quête:form

Unknown spiritual jazz gem recorded in Argentina in the 80s, under the influence of Pharoah Sanders, Don Cherry, Archie Shepp_, and originally released on Litto Nebbia's label Melopea. Already supported by Gilles Peterson on his radio show, this mind-blowing album combines ethno-free jazz passages and deep progressive compositions led by saxophonist Marcelo Peralta resulting a very impressive ode to the legacy of Coltrane. First time reissue. Includes extensive notes and many previously unpublished photos. 180g vinyl. DESCRIPTION Unknown spiritual jazz gem recorded in Argentina in the late 80s, under the influence of Pharoah Sanders, Don Cherry, Archie Shepp_, and originally released on Litto Nebbia's label Melopea. This is the first and only album ever released by this band, Grupo de Improvisación Tercer Mundo (Third World Improvisation Group), formed by a quartet of young musicians based in Buenos Aires accompanied by drummer Norberto Minchillo (López Fürst, Fernando Gelbard, Jorge Navarro_) and Litto Nebbia himself during the recording sessions. They would also organize weekly jam sessions in public spaces in Buenos Aires, getting visual artists, poets and even passersby involved in these communal actions that aimed to promote self-expression in an environment of total freedom. After the gigs they'd gather again for intense listening sessions of deep jazz for hours_ Already supported by Gilles Peterson on his radio show, this mind-blowing album combines ethno-free jazz passages and deep progressive compositions led by saxophonist Marcelo Peralta resulting a very impressive ode to the legacy of Coltrane and a very accomplished work of jazz improvisation. 'Almas Liberadas' and 'Un Hilo de Luz' sound as a clear tribute to Pharoah Sanders, as the subtitle of the latter openly states. First time reissue. Includes extensive notes and many previously unpublished photos.

Louis Armstrong ist nicht nur einer der Schöpfer des Jazz, sondern mit Trompete und unverwechselbarer
Stimme eine auch heute noch enorm beliebte Pop-Legende. Diese bislang unveröffentlichte Live-Aufnahme
ist ein neues Juwel im Katalog des Künstlers, der seine größten Hits hier in swingenden, mitreißenden
Versionen präsentiert.
Im Sommer 1968 reiste Louis nach London, nur wenige Wochen nachdem er mit seinem Überraschungshit
”What A Wonderful World” Platz 1 der britischen Charts erobert hatte, und nahm in den BBC-Studios
einen Auftritt voll ansteckender Vitalität auf. Er selbst hielt diese Aufnahme für eine der besten seiner
gesamten Karriere.
Fünf Jahrzehnte nach seinem Tod veröffentlicht Verve den Mitschnitt jetzt erstmals komplett und frisch remastert auf Vinyl, CD und in digitaler Form, begleitet von ausführlichen Linernotes von Armstrong-Biograph
Ricky Riccardi. Hier erlebt man „Satchmo“ in all seinen Facetten, mit Jazzklassikern wie “Indiana” und
“When It’s Sleepy Time Down South”, seinem Chart-Hit ”What A Wonderful World” und Versionen von
Evergreens wie ”Mack The Knife” oder ”The Bare Necessities” aus Disneys „Dschungelbuch“.

Lovesick is an Italian based band formed of Paolo Roberto Pianezza and Francesca Alinovi. Two multi-instrumentalists, whose influences are deeply rooted in the American country, rock"n"roll and western swing music of the 40s and 50s. In addition to their vocal harmonies, Paolo plays electric and acoustic guitar, as well as lap steel, Resonator and Dobro guitar. Francesca plays double bass with the addition of a brush pad, a percussion built into the double bass to keep the rhythm with a drum brush. The duo is joined by Alessandro Cosentino on fiddle and drums. Lovesick have played as opening act for Ben Harper, JD McPherson, Zucchero, ToquinIo and Edoardo Bennato and they have played big festivals all around Europe, alongside the likes of The Offspring, Social Distortion, Walter Trout, Fu Manchu, Secondo Casadei Orchestra and Ten Years After.

SIDE A/B BLACK / WHITE / NEON MAGENTA VINYL, limited to 100 copies. REPRESS of the legendary album. Prior to the formation of Queens of the Stone Age, bassist/singer Nick Oliveri recorded some originals with ex-Kyuss bandmates Josh Homme (guitar) and Brant Bjork (drums), plus Karma to Burn's Rob (drums) and others. But once recording was completed, Oliveri decided to shelve the tapes; it wasn't until several years later (well after Queens of the Stone Age began to establish themselves) that the bassist decided to release the songs on a friend's indie label, Southern Lord Records. Going by the name Mondo Generator, 11 tracks were compiled for the 2000 release Cocaine Rodeo. The majority of the songs are much more raw and hardcore/punk-based than Oliveri's output with QOTSA, as evidenced by such tracks as "Shawnette," "Uncle Tommy," "Unless I Can Kill," and "I Want You to Die."

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

Christopher Cross's debut album boasts nine legendary hits, solidifying its status as one of the most successful LPs of the classic rock era. This masterpiece is a treasure trove of chart-toppers, including the iconic "Sailing," a timeless number one that cemented Cross as a superstar and earned him all four general field awards in a single ceremony at the 1980 Grammy Awards, bringing home Record of the Year ("Sailing"), Album of the Year (Christopher Cross), Song of the Year ("Sailing") and Best New Artist at the 23rd Annual Grammy Awards. This feat was not replicated for 39 years, until Billie Eilish won all four awards at the 62nd Annual Grammy Awards in 2020. Other top hits like "Ride Like The Wind," featuring superstar Michael McDonald, further showcase the album's crossover appeal across all formats in 1979. The album features some of the most sought after musicians of the era including Don Henley, Larry Carlton, Eric Johnson, and more! Produced by legendary producer, Michael Omartian. Seeker Music is proud to present this iconic new pressing featuring limited edition lyric poster insert.

Ulvhedner hails from the valley Sauda in the west of Norway, where the band was formed by Svein Terje (ex-Tristania) & Arild back in 1993. Evolving through the late 90’s synth-driven and melodic second wave of Norwegian black metal, Ulvhedner made an impression on the scene through some demo’s with their folk influenced black metal sound. Their first full length album “For I Tida”, which roughly translates to ‘in old times’, saw the light of day only in 2009. The next ten years Svein Terje carried the band as a single entity with releasing a few ep’s, but also working with and under different monikers as Skygge, Mihrim, Drylar, Blodorn and Ode Vidder. During the pandemic Terje wrote Ulvhedner’s second album “Legd”. Ulvhedner resurrected now as a band again, including Arild, with renewed energy, and with Bjornar providing all lead vocals and Jan Rune Hoftun on drums. The varied and aggressive soundscape of the new album “Fjosmetall”, which also marks Ulvhedner’s 30th anniversary, is a tale of local Norwegian folklore once more, performed with the grim sound of old school Norwegian black metal. It features 8 tracks of pagan melodies in crisp cold and dark Norwegian black metal art, with Norwegian titles and lyrics inspired by the hardships of old mountain farmers and workers in the winter-land of the North that built the country.

Veiga lands straight on the dancefloor, no ambiguity about it. Spurred by the guys from RS Produções, he's been honing his DJ skills since he was 17 (currently 23), initially with partner Nunocoox, who gave him even more motivation. Production came naturally sometime in 2020. We venture: maybe one of the good things coming out of the lockdown? Summer of '22, his debut at Musicbox (at the Príncipe monthly residency) is recorded as a festive, lively set, punctuated by the kind of crowd shouts only heard when things go really happy and sweaty. Since then, Veiga's name has been spotted regularly in the afro club scene, growing in reputation

This side of kuduro, "Leandro" is as expressive as it gets, with percussive forces pulling in deceitfully different directions, much in the same style as the slower form of tarraxo. But we can call this house, yeah? No niceties, however: little over 3 minutes and the track abruptly cuts into silence, exuding the raw power of something made for the mix, not in the least "for the people". In a similar pragmatic mode, the stabs in "Sem Nome" get the party started unannounced. Full mode, for the duration. Minimal groove, broken beats and emotive highlights. "Boiler Room" may be wishful thinking, an interpretation of what is required to rock the place or, ultimately, just a title to wrap up the project. In any case, here's a feisty vocal-and-whistle driven stormer, building up to perfection over three and a half minutes. All elements exactly where they belong. Relentless pace in "X de Destroi", a dark side operation, unreal ambiance, breakneck beats, a purgation?

The title "Tudo É No Guetto" contains all the necessary theory. Everything happens in the ghetto. This uplifting house slab celebrates life as it is, freezing hardships for a moment, the ghetto seen as welcoming, a natural place to be. Vocals stashed away in his cell phone come from the animação crew Os Twinni (he joined them for a while). Clipped, repeated and manipulated to convey the very simple feeling of good times. Veiga himself talks about growing up with minimum resources but still happy. That is the memory he retains from being a kid in the ghettos of Amadora, just outside of Lisbon, born to a Cape Verdean father and Portuguese mother. Though the music sounds carefree and the message is chilled, let us not be tempted to rebrand Reality.

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)

Subexotic Records warmly welcomes Miles Otto, with his debut full length LP Desynclined, objectively his most ambitious and conceptual project to date. Following a series of inaugural EPs inhabiting the
margins of dance music and metronomic rhythm, Desynclined takes an unexpected turn. Patterns become twisted, formulae disassembled, and a form of restless energy abounds, feeding off the inherent entropy of live improvisation.

‘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.

‘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.

Fellwarden was a concept forged by The Watcher (Fen, De Arma) back in 2014 to give voice to an epic, exultant form of black metal that nonetheless carries with it echoes of deep lamentation and remembrance. The Watcher’s goal was simple – to tell tales of sacrifice, of long-forgotten heroism and the rearing timelessness of the storm-forged landscape against a backdrop of windswept extreme metal. Fellwarden’s sound is steeped passionate vocals, subtle waves of keyboards, acoustic guitars, booming choirs and powerful riffs, underpinned by a cavernous percussive battery courtesy of Havenless (also of Fen).

After two years of careful crafting, the debut album of Fellwarden ‘Oathbearer’ is now ready to be proudly unleashed by Eisenwald – six stirring hymns of strident ambience and powerfully emotive songwriting. A heavily layered, textured release, ‘Oathbearer’ at once convokes the essence of contemporary acts such as Drudkh and Negura Bunget whilst simultaneously channelling the spirit of the old masters – Summoning, Bathory, Abigor, (early) Emperor and (early) Ulver.

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.

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

Pledging to Keep It Alive with her debut album in 2022 (In The Red), Liz Lamere doubles down with her latest full-length second album, One Never Knows, released on In The Red. Dedicated to her late partner Alan Vega, with whom she collaborated on his solo works for over three decades, Lamere’s minimalist approach to creating music is clearly in line with the Vega aesthetic that she helped develop with him during countless experimental hours in the studio since the late ’80s. Lamere teamed up again with her and Vega’s son Dante Vega Lamere in their Dujang Prang NYC home studio surrounded by the Suicide singer’s spectacular light sculptures, co-producer Jared Artaud, and mixing and mastering engineers Ted Young and Josh Bonati. Vega had always encouraged Lamere to create her own music. After he passed away, she began writing as a form of catharsis which became the inspirational bedrock for her solo music. Lamere said, “At the end of Alan’s life, he was using the expression ‘one never knows’ to underscore that we don’t know how much time we have in this realm or where this journey will lead us. It was a phrase that had resonated so much for me. Alan taught me to go bravely into the unknown; to be fully present in the moment and deeply explore what is already here.”

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.

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.

Daisy Records are an award-winning midlands based label, not afraid of fusing genres, a mix of Hip Hop, Neo-Soul, Nu Gospel, Funk and Jazz - all with a christian ethos . We work with local musicians and producers and are blessed to collaborate with a myriad of overseas musicians and producers to create an eclectic and bespoke sound .Using digital mediums to promote an analogue sound !

We believe in fair trade for music and so therefore our physical (vinyl) products will include tracks not available on digital formats .

Terumasa Hino is undoubtedly one of the most famous Japanese jazzmen. Learning the trumpet at the age of 9, he began his career as a professional musician by playing in the orchestra of an US Army base, before joining Hideo Shiraki's Quintet and then forming his own band in 1964. On Hi-Nology we find his brother Motohiko Hino on drums, Hiroma Suzuki on electric piano, Kumitsu Inaba on electric bass and Takeru Muraoka on tenor sax. The inspiration from the "electric period" of Miles Davis (notably Miles In The Sky released in 1968) is felt and is even accepted, since the opening piece is entitled "Like Miles". Coincidentally, Hi-Nology was recorded on July 31, 1969, the day after the release of In a Silent Way and has nothing to envy of this great record by Miles Davis.

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.

repressed !

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

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

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

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

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

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

Over the past decade, Kasra V has blossomed as a prominent figure in the music industry, particularly through his renowned residency on NTS Radio which has expanded his profound knowledge and expertise in music. Since landing his radio residency in January 2014 he has successfully broadcast over 200 radio shows, making use of the format to explore a wide array of sonic attitudes, styles and systems. To celebrate his achievement Kasra V launches his own imprint V-Sion which he will not only use for his own release output but also to propel his vision of contemporary dance music. To kick things off he presents a stunning 9-track compilation '10:10 Kasra V presents 10 years on NTS Radio' featuring unreleased tracks from some of his most revered guests who have graced his show throughout the years. Each contribution is wholly in line with Kasra V's genre-spanning approach. Over the years some periods have seen him playing straightforward club music, others featuring an extended notion of listening music. One hears a whole breadth of influences in his releases on acclaimed labels such as Radiant Records and Shaytoon Records: collected strands of rave, acid house, San Francisco breakbeat, new beat, ambient, oddball pop from 90s and 80s, UK bleep and so on. The regularity of a broadcasting residency pushed him to carry out a constant study of the history of dance music, and he envisions V-Sion as an output to curate musical output, contributing to the ongoing dialogue between past, future and the ever-changing fulcrum of the sonic present. The tracks presented on 10:10 are also emblematic of this historically-informed approach to dance music. They are all tuned for the floor, but present a range of possible floors to conjure: Fantastic Man's progressive opener, "Neural Filter", is airy and laced with delicate breakbeats, while "Archangel Waltz" by Sepehr presents a shadowy drama of string samples and throbbing bass swells."Qadak" by 500SEC lays an anthemic Arabic melody over bubbling electro; 2 tracks prior, Angel D'Lite circulates a whisper and moan through the mix of a euphoric, rave-stabbed anthem. The latter encouraged Kasra to put out this very compilation, which is just a testament to the value of the company we keep.

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.

After a few concerts/screenings improvised as a duo in Cairo and Beirut, as well as for the Rencontres d’Arles, the Lille photography center and the Belgian magazine Halogénure, Dargent and Oberland have teamed up with mavericks Elieh and Halal for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin,
urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man’s-land where trance and contem1plation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma. From the possible emergence of a Babelian language to the shared desire to rediscover mu[1]sic as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by Benoit Bel (Zombie Zombie, Thurston Moore Group, Oi[1]seaux-Tempête). A hallucinated and generous testimony, SIHR is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced on the glowing ashes of our days

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

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

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

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

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

About this release:


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


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

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

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

[p] Roses [Feat Leron Thomas]

Repress!

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.

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.

- 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 duo’s music has traces of 1980s dream pop and 1990s slowcore, particularly Low, another married-couple band. There’s more to the comparison than ink on a certificate. Marriage’s suffering and devotion breed a particular kind of intimacy. Windy & Carl often resemble an ambient version of Yo La Tengo, another group that centers on a long-wed duo and conveys a secret, profound sense of life beyond the music.’’ PITCHFORK 7.2
For the first time in almost twenty years, Windy & Carl’s second album for kranky, Consciousness, will be available on the vinyl format once again. The fourth album from Michigan’s premier space duo, again delivers their shimmering trademark wall of sound, beautiful vocalization, and delicate songcraft. Six sweet and easy new tracks recorded in their home studio in Dearborn, that drift and dream with layered guitars, keyboards, bass and a love-arsenal of delicious effects and distortion.
“There is an airy shaft of light that extends straight through these six extended pieces, offsetting the density of sound with a breezy loveliness that’s almost impossible to articulate, towering on a floating sea of mesmerising, sub-level sounds.” —Boomkat
“Genre descriptions such as ‘ambient guitar soundscape’, ‘wall of sound’ and ‘drone’ fail miserably to capture the astonishing, magical emotional beauty of their pieces.” —Cyclic Defrost

This latest installment of Mr. K Edits focuses on two midtempo cuts for the roller skaters and lowdown groovers, with a couple of deep album tracks that are appearing on 7-inch for the first time — both with unique Mr. K edits.

First up is “Felix Leo” from Californian keyboardist Rodney Franklin. A subtle instrumental that was overshadowed at the time by the monster hit “The Groove” (also known to UK’s jazz dancers as The Freeze), “Felix Leo” is that creeper that makes its way into your consciousness and won’t let go. As he so often does, Mr. K trims the track to its leanest, meanest measures, starting directly from the menacing, hypnotic chord progression that forms the root of the composition. Proceeding at a stately leonine pace befitting the title, the song spirals beautifully, as a lush string section encourages the listener to get lost in the unfolding sonic textures.

“In Love” is a very early Prince track, in fact it’s the very first cut in which we hear Prince play instruments on his debut album, released in 1978. And play instruments he does, every single one of them — drums, bass, guitar, and above all, those creamy ARP and Moog synth lines that power this tune. Bouncing along on a rhythm that blends a solid four-on-the-floor stepper’s groove with a hint of the staccato upbeats of reggae, this one’s an easy warmup for dancers and a perfect tempo for skaters. Mr. K’s edit gives us the extended mix the album never did, adding nearly two minutes to the LP timing without ever feeling strained or repetitive.

“I learned both of these songs for roller skaters in my early Roxy days,” Krivit says, referring to the legendary downtown NYC roller rink, “both had those grooves that stood the test of time.” We think this exclusive 7-inch will do the same!

As always, these are mastered and cut to vinyl with both home hi-fis and club systems in mind, and the sound is unmatched.

German artist Martin Matiske’s start in music came at the hands of the legendary DJ Hell, who invited him to his first DJ gigs in 1999 at one of his Gigolo label nights in Munich. His own productions, inspired by early electronic pioneers like Kraftwerk and Jean Michel Jarre, soon followed on International Deejay Gigolo Records, as have many more since on Frustrated Funk, Bordello A Parigi, Moustache Records and Central Processing Unit. Matiske has had high-profile support from the likes of Dave Clarke and Helena Hauff, and this new EP for Brooklyn-based label Melodize is another one that will likely find wide acclaim.

The fantastic ‘Moments’ opens up with ice-cold snares and drum sounds that are backlit by celestial pads as retro-future synth work brings colour to this catchy and optimistic proto-electro groove. ‘Moments’ then gets a sublime remix treatment from the prolific and endlessly creative Legowelt, who has explored every different style possible under a myriad of aliases on a range of cult labels like Clone, LIES and Crème Organization. The Dutch maestro’s superb take on ‘Moments’ is an astral electro workout with killer acidic lines, squelchy bass and daubs of psychedelic colour.

On the flip, ‘Dimensional Space Travel’ is another cinematic electro journey that taps into the motorik tick of Kraftwerk with distinctive melodic phrasings, forming a playful call-and-response with the background chords. Closer ‘Analogue Being’ taps into early electro with lovably tinny rhythms and sugary, pixelated analogue chords that bring a sense of nostalgia and ruefulness.

First vinyl edition pressed on Cirrostratus Cloud colored vinyl and includes a "Footlong" OBI.

Underground lifer Nick Sakes returns on the debut LP from Upright Forms. The tight-knit Minneapolis trio feels like the culmination of Sakes' varied and prolific career to date, bringing together the unhinged prog-punk ferocity of Dazzling Killmen & Colossamite with the careening chaos of Xaddax and the shout-along hooks and dynamic songcraft of Sicbay. Blurred Wires is skewed yet tuneful, challenging yet compulsively listenable, concise yet brimming with invention. The experience of a lifetime distilled to 33 rotations across a gripping 33 minutes.

Consider "They Kept on Living," a song that first appeared in an earlier version on the SKiN GRAFT comp Sounds to Make You Shudder!. It starts off with a grinding 7/4 groove, with cryptic lines over scratchy noise-punk chords. After a brief build, the band explodes into a massive chorus, with Sakes shouting the title line against a fist-pumping riff.

The trio sound equally convincing digging into the pummeling aggression of "My Lower Self," where Sakes' vocals start off as a feral snarl and then soar triumphantly during the chorus, or the soothing indie-pop hush of the Paster-penned "Drive at Night."

Various "tug-at-your-heartstrings" touchstones informed "Long Shadow". Sakes channeled Television Personalities, cult heroes of melodic British post-punk, on "Animositine," which he accurately labels "our prettiest song."

Nearly 35 years into his career, Sakes is finding new ways to challenge himself -- and in Paster and Westphal, he's found two musicians who are equally comfortable with both the thorniest and the loveliest manifestations of underground rock. When they reflect on their chemistry, they agree that their openness to collaboration is, as Sakes puts it, "one of our superpowers."

On Blurred Wires, that superpower yields dynamic, challenging and profoundly memorable results.

Emerging once again from the unending waves crashing upon our fragile time-craft (adrift on the eternal ocean, and taking on water), Dirty Three are (a) back, (b) tangled in seaweed, rank with saltwater and possessed of three rather ominous thousand-mile stares (at least!), and (c) not wasting another minute – as nothing is guaranteed. For their first album in over a decade – yep, it’s been since 2012’s Toward the Low Sun – they flew in, got together and started playing. End of story. What else is there to say or do but that? Music’s their language, their true love; they never stop listening to that. And like the label says, Love Changes Everything.

The Dirty Three – Warren Ellis, Mick Turner and Jim White – formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they’d broken out – out of Australia, out of anything else they might have been inside of, to boot – and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums out along the way. After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents. Over the past 20 years, they’ve gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. Like now

Sie schrieb Rihannas Überhit "Diamonds" (in 14 Minuten!), sang und schrieb die David Guetta-Hits "Titanium" und "She Wolf" sowie Flo Ridas Millionseller "Wild One" und komponierte zahllose Songs für Katy Perry, Beyoncé, Britney Spears, Birdy, Christina Aguilera, Kylie Minogue und Eminem. Im vergangenen Jahr gab sie mit dem Song "Elastic Heart" (auf dem "The Hunger GamesSoundtrack" und auch auf ihrem kommenden Album) ihr internationales Chart-Comeback unter eigenem Namen. 2014 veröffentlicht die australische Sängerin und Songwriterin SIA nun endlich ein neues, eigenes Album "1000 Forms Of Fear". Die 1. Vorabsingle ist die in jedweder Hinsicht atemberaubende Pop-Hyme "Chandelier", die mit Jesse Shatkin entstanden war und von ihrem langjährigen Studiopartner Greg Kurstin (P!NK, Lily Allen etc.) produziert wurde. In ihrer Karriere veröffentlichte Sia bislang 5 Solo-Alben, zuletzt 2010 die LP "We Are Born", die Platz 2 der australischen Charts erreichte und ihr auch in Deutschland die erste Album-Chartplatzierung bescherte. Das Billboard Magazin widmete ihr eine Titelgeschichte mit der Headline: "This artist is responsible for 12 million track sales… and doesn't want to be famous".

In a joint venture with Weird Vacation, fmd is pleased to announced the long overdue reissue of the classic Plush debut album, More You Becomes You. Originally released in 1998, More You Becomes You was revered upon release and has been remastered from the original tapes by Jason Hillier with new Digital and DL masters created by Bob Weston who also recut new lacquers for the vinyl reissue. Described by Uncut magazine as “One of the most charismatic and eccentric pop craftsmen of the past twenty years”, Liam Hayes has been making critically acclaimed records since the 90’s. His first single “Three-Quarters Blind Eyes b/w Found a Little Baby” released under the moniker Plush, was cited by the NME as being “..one of those rare records - and incredibly rare debuts - that instantly seems a classic..” Although he emerged from the Chicago indie-rock scene, Hayes is often compared with artists such as Jimmy Webb, Brian Wilson, Laura Nyro and Harry Nilsson. Like some of the best folk-pop or soft soul from the 1960’s and 1970’s there is a timeless quality to his music. Re-release of debut album More You Becomes You is remastered from the original analogue tapes by Jason Hillier and recut for vinyl by Bob Weston, who also remastered the CD and Streaming formats. A deluxe 12 page full size booklet comes with the LP version (which also comes packaged as close to the original as possible, with a printed outer envelope/bag) and a 20 page booklet comes with the CD version put together by Liam and Jason Harvey, with Sleeve Notes by John Mulvey.

Fin Greenalls introspektives, philosophisches und sanft euphorisches Songwriting wurde mit den langjährigen Bandkollegen Tim Thornton (drums/git) und Guy Whittaker (bass) in völliger Abgeschiedenheit aufgenommen. Der gebürtige, in Berliner lebende Cornwaller suchte die Einsamkeit und Bodenständigkeit des kleinen Dorfes Zennor an der malerischen Atlantikküste Cornwalls, wo die Band das neu errichtete Studio des Produzenten Sam Okell einweihte, des Grammy-prämierten Tontechnikers/Mixers der Beatles-Alben "Get Back" und "Sgt. Pepper's Lonely Hearts Club Band - 50th Anniversary Release".

In der Vorstellung, dass so ein klassisch-englisches Lo-Fi-Folk-Album entstehen könnte, trieb die gemeinsame kreative Unruhe der Band und Okells "Beauty In Your Wake" stattdessen in die weitläufigen Gefilde von FINKs kommerziell erfolgreichen Alben der 2000-2010er Jahre und ist eine Rückkehr zu sich selbst. Die Musik von FINK war schon immer in ein breiteres globales Geflecht eingebettet, nicht zuletzt, weil sie in zahllosen Film/TV-Soundtracks wie "Better Call Saul", "The Walking Dead" und der neuesten Staffel von "True Detective" und "Ava du Vernays Origin" zu hören war, für die Greenall einen exklusiven Song schrieb.

Greenalls wurde 1997 bei Ninja Tune unter Vertrag genommen. Die neu formierte, klassische FINK-Besetzung ist dieselbe, mit der die Band ihr erstes Album "Biscuits For Breakfast" (2006) aufnahm, das sich als Sprungbrett für internationale Touren erwies. Nach drei weiteren Alben wurde die Band immer experimenteller, live und auf Platte. Mit der jungen Amy Winehouse unterhielt sich Greenall über seine Songwriter-Sessions und arbeitete mit so unterschiedlichen Künstlern wie Mahalia, Banks, Ben Howard und Pino Palladino im Studio und auf der Bühne zusammen. Zu seinen Auszeichnungen gehören drei BMI Songwriting Awards für die Arbeit mit John Legend an dessen "Evolver"-Album, der Nr.1-Single "Green Light" und dessen Soundtrack zu "12 Years A Slave".