that went way beyond the club and now gets repurposed for the dancefloor with extended and club versions. The Horsemen Of Housing & Commercial Services rework of 'Che Che' is a dark disco classic, Smaghhe & Cross rework 'Rounded With A Sleep' into something taught and trippy and INigo Vontier layers in plenty of darkness, grit and grime to his take on 'I Must Not Fear'.

Good news! Pacific Rhythm returns with its first long player of 2024 on July 5th from ZG, a collaborative effort from Zansika Lachhani and Grant (aka Tony from Frank & Tony). The LP titled “Out Of The Unknown” is the followup to the duo’s first incredibly well-received self-titled LP that landed back on NYC-based label Scissor & Thread in 2022.
Over the course of 6 tracks, ZG takes their sound a step further, building rich, deep, and complex rhythm patterns paired with thoughtful and unexpected musical arrangements. The voice of Zansika ties it all together to create a unique and singular vision of modern deep dance music informed by the duo’s life-long musical journey.

“Out Of The Unknown” effortlessly flows through dramatic atmospheric downtempo landscapes, MPC-style beatmaking, late 90’s deep house, and beautifully builds a bridge between UK and US-inspired sounds. Enjoy the trip! It’s certainly a beautiful one.

Bugger Off! picked up where its predecessor left off, and rampaged on from there. Covers of Zappa’s “Willy the Pimp” and the Kinks’ “You Really Got Me” might have seemed a little obvious, but both are battered down with such a glorious lack of finesse that it’s impossible to object — anybody familiar with, respectively, Juicy Lucy and the
Hammersmith Gorillas’ versions of the same songs will come in with at least a vague idea of what to expect, but that’s about it.

“Hoochie Coochie Man” is even more disheveled, and when John Peel’s liner notes reminisce on the group’s insistence on recording live, you can tell he’s not necessarily looking back with any fondness.
On one occasion, he suggested they do a little overdubbing.

The band’s response to his words would become the album’s title. Including “Mama Keep Your Big Mouth Shut” as bonus track taken from the 1972 John Peel Session.

The daughter of a Brazilian mother and German father, Astrud Gilberto achieved international prominence with “The Girl From Ipanema,” an inauspicious debut

recorded for the landmark album her husband, Joao Gilberto, created with Stan Getz in 1963. Moving to the USA, where she was subsequently based,

she continued her solo career and also toured with Getz, with whom she later began a relationship. Over-the-top classic That Girl From Ipanema allowed

her to revisit the hit in the sweeping high-fidelity full-spectrum setting of a disco big-band,

the album overseen by MFSB and Salsoul mainstay, Vince Montana.

Along with individual takes of Cole Porter’s “Love For Sale” and Harry Nilsson’s “The Puppy Song,”

original “Far Away” benefits from the understated trumpet of Chet Baker, but the album ultimately revels in all things disco,

the Brazilian element coming courtesy of percussionist

Dom Um Romao on select tracks. Crank up the volume and tune in to the brass, piano and percussion that percolates under Astrud’s characteristically soft

and sultry vocals to fully experience this underrated gem.

Husband-and-wife soul duo Ike & Tina Turner produced an astounding string of hits during the 1960s and 70s, before Tina found the will to go solo. Unjustly overlooked at its time of release, the duo’s first blues album finds Tina’s passionately powerful voice holding plenty of grit and Ike’s guitar a restrained accompaniment throughout; the take of Sonny Boy Williamson’s ‘Crazy ‘Bout You Baby’ has gripping electric piano and buzzing blues harp and Ike’s ‘Grumbling’ is a killer guitar groove. A good mix of covers and originals, it shows how well the duo could work in the blues idiom. Another great LP for all Ike & Tina fans!