Buscar:holmes

Apollo / R&S are delighted to welcome back The Primitive Painter, aka the duo of Roman Flügel and Jörn Elling Wuttke for a timely reissue of their 1994 lost classic self-titled album of sonorous IDM.

Growing up in Frankfurt, in the 80s and 90s the duo met at an indie rock club in their home town of Darmstadt, bonding over their shared obsession with the first wave of acid, Chicago house and early Detroit techno as well as their patronage of now iconic Frankfurt club nights like The Omen or Dorian Gray or the infamous Delirium Record shop run by scene stalwarts Ata (Robert Johnson) and Heiko MSO (Playhouse).

Taking inspiration from the likes of The Black Dog and Transmat as well as seminal compilations such as Planet E’s Intergalactic Beats and Warp’s Artificial intelligence compilation the duo honed their inventive take on the Detroit techno blueprint under the monicker Acid Jesus, debuting on their freshly minted Klang Elektronik label. The label was started in conjunction with Ata and Heiko after Fluegel & Wuttke (regular patrons of the Delirium store) pressed a demo on them, muttering the immortal line; “Please listen to the tape, we are big Mr. Fingers fans.”

Through the mid ’90s the project flourished giving rise to a classic album and a brace of singles that number amongst the best of the era’s techno, winning them a influential fans most notably Sven Väth, David Holmes and Andrew Weatherall who invited them to play live at one of the legendary Sabresonic parties in London.

Alongside the success of the Acid Jesus project, the duo found great inspiration in outside of the club, including an ambient happening when the KLF came to play Frankfurt; “There were live sheep eating grass on stage while they played at Mark Spoon’s club XS”, as well as cinematic influence from the likes of Jim Jarmush and Wim Wenders. It was however the euphonic IDM grandeur of Apollo Recordings self titled compilation of 1993 that really got their creative juices flowing: “It was a ten track compilation with artists like David Morley, Model 500, Aphex Twin which still sounds so good today,” Jörn enthuses. “ It was really the trigger to go away from the Detroit sound and more towards the big melodies of B12 etc.”

Deciding to make their tribute to this style of music the duo turned out 10 tracks of gauzy, melodious electronica in a white hot fever, one after another over the ensuing months. Settling on a name for the new project they picked ‘The Primitive Painters’ taking inspiration from the band Felt. “We are both children of the C86 movement,” explains Jörn. “this attitude of noisy art school influenced rock like Primal Scream, MBV, The Jesus & Mary Chain really inspired us to take a DIY approach to our music.”

They sent the resulting demo cassette to Renaat at R&S / Apollo. “We really had no expectations,” Jörn explains. “So we were shocked and delighted when we received a fax saying that he wanted to release it”.

The resulting release was bungled by an R&S mix up that attributed the album to the duo’s own Klang Elektronik label which confused both fans and distributors alike, denying the release the critical boost and attention that it so richly deserved. Accordingly the release slipped out without much fanfare, with a chastened Fluegel & Wuttke returning to their Acid Jesus activities which would eventually lead to their blockbusting success as Alter Ego.

Over the ensuing years the reputation of The Primitive Painter album has only grown, with second hand copies (only 500 vinyl were pressed) changing hands for exorbitant amounts on Discogs, leading us to this opportune moment of a richly deserved ‘first’ release on the label for which the project was started, Apollo / R&S.

“This really brings us full circle,” says Jörn. “Apollo / R&S meant and means so much to us as artists and so it was bittersweet to not have the official release - to put that right all these years later feels really good.”

This new vinyl release comes in re-created original gatefold artwork and includes all original 10 tracks (Stoned Soul Picnic was previously on the CD only).

Colin Newman & Malka Spigel's Immersion project sees the 3rd Volume of their Nanocluster collaboration series. The third album in the Nanocluster series is a mid-Atlantic melting pot of ideas that have created a brand new third way. The album sees a collaboration between the European post-punk electronic discipline of Immersion meeting the American ambient country band SUSS and their big sky, new world, Americana cinematic soundscapes to create a perfect Nanocluster! It's a perfect combination that fits the Nanocluster vision. Immersion's open-minded approach sees their music spark new textures with the American band who were once described by UNCUT magazine as "Eno's Apollo Atmospheres crash-landed in America's Sonoran Desert," and by Pitchfork as "Neither rawboned nor ramshackle _ their elegantly composed brand of ambient country stands as tall and clean as a brand-new pair of cowboy boots." Suss are composed of veteran musicians Pat Irwin (the B-52s, Raybeats, 8 Eyed Spy), Bob Holmes (numun, Rubber Rodeo), and Jonathan Gregg (the Combine, the Linemen), SUSS combine Pedal Steel, National Steel Guitar, Mandolin, Harmonica, Baritone Guitar, and the Harmonium, which they weave with synthesizers and loops to create their big, lonesome sound.

'Nobody', der an der Westküste ansässigen Vokalgruppe Hodges, James Smith & Crawford ist seit langem ein Club-Klassiker für Funk-DJs und wurde von David Holmes gefördert. Das Original liegt mittlerweile bei etwa 100 £ und Ace Records veröffentlichen es zum ersten Mal auf 7inch. Für noch mehr Vergnügen wurde die Single um das bisher nur auf CD erhältliche 'It Cracks Me Up' als B-Seite ergänzt.

The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.

But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!

The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.

But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!

Output/Input release their debut album 'Forward Motion' on double vinyl LP, December 1st. The album is an eclectic mix of 70's-inspired soul and funk delivered in a truly 2023-style of recording, with all tracks being recorded remotely across multiple continents. The band is a truly diverse and international group featuring members from countries including the USA, UK, Germany, Hungary and South Korea. Their previous releases have been praised by DJ's and tastemakers, regularly featuring on Jazz FM, BBC Radio 2, BBC Radio 6 and a host of specialist Soul radio stations across the globe. The CD and digital album have been No.1 on multiple UK Soul Charts.

Lead vocalist Antonio McLendon (pictured) has worked and performed with James Ingram, Tata Vega, Gladys Knight and Donna Summer, and features as vocalist on seven of the ten tracks on the album. He has definitely made an impact as a world-class singer this year, with the singles 'Smilin' Faces' and 'Someone I Used To Love'. both being radio hits. Co-incidentally, Antonio's daughter, Samara Joy won two Grammy awards this year for her album 'Linger Awhile'. Here We Go Again' features the vocals of Audrey Wheeler-Downing, who worked with Unlimited Touch and Chaka Khan, and Brent Carter, the current lead singer of AWB and previous to that, Tower Of Power. 'Doin' Alright' features vocals from O'Bryan, who Davis worked with extensively on his albums for Capitol. This re-recorded version, co-written by Melvin, originally appeared on the album of the same name in 1982, and is widely tipped as a stand-out rare groove revival cut on the album and is already hotly anticipated. 'Really No Chance' features the lead vocals of Katie Holmes-Smith, a globally sought-after singer, who backed Adele on her world tour as well as currently performing with her for the duration of Adele's residency at Caesar's Palace in Las Vegas. The CD release featured a bonus track, 'Every Time You Touch Me', recorded very recently, written by Noval Smith and Mark Love and sung by Antonio McLendon, while the 2LP features another bonus cut, a fantastic cover of the Earth, Wind & Fire classic 'Can't Hide Love', penned by Skip Scarborough, with vocals by Brent Carter

f11 FLRNTN, Benjamin Duchenne - "Last Man Standing" (feat Sivan) (1:08)
f12 Nicholas Gunn & Harshil Kamdar - "Here I Am" (feat Alina Renae - Richard Durand remix) (1:08)
f13 DJ TH X TH3 ONE X Sue McLaren - "Everything To Me" (1:08)
f14 Matty Ralph - "Te Adoro" (1:08)
f15 Armin Van Buuren & Vini Vici - "Sarabande" (feat Anna Timofei) (1:08)
f16 Lilly Palmer - "Hare Ram" (1:08)
f17 David Forbes - "Techno Is My Only Drug" (1:08)
f18 Armin Van Buuren - "Blah Blah Blah" (Lilly Palmer remix) (1:08)
f19 Armin Van Buuren - "The Road To Your Destination" (A State Of Trance Year mix 2024 outro) (1:14)

Repress 2026

THE WORLD OF HANS ZIMMER - PART II: A NEW DIMENSION ist die mit Spannung erwartete Fortsetzung des Erfolgsalbums The World of Hans Zimmer - A Symphonic Celebration von 2019. Dafür hat Hans Zimmer neue, klangmalerische Orchestersuiten komponiert, die auf vielen weiteren seiner ikonischen Soundtracks basieren. Höhepunkte des über zwei Stunden Musik umfassenden Doppelalbums sind die wie ein Cellokonzert angelegte Suite von No Time to Die, das elegische A Time of Quiet Between the Storms aus Dune II oder die epische Orchestersuite von The Prince of Egypt. Darüber hinaus können sich Fans über eine einzigartige neue Version von The Rock freuen - einem der großen Hans Zimmer Klassiker aus den 90er Jahren. Auf THE WORLD OF HANS ZIMMER - PART II: A NEW DIMENSION versammelt Hans Zimmer ein herausragendes Ensemble von Solist*Innen. Darunter die Sänger*Innen Lebo M, Lisa Gerrard, Gan-ya Ben-gur Akselrod und Nokukhanya Dlamini, der Multi-Holzbläser Pedro Eustache, Bassist Juan García-Herreros, Gitarrist Alexios Anest, Pianistin Eliane Correa, Cellistin Mariko Muranaka, Violinistin Rusanda Panfili sowie die Percussionisten Aleksandra Šuklar, Luis Ribeiro und Lucy Landymore. Diese spielen gemeinsam mit dem Odessa Orchestra & Friends und dem Nairobi Chamber Choir unter der Leitung von Dirigent Gavin Greenaway.Part 1 Man of Steel SuiteDriving (Miss Daisy) SuiteThe Rock SuiteNo Time To Die Suite Interstellar Suite Dune II SuiteThe Prince of Egypt SuiteWonder Woman SuiteSherlock Holmes SuiteInception SuitePart 2The Dark Knight SuiteGladiator SuitePearl Harbor SuiteKung Fu Panda SuitePower of One: Mother AfricaThe Lion King SuitePirates of the Caribbean Suite

Come Ahead ist das 12. Album von Primal Scream. 11 neue Songs, mit denen Bobby Gillespie sich darauf
vorbereitet, einige der persönlichsten Songs der Bandkarriere zu veröffentlichen.
Der Songwriting-Prozess für Come Ahead begann 2019. Zu diesem Zeitpunkt hatte Bobby Gillespie noch
keine Ahnung, ob er noch einmal ein Album von Primal Scream machen würde. Zum ersten Mal kamen
die Texte vor der Musik. Die Geschichte kam zuerst. Bobby schrieb allein, mit einer Akustikgitarre. Die
Ideen flossen schnell, in langen Inspirationsschüben. Dieser Prozess, zusammen mit der Ermutigung durch
Produzent David Holmes, bot einen neuen Einstieg. In Zusammenarbeit mit Holmes und Primal ScreamGitarrist Andrew Innes wurden die Come Ahead-Sessions in Belfast, London und Los Angeles durchgeführt.
„Ich bin sehr aufgeregt über dieses Album, so als würde man seine erste Platte machen. Wenn es ein
Gesamtthema für Come Ahead gäbe, wäre es vielleicht ein Konflikt, ob innerlich oder äußerlich. Der Titel
ist ein Begriff aus Glasgow. Wenn jemand droht, mit dir zu kämpfen, sagst du: ‚Komm schon!‘ Es erinnert
an den unbezwingbaren Geist der Glasgower, und das Album selbst vermittelt diese aggressive Haltung und
Zuversicht. Sie haben da oben ein Wort dafür: gallus. ‚Come Ahead‘ ist auch ein ziemlich frecher Titel.“
Bobby Gillespie

British Funk Renegades - Baker Brothers: A Legacy of Groove and Innovation

Since 2001, British funk luminaries the Baker Brothers have been at the forefront of the UK funk scene, consistently redefining the genre while staying true to its roots. Their groove, deeply embedded in soulful nostalgia, draws inspiration from legendary acts such as Steely Dan, Sly and the Family Stone, The Doobie Brothers, D'Angelo, The Roots, The Meters, and Prince.

Renowned for their electrifying live performances, the Baker Brothers deliver an "in-your-face" experience that takes audiences on a journey through their extensive back catalogue, spanning eight studio albums and four live albums. These albums feature collaborations with notable artists, including Hamish Stuart of the Average White Band, Snowboy, and soul divas Vanessa Freeman, Hannah Williams, Acantha Lang, and Katie Holmes.

With over ten tours in Japan and numerous European tours under their belt, the Baker Brothers have proven their enduring appeal. They continue to navigate the challenges of band life with unwavering creativity and passion, using music as their vehicle to overcome life's hurdles.

As they forge ahead with new creations, the Baker Brothers' signature sound—characterised by tight horns, a driving rhythm section, and irresistibly funky guitar riffs—remains as killer as ever. Their journey is a testament to their longevity and their unwavering commitment to pushing the boundaries of funk.

Zwölftes Volumen dieser grossartigen Erfolgs-Serie (und Stag-O-Lee Bestseller) mit entschleunigten R&B/Soul/Exotica Songs, so wie sie einmal im Monat in einem Club in Melbourne/Australia auf den Plattenteller kommen. Um Mitternacht am letzten Samstag jeden Monats versammeln sich jede Menge finstere Gestalten und vintage music lover in einem schlecht beleuchteten, mit Zigarettenqualm gefüllten Raum in Melbourne, um zu diesen slow grinding Tunes zu tanzen. Compiliert von SGF-Chef Ritchie1250, der auch für die Linernotes verantwortlich ist.

Here we have the third LP by the excellent Guy Hamper Trio, featuring James Taylor on Hamond organ, and Guy Hamper on guitar (sometimes called Childish) and what a first-class LP this is! 'Instrument of Evil' in particular has a very eerie vibe. We asked the man himself what was the inspiration for it? G.H. The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP (with Thee Headcoats standing in as rhythm section). A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible- "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. The track also features contributions from Tom Morley (trumpet) and Anna Jordanous (sax) . Both Were a pleasure to work with. My job at the wheel is to basically make a playground and let Jamie, Anna and Tom loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "you're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Other titles are taken from early poetry chapbooks I made in my youth. 'The First Creature is Jealousy' and 'Dog Jaw Woman' being examples. The title 'Incense Rising From a Censer' comes from Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. They are all excellent tracks. I imagine film companies will be queuing up to use many of them.

‘Only Fans’ ft. Digital Liquid, taken from Joseph Malik’s acclaimed ‘Proxima Ebony’ album of last year, gets the first-class remix treatment from London’s legendary production duo, X-Press 2. Joseph delivers an impactful vocal, waxing lyrical on his memories of being brought up around sex workers, underpinned by Digital Liquid’s acid worm lead, as X-Press 2 unleash a sublime dance floor slayer loaded with catchy hooks, jackin’ beat wizardry and dynamic production. Propelling the song into another stratosphere, the duo have created the chugging Lo-Fi 'Back Room' behemoth, armed with slo-mo breakbeats and a badass dubby bass groove, culminating in hypnotic groover that would make the late and great Mr Weatherall very proud.

Scotland’s Joseph Malik has crafted a fantastic catalogue of music over the decades and is highly respected for his distinctively soulful voice and on point song writing skills. Together with co-producer, David Donnelly, he released his first album, ‘Diverse Part 1’ (Compost) in 2002. This was followed by ‘Aquarius Songs’ album (2004), and ‘Diverse Part 2’ album (2018) on Ramrock Records which was ‘Album of the Month’ on Gilles Peterson’s BBC 6Music show. Joseph’s ‘Diverse Part 3’ album (2018) was Craig Charles’ BBC 6Music ‘Album of the Year’. Joseph then released ‘Diverse Part 3 Variant Issue’, the remix album (2022) and most recently his outstanding ‘Proxima Ebony’ album (2023) on Ramrock Records to great acclaim.

London’s X-Press 2 have been at the vanguard of British electronic music for three decades. In that time this acclaimed DJ and production duo, alongside Ashley Beedle, have turned out many hits. Both Rocky and Diesel have a truly pioneering spirit that fueled early nineties underground anthems such as the percussive ‘Muzik Express’, ’Kill 100’, the 2003 Ivor Novello Award winning single ‘Lazy’ and ‘Give It,’ with vocalists Talking Heads’ David Byrne and Lambchop’s Kurt Wagner. They’ve continued to turn out powerful club cuts such as ‘Tonehead Chemistry’ and ‘Siren Track’, and recently delivered big remixes for Gabriels, David Holmes, JIM and David Kitt. To date, X-Press 2 have released 4 albums, including their recently released, ‘Thee’, album on Acid Jazz. Rocky and Diesel are still fanatical about the music they play and produce, they still very much have their finger on the pulse and continue to lead from the front.

Come Ahead ist das 12. Album von Primal Scream. 11 neue Songs, mit denen Bobby Gillespie sich darauf
vorbereitet, einige der persönlichsten Songs der Bandkarriere zu veröffentlichen.
Der Songwriting-Prozess für Come Ahead begann 2019. Zu diesem Zeitpunkt hatte Bobby Gillespie noch
keine Ahnung, ob er noch einmal ein Album von Primal Scream machen würde. Zum ersten Mal kamen
die Texte vor der Musik. Die Geschichte kam zuerst. Bobby schrieb allein, mit einer Akustikgitarre. Die
Ideen flossen schnell, in langen Inspirationsschüben. Dieser Prozess, zusammen mit der Ermutigung durch
Produzent David Holmes, bot einen neuen Einstieg. In Zusammenarbeit mit Holmes und Primal ScreamGitarrist Andrew Innes wurden die Come Ahead-Sessions in Belfast, London und Los Angeles durchgeführt.
„Ich bin sehr aufgeregt über dieses Album, so als würde man seine erste Platte machen. Wenn es ein
Gesamtthema für Come Ahead gäbe, wäre es vielleicht ein Konflikt, ob innerlich oder äußerlich. Der Titel
ist ein Begriff aus Glasgow. Wenn jemand droht, mit dir zu kämpfen, sagst du: ‚Komm schon!‘ Es erinnert
an den unbezwingbaren Geist der Glasgower, und das Album selbst vermittelt diese aggressive Haltung und
Zuversicht. Sie haben da oben ein Wort dafür: gallus. ‚Come Ahead‘ ist auch ein ziemlich frecher Titel.“
Bobby Gillespie

Occasionally an album comes along that seems to capture the mood of the time. "The K&D Sessions" was one. In the late 1990s no afterparty, smoking session or languid Sunday afternoon was complete without Kruder & Dorfmeister blasting from the Bang & Olufsen. Now approaching it"s 25th anniversary the lore around this iconic release, steeped in a silvery cloud of smoke, retains a star quality which only shines brighter as time hurtles on. With the original having sold well over a million copies by this point in time, it"s hard to imagine a mix or remix compilation being able to inform a movement like "The K&D Sessions" has. To celebrate this monumental milestone, we"ve created a limited boxset in 6LP and 3CD of "The K&D Sessions", mastered and cut by LA luminary Bernie Grundman for a luxurious listening experience, with newly designed inner sleeves using unseen photos from the original photo shoot. Inserted in the box is a forty-page booklet containing multitudes more never before seen photos from the same shoot and notes which recount humorous tales surrounding the duo and the people who spent time with them in this epoch. Included on the 6th LP is their legendary 11 minute shimmering remix of Madonna"s "Nothing Really Matters". The 6th LP also contains Peter Kruder"s Powercut Mix of Roni Size"s "Heroes" and K&D"s remix of U.F.O, "L.O.V.E.". In addition there are two cerebral alternate remixes of Lewis Taylor, one being completely dubbed and the other the using the vocal line for this beautiful gem, "Lucky" and a special remix of "Speechless" by Count Basic. These have been staples in K&D"s sets and now take their rightful place collected in the canon of "The Sessions".

Jon Spencer teams up with Kendall Wind and Macky Spider Bowman - the rhythm section from Woodstock NY punk rock wunderkind The Bobby Lees - to chew bubblegum and kick ass. Two years after “Spencer Gets It Lit” (Marc Riley’s BBC6 Music Album of the Year, “hugely entertaining” MOJO, “a sonic witchdoctor who’ll blow your mind” UNCUT) there is still more work to be done saving rock'n'roll music. “Sick of Being Sick!” will be released on limited clear 45rpm Super-Stereo cut LP. Jon Spencer has been innovative force in the independent music scene since the mid-80s. An acclaimed live performer, he has toured all the continents except Antarctica and has amassed a dizzying discography as the leader of Pussy Galore, The Jon Spencer Blues Explosion, Heavy Trash, and Jon Spencer & the HITmakers, as well as with Boss Hog, The Honeymoon Killers, The Gibson Brothers, and Taxi Girls. His collaborations include (but are not limited to) working with Steve Albini, Add N To X, Nicole Atkins, Beastie Boys, Beck, Bomb The Bass, R.L. Burnside, James Chance, Coldcut, Chuck D, Dan The Automator, Jim Dickinson, DJ Shadow, Einsturzende Neubauten, Guitar Wolf, GZA, David Holmes, Japanese Popstars, Dr. John, Calvin Johnson, Steve Jordan, Khan, Moby, Money Mark, The Muffs, The North Mississippi All Stars, Princess Superstar, Puffy AmiYumi, The Sadies, Nancy Sinatra, Solex, Solomon Burke, Speedball Baby, Rufus Thomas, UNKLE, Unloved, Andre Williams, and Bernie Worrell. His production credits include: Cheater Slicks, Demolition Doll Rods, Experimental Tropic Blues Band, Perrosky, Mike Edison, Jesper Munk, Sunshine & The Rain, The Bobby Lees, and Samantha Fish & Jesse Dayton.

2024 Repress

180 Gram, Tip On Sleeve RSD version of this classic. One of the rarer records of the mythical Strata East albums is finally reissued for the first time on Heavenly Sweetness!
The recording of Earth Blossom, the John Betsch Societys one and only album, seems something of an enigma nowadays. For even though Nashville is clearly one of the towns in the US with the highest number of recording studios, who would have thought that the capital of country music would give birth to one of the forgotten masterpieces of 1970s spiritual jazz. The path leading to the album starts in 1963 when John Betsch, originally from Jacksonville in Florida, arrives in Nashville to study at Frisk University. He is a young drummer and joins Bob Holmes trio. Holmes is one of the towns major jazz organists and pianists; he becomes Betschs mentor and, over the space of two years, John will play alternately with him and with the trumpeter Louis Smiths group. However, in 1965, John leaves town to go to the prestigious Berkeley University in Boston and do a two-year course along with his fellow debutants with names like John Abercrombie, Ernie Watts and Alan Broadbent. Two years later, he is invited by a pianist friend, Billy Chilf, to join the legendary singer/songwriter Tim Hardins group. Just after Woodstock, John Betsch and Tim record a psychedelic album Columbia will never release together with the members of the future group Oregon: Colin Walcott, Glen Moore, Paul McCandles and his friend Billy Chilf. But he soon leaves this group to return to Nashville where he hooks up again with his friend Bob Holmes. Two years later, he is accepted on Archie Shepp and Max Roachs famous course at the University of Massachusetts Amherst (UMASS) and for the next four years he participates in this collective of intellectuals and musicians under the aegis of the two masters.
During this period he returns to Nashville to form his Society whose music is obviously influenced by the Afrocentric ideas of the UMASS student and political movement. However, the album, recorded in one day and in one take, also bears the hallmark of their generations psychedelic experiences, and in the themes and playing of the musicians we can hear a less violent form of music than the radical free jazz of New York or Chicago. Nature and environmental themes are the inspiration behind tracks touched by the spirit of Coltrane but also of Flower Power.

After Amherst, John Betsch joins Marion Browns group in 1976, leaves Tennessee for good and makes his home in New York over the next ten years or so. He plays and records with Dollar Brand, Kalaparusha Maurice McIntyre and many others, before heading off to France. He has lived in Paris for the last twenty years and played in Steve Lacy, Mal Waldron and Archie Shepp bands, as well as forming groups of his own. He now lives in Paris and plays with many musicians/bands.

Pride Month Barbie is an L.A. synth-pop duo formed in 2022 by solo artists Tyler Holmes and Josephine Shetty (aka Kohinoorgasm). As Libras, sluts, drama queens, and judgmental bitches, PMB brings a sound and performance that will leave you feeling insecure, horny, and annoyed. Inspired by early 2000’s celebutante culture, the films of Gregg Araki, and acts like Handsome Furs, Yaz, Light Asylum, and New Order, PMB brings a dark sense of humor to a candied electronic gloss.

Drawing from the indie pop culture of the 80’s, 90’s and early aughts, PMB harkens the bittersweet, nostalgic purity of early synth titans, parodies the current zeitgeist, and imagines a glittering future encompassing the dystopic and utopic simultaneously.

Shetty and Holmes met at San Francisco’s El Rio while sharing a bill as their solo acts in 2016. They remained adjacent figureheads in the DIY experimental pop underground of Oakland and Berkeley in the 2010’s and shared many bills, collaborators, friends, and mutual experiences amidst an underground network of eclectic baddies from SF to LA. They both have a prolific catalog of solo music and have performed and toured in art and music spaces across the US and Europe.

In 2022, Shetty offered engineering services while Holmes was working on an upcoming solo album at a residency in rural Northern California.

Upon wrapping, Holmes shared some of the electronic pop work they had made as a reprieve from their sad experimental music. Shetty was immediately eager to sing over the tracks and expeditiously demolished the demo with beautiful harmonies and hooks. PMB’s debut single was created almost on the spot. Shetty asked ‘did we just start a band?’

History Of Modern is the band's first record since 1996's Universal. Andy McCluskey has described it as their "best album since Architecture and Morality - high praise indeed.

All artwork for the release has been designed by OMD's longtime cohort Peter Saville.


This autumn also sees OMD embark on the 'History of Modern' tour, with the classic line up of Andy McCluskey, Paul Humphreys, Martin Cooper and Malcolm Holmes. The dates will see a mix of new songs with classic hits.

Lindstrøm remixes Radio Slave ft Cagedbaby ‘Amnesia’ The first remix package from Radio Slave’s ‘Venti’ LP features a remix and instrumental from the Norwegian artist.

A key single in the run-up to Radio Slave’s ‘Venti’ LP, the distinctly Balearic ‘Amnesia’ cut, which was the sound of Pikes in 2023, is remixed by Norwegian nu-disco pioneer Lindstrøm following the LP’s release in May. The original saw Matt Edwards team up with long-time collaborator Cagedbaby, aka Tom Gandey, for a blissful sunset track that won support from the likes of David Holmes, Sean Johnston, Jennifer Cardini, Peter Kruder and Perel.

On the ‘Amnesia’ remix package, Lindstrøm turns the downtempo breakbeat in Radio Slave and Cagedbaby’s original into a more upbeat groove with hints of 80s and 90s Euro-Dance in its piano breakdown and squelched-up acid-drenched guitar bass. The Norwegian artist, known for his frequent collabs with Prins Thomas and all-around superb nu-disco works, maintains the original’s sultry vocal, neatly scrubbed off in the instrumental mix for those looking for a party-staring club tool in this evoking ode to Ibiza.

Superb 45 featuring two Hammond-led instrumentals! We caught up with Mr Guy Hamper for an insightful Q&A_ Q: What a cracking single this is! 'Instrument of Evil' in particular has a very eerie vibe. What was the inspiration for it? A: The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP with Thee Headcoats standing in as rhythm section. A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible: "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. Phew! Q: The track features contributions from Tom Morley (trumpet) and Anna Jordanous (sax). What's it like working with them? A: They are great and easy to work with. I basically make a playground and let them loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "You're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Q: On the flip side you have 'Incense Rising From a Censer'. A very evocative title for an evocative track. Do you have lyrics in mind for this for a possible later release? A: No lyrics have sprung to mind as yet - but it's always possible. The title is from The Elders observation in Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. Q: This single marks your first time in the new premises of Jim Riley's Ranscombe Studio. What's the new place like? A: The studio is great - the sound - using my old Mighty Caesars drum kit, and Jim engineering, is pure, easy with a better sound than the old premises. Q: Any more Guy Hamper Trio releases in the pipeline? A third album perhaps? A: Again, anything is possible. Me and Jamie (James Taylor, Hammond organ) have talked of writing together in the future. Jamie is a truly great musician - the cherry on the cake if you will. We're just busted old eggs, sour milk, and some gunk. Q: A live Guy Hamper Trio show would be amazing. Any chance of that happening or will it remain a studio-based project? A: It could happen if someone came up with a very cunning plan.

1995 war das Jahr, in dem ein neuer Stern am Himmel des Gothic Metal erschien. Liv Kristine Espenæs, die engelhafte Sopranstimme im Wechsel mit den Growls von Raymond I. Rohonyi von THEATRE OF TRAGEDY, hat seitdem viele Bands ihres Genres inspiriert. Robert Müller (Hammer), Dezember 1997, schrieb in einer Kurzbiografie folgende Zeilen: „Mit ihrer hohen, klaren, emotional ausdrucksstarken Stimme stand Liv Kristine immer im Mittelpunkt der Aufmerksamkeit. Da liegt es nahe, die Schönheit dieser Stimme in reiner Form, in einer Soloproduktion einzufangen.“ 1997 unterzeichnete Liv Kristine einen Solovertrag bei Massacre Records/Torsten Hartmann. Liv Kristine, die damals Masterstudentin in Englisch und Deutsch war, pendelte zwischen der Universität Stuttgart und den Aufnahmen im illinois Studio. Darüber hinaus tourte sie mit dem äußerst erfolgreichen THEATRE OF TRAGEDY um die Welt. Ein ganz besonderer, persönlicher Höhepunkt für Liv Kristine war der 24. Oktober 1997, als sie Nick Holmes (PARADISE LOST & HOST) an einem kalten Herbstmorgen von einer Tournee in Ludwigsburg, Deutschland, abholte. Nach einer Tasse schwarzem Tee und einer Scheibe Marmeladenbrot, wurden die Gesangsaufnahmen für die einfache, feine Gothic-Ballade „3 a.m.“ abgeschlossen. Beide haben einen Metal-Hintergrund, aber die Verschmelzung der beiden Stimmen ist einzigartig. Viel Subtilität, Magie und persönlichen Ausdruck stecken auch in den anderen Kompositionen auf Liv Kristines allererster SoloVeröffentlichung, die teilweise sogar in ihrer Muttersprache Norwegisch gesungen wurden. „Portrait: Ei tulle med øyne blå“, basierend auf einem alten norwegischen Kinderlied aus dem Jahr 1905, wurde im Juni 2023 von Geir „Gerlioz“ Bratland (DIMMU BORGIR) von Grund auf neu interpretiert und aufgenommen, ausschließlich für die Neuveröffentlichung von „Deus ex Machina“. Liv Kristine kennt diese Melodie seit ihren ersten Lebenswochen, denn ihre Mutter und Großmutter haben der kleinen „Stine“ dieses Lied als Gute-Nacht-Schlaflied vorgesungen. Bereits im Alter von sechs Jahren zeigte Liv Kristine eine besondere Empfänglichkeit für das Verständnis von Musik und den verschiedenen Arten des Singens. Es verging kein Tag, an dem das kleine, blonde Mädchen nicht sang und verträumt vor dem Spiegel stand. Das Lied „In the Heart of Juliet“ beschreibt, wie sie ihre Kindheit bewusst und unbewusst erlebte, die Glücksgefühle, ihre Liebe zu magischen Melodien, die Wunder der Natur und ihrer Jahreszeiten, aber auch die Freiheit des Seins. Bis heute bezeichnet sie das besondere Erlebnis des Singens als „my magic Bubble“.

The Pheromoans are tenants of an unruly domain. Over the last 18 years the group have evolved from garage rock primitivists to auteurs of their own curious sound; a frothy brew of loose electronics, refractory rock and humdrum musing. Their songs are mutable, capricious, unreliable narrations, often withholding as much as they reveal. Russell Walker’s understated vocal has always been the band’s unifying focus, it is wry, unsparing and wilfully honest. Walker’s lyrics are an observational tour de force, sometimes droll, yet often tipping over into unlikely pathos. With previous releases on Upset The Rhythm, Convulsive and Alter, 2024 will witness The Pheromoans return with lucky album number 13, entitled ‘Wyrd Psearch’ (out March 1st on Upset The Rhythm).
‘Wyrd Psearch’ was recorded in Lewes throughout 2023. This was undertaken by founding member James Tranmer, his keen instinct for how the band should sound shaping many of the creative decisions. Joined by new guitarist Henry Holmes, the five piece doubled down on a decidedly breezy, melodic approach. Scott Reeve’s drumming is ever brisk, whilst Daniel Bolger explores AOR peripheries on keyboard and bass. “Wyrd Psearch finds us on relatively zestful form” affirms Walker “whether it be merrily recalling the Jason Williamson / Tim Lovejoy Covid summit, or mentally bathing in the pleasures of lunch hours spent strapped to a listening post in Borders.” With The Pheromoans there is always a familiarity at play, only broken and reassembled, like a bygone sitcom gone rogue in your memory. This contributes to the group’s peculiarly British outsider perspective, one that shouts from the sidelines, but never goes unnoticed.
Subjects covered lyrically on ‘Wyrd Psearch’ include “mid-life crises, male pattern baldness, and thwarted artistic and personal ambitions” according to Walker himself. “Nothing is off limits for scrutiny, even rural arts communities” he concludes. Lead single ‘Downtown’ swings with chiming guitars and finds Walker mid-breakdown trying to persuade a loved one to accompany him into the town centre to collect controlled medication and wind back the clock to happier times. “I want to keep you in cotton wool until pay day” he confides. ‘Cropped to Death’ and ‘Father Austin’ are ruminative and more relaxed in nature, whilst ‘Twibbon Wife’ is a more energetic effort, all jabbed synth chords, circuitous basslines and rampant drum fills. ‘Faith in the Future’ similarly bounds along with reverie.
Walker claims that the album’s title is an expression of his frustration at the ubiquity of people claiming things are eerie or weird / wyrd in the present cultural milieu. The artwork for the record is designed as an actual word search too, a knowing nod to how we all grapple for meaning amongst the absurdity of each day. Leaning into ‘weird’ as a coping mechanism is not on The Pheromoans’ agenda however. This album holds little sway with the supernatural, it’s not enough. The overriding impression given by ‘Wyrd Psearch’ is of a band renewed with ideas. There’s no trouble finding the right words, they’re hitting their mark, keeping up with the commentary. ‘Wyrd Psearch’ is a document of The Pheromoans mastering their unquiet moment.

Another sure shot from the 5 Boroughs with Rakim and DJ Premier's staple "It's Been a Long Time" alongside the original sample source on the flip. Don't hang around, cos these never do!

From Star Wars, Harry Potter, Gladiator, Pirates of the Caribbean, Munich, Madagascar, Sherlock Holmes, come and rediscover these cinema masterpieces like you've never heard them before.

Bringing together the 15 musicians of the vibrant Curieux Orchester, this unique experience offers an immersion that is both intimate and dynamic through the major works of these two genius composers: John Williams and Hans Zimmer

GEP to release The Wake on vinyl for the first time since 1985. IQ’s second album made a big impact when it was originally released in 1985 and became a milestone in progressive rock circles. Long since deleted in vinyl format, GEP are finally reissuing the album pressed on 140g purple marble disc in a sumptuous gatefold sleeve featuring Peter Nicholls’ original cover art together with brand new supporting artwork, complete with lyrics.The Wake will be the first release in a series of reissues of IQ’s studio albums on vinyl.

Mike Holmes: “Over the past couple of years we’ve seen many of the IQ vinyl albums go for stupid money on sites like discogs and eBay and we’ve had many requests for a vinyl repress. Quite a few of these albums only had a limited run at the time, so we’ve decided to do a special edition of all the albums on vinyl, starting with The Wake as that’s been unavailable for the longest time. Next in the series will be ‘Dark Matter’, available early next year, which ties in nicely with the album’s 20th anniversary”

Hot on the heels of their fifth fantastic LP ‘Thee’ - their first for 25 years and debut for Acid Jazz - house stalwarts X-Press 2 have enlisted David Holmes to remix album track ‘Phasing You Out’.

The original version of ‘Phasing You Out’ features Kele Okereke from Bloc Party and sits at the heart of the new album which again showed that Rocky and Diesel remain dedicated to proper house music.

David Holmes has had a 25-plus year career in music that has seen him release several vital albums and remix artists like Andrew Weatherall, Primal Scream and Noel Gallagher’s High Flying Birds, hold down a cult NTS radio show and turn out a seminal mix for Late Night Tales.

David Holmes brings plenty of signature musicality to what is a standout remix - his version of ‘Phasing You Out’ is an intense one that unfolds over eight minutes of percussive density, dusty drum work and careful treatment of the original vocal. The whole arrangement is lavishly decorated with wispy pads and glassy sound effects, police sirens and a rhythmic intensity that never lets up and will work any floor into a frenzy.

Emm Gryner is an award winning singer, songwriter, actor and best-selling author. Emm sang and played keyboards in David Bowie's band, and appears on numerous recordings, including his landmark 1999 SNL appearance, Bowie at The Beeb and Toy. Bowie's acclaimed Glastonbury 2000 documents her performance in front of more than 100,000 fans at Worthy Farm. With Trapper she shared arena stages with Def Leppard, and she also helped bring the first music video recorded in outer space to the world.

Detroit radio formed the soundtrack of Emm's life and career and her brand new record is a celebration of that music. From Motown,jazz and pop, to Steely Dan, Fleetwood Mac and the Doobies, Business & Pleasure is infused with the sunshine soul and stellar playing of the late 70s and early 80s. These songs, produced by Fred Mollin, written with poet Michael Holmes, and recorded with drummer Shannon Forrest (Toto), keyboardist Pat Coil (Michael McDonald), bassist Larry Paxton (Alison Krauss), and guitarists Tom Bukovac (Taylor Swift) and Pat Buchanan (Hall & Oates, Dolly Parton), embody a take on yacht rock that sails deep into the 2020s and introduce the world to a bold new character: a powerful woman whose passion, presence, conviction, humor and grace serves to unite the world in

music, joy and love, once again.

Repress!

Here's a true West Coast soul-jazz gem originally released on pacific jazz in 1961. Les McCann's warm and emotional singing shines over some gorgeous big band arrangements signed by the great conductor and bandleader Gerald Wilson. McCann's usual trio with Herbie Lewis on bass and Ron Jefferson on drums is augmented by a phenomenal bunch of West Coast top musicians including clarinetist Buddy Collette, tenor sax lions Charles Lloyd, Teddy Edward, and Harold Land, and two absolute guest stars: tenor sax giant Ben Webster and organ stylist Richard "groove" Holmes, what else?

Soul-jazz and blues at their best. Allmusic Guide

"Welcome to the first of the Masters Series, a cache of limited releases for people who understand that some things, no matter how hard you try, just can't be tamed. (Read: these are scratchier/rougher recordings that are cleaned up as best we can get them - if that's going to not work for you, don't order!)

Already championed by the likes of Michael Robinson (Dig Deeper, NY) and just entering the collective consciousness of the R&B scene worldwide, this release is a double-sided dancefloor destroyer. Both sides rip with tremendous energy.

Those who know will recognize the name Carl Holmes from well established winners like ""Soul Dance No. 3"" and ""Unchain My Heart"". Here he is with an unreleased song called ""Love With A Feeling"", featuring a raucous drum break with his soulful vocals throughout. Not that the tune needs a pedigree, but things like that never hurt.

On the flip is an unknown funky Soul R&B bomb ""Some Of These Days"". This female led tune is perfect for either a Northern Soul or R&B party.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the dusty basements from whence they came, we press them in small batches to share with those who love to share."

Adam Gibbons meldet sich mit Volldampf mit seinem achten Lack Of Afro-Studioalbum zurück. Es ist ein Album voller Hoffnung, Optimismus und guter Zeiten, inspiriert von seiner US-Reise zu den legendären FAME Aufnahmestudios in Muscle Shoals. In einer über 17-jährigen Karriere, in der seine Musik in Filmen und TV-Shows auf der ganzen Welt zu sehen/hören war und millionenfach gestreamt wurde, musste Adam viele Herausforderungen überwinden und kehrt nun auf SQUARE ONE, den Anfangspunkt, zurück. Dabei liefert er seine bisher beste Arbeit ab und geht auf seine erste US-Tour. Mit einem erneuerten Sinn für Inspiration und Energie ist Adam entschlossen, den Funk am Leben zu erhalten.

Musical innovators, Red Snapper, have announced that they will release a new album on Lo Recordings on the 20th of October 2023.

‘Live at The Moth Club’, the follow up to 2022’s acclaimed ‘Everybody Is Somebody’ long player, features nine tracks from a vast and impressive back catalogue on Warp Records and Lo Recordings and captures perfectly the energy of their celebrated sold out London show from May 2022 in Hackney.

With an incredible and genre bursting career that spans nearly thirty years, the new album demonstrates the band’s ability to constantly rework classic and new tracks, keeping them impassioned, experimental and relevant. The collection includes a version of ‘Suckerpunch’ which originally appeared on their 1998 album ‘Making Bones’ and will now be released as a single on the 15th of September 2023.

Notorious for casting convention aside, and remaining one of the UK’s most forward thinking and rule breaking live bands, Red Snapper embrace a unique blend of live, euphoric Afro-Jazz, Future Funk, Dub, Dark Hip-Hop and fragile soundscapes.

Formed in 1994, the original line up of Rich Thair (drums), Ali Friend (double bass) and David Ayers (guitar) released three EPs on Rich Thair and Dean Thatcher’s label Flaw Recordings. The first EP ‘Snapper’ featured Beth Orton on vocals.

Over the initial years the band released the sonically pioneering albums; ‘Reeled and Skinned’, ‘Prince Blimey’, ‘Making Bones’ and ‘Our Aim Is To Satisfy Red Snapper’ (Warp records), touring globally and supporting the likes of Massive Attack, Bjork, The Prodigy, De La Soul and The Fugees. They also acquired a reputation for innovative and expansive remixing – reworking tunes by Trouble Funk, David Holmes, Sabres of Paradise, Garbage, Lamb, S-Express and Edwyn Collins amongst others.

Since then the band have released the eponymous ‘Red Snapper’ and ‘A Pale Blue Dot’ on Lo Recordings followed by ‘Key’ on V2 Records which featured the track ‘Spikey’ which was on the soundtrack for El Camino, the Netflix Breaking Bad film directed by Vince Gilligan in 2019.

In 2013 Red Snapper composed a new soundtrack to the 1970’s Senegalese, psychedelic road movie Touki Bouki which had been restored by Martin Scorsese. The band toured Europe performing the soundtrack live to the film, culminating in the celebrated sell-out show at The Queen Elizabeth Hall on London’s Southbank. In 2014 the album ‘Hyena’ was released on Lo Recordings featuring all the music from their original film score.

Long-time house music producer, DJ and journalist Anthony Teasdale is back with a new four-track EP for London’s Pamela Records.

The lead track is ‘Tango de la Boca’, an uplifting house tune with an unforgettable piano line and a groovy disco beat. Named after the barrio of La Boca in Buenos Aires, the tango feel is supplemented with layers of percussion, electric guitar stabs and moody strings. So far, it’s been played in clubs and on the radio by DJs like Rocky, David Holmes and Richard Sen.

“I think this is the most uplifting record I’ve ever made,” says Anthony. “Hearing those piano lines come in on a club system is a massive buzz.”

Second up is ‘A Pavement in Palma’ – a chilled jazz-house track. Inspired by lazy afternoons in Majorca’s capital, its swinging beat is joined by electric piano chords, live bongos and a bassline you can’t help but move to.

On Side B, we set sail on the good ship disco for ‘Deep in the Forest Something Stared’. Opening with bucolic bird noises – referencing the title – the track adds ’80s-style bass, glockenspiel melodies and soothing strings. It ends with a haunting piano motif that’s well worth the wait.

Finally, we return to 2023 with ‘It’s 5am Somewhere’, which blends old-school Roland 909 drum beats with minor chord synth stabs and rumbling piano melodies – plus an atmospheric breakdown guaranteed to excite any dancefloor.

Anthony says: “The EP reflects the music I’m listening to at the moment – which goes from classic techno to uptempo disco-house (and lots of synth pop!). The fusion of beautiful, often brittle, melodies with percussive house beats sets these records apart. And they sound as good on a dancefloor as they do in headphones when you’re relaxing at home.”

Die Heavenly Remixes-Reihe präsentiert weiterhin die besten Remixe, Versionen, Meditationen, Re-Rubs und Dubs von Künstlern aus der ganzen Welt, die auf der Liste des aufregendsten Plattenlabels des Landes stehen. In den meisten Fällen handelt es sich bei den Alben um die erste physische Veröffentlichung eines Remixes, die sie von den Streaming-Playlisten in ihr rechtmäßiges, spirituelles Zuhause auf superschwerem Vinyl (oder glänzender, supergepackter Compact Disc) befördert.

Heavenly Remixes Volume 7 führt nach Belfast, wo David Holmes - ein Produzent, der 1994 zum ersten Mal auf Heavenly auftauchte und den Acid von Saint Etiennes Like A Motorway aufpeppte - als Solokünstler und als ein Drittel von Unloved auftritt, die von Horse Meat Disco direkt in das Herz eines Vauxhall-Schwitzkastens befördert werden.

Die Heavenly Remixes-Reihe präsentiert weiterhin die besten Remixe, Versionen, Meditationen, Re-Rubs und Dubs von Künstlern aus der ganzen Welt, die auf der Liste des aufregendsten Plattenlabels des Landes stehen. In den meisten Fällen handelt es sich bei den Alben um die erste physische Veröffentlichung eines Remixes, die sie von den Streaming-Playlisten in ihr rechtmäßiges, spirituelles Zuhause auf superschwerem Vinyl (oder glänzender, supergepackter Compact Disc) befördert.

Heavenly Remixes Volume 8 beginnt mit Space Afrikas üppiger, ambienter Neuinterpretation von BEAM/S der Orielles, bevor Justin Robertson Amber Arcades' Turning Light zu acht Minuten elektronischem Dub dehnt.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.

The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).

Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

Adam Gibbons meldet sich mit Volldampf mit seinem achten Lack Of Afro-Studioalbum zurück. Es ist ein Album voller Hoffnung, Optimismus und guter Zeiten, inspiriert von seiner US-Reise zu den legendären FAME Aufnahmestudios in Muscle Shoals. In einer über 17-jährigen Karriere, in der seine Musik in Filmen und TV-Shows auf der ganzen Welt zu sehen/hören war und millionenfach gestreamt wurde, musste Adam viele Herausforderungen überwinden und kehrt nun auf SQUARE ONE, den Anfangspunkt, zurück. Dabei liefert er seine bisher beste Arbeit ab und geht auf seine erste US-Tour. Mit einem erneuerten Sinn für Inspiration und Energie ist Adam entschlossen, den Funk am Leben zu erhalten.

The Sun Makers (written by Robert Holmes) aired in November and December of 1977 with Tom Baker as the Doctor and is set on a tax-crippled planet Pluto. Along with trusty assistant Leela and faithful K9, he exposes the corrupt Company, defeating the Collector and freeing the population from financial misery.

Composer Dudley Simpson (1922-2017) wrote prolifically for the BBC, producing hundreds of soundtracks for Doctor Who, The Tomorrow People, Blake’s Seven and many others. The Sun Makers was scored for just six musicians and recorded, for the main part, live in the studio. However, such is the musicianship of the players, several of whom where multi-instrumentalists, the resulting sound is much bigger. The sleeve includes full notes by Mark Ayres.

The Sun Makers (written by Robert Holmes) aired in November and December of 1977 with Tom Baker as the Doctor and is set on a tax-crippled planet Pluto. Along with trusty assistant Leela and faithful K9, he exposes the corrupt Company, defeating the Collector and freeing the population from financial misery.

Composer Dudley Simpson (1922-2017) wrote prolifically for the BBC, producing hundreds of soundtracks for Doctor Who, The Tomorrow People, Blake’s Seven and many others. The Sun Makers was scored for just six musicians and recorded, for the main part, live in the studio. However, such is the musicianship of the players, several of whom where multi-instrumentalists, the resulting sound is much bigger. The sleeve includes full notes by Mark Ayres.