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This year sees Rainy Miller take a holiday from his Fixed Abode home to team up with The White Hotel’s off-shoot label HEAD II with his most ambitious project to date DESQUAMATION (Fire, Burn. Nobody). The project came at a difficult time for Miller who was both struggling to find much inspiration and interest in music along with working through complex emotional pain from his upbringing (“I felt entirely lost and uncertain with the position I’d found myself in, as a creative, in competition with myself…”)
Miller utilises these struggles and worries and turns them on themselves as a medium for a deeper connection with his process and ultimately with the music (“…Desquamation came in a way in which I think I will always find necessary. The shedding of a skin that will continue to grow back. The symbiosis within me of creativity, amassed with struggle or pain. Music and art to me are a means to expel inner trauma and issue”)
The end result is a full bloodied, emotionally visceral piece of work segueing and stretching across a sound world of contorted pop and laconic drill that will cement Miller’s position at the cutting edge of contemporary electronic music; pushing the culture to always move forwards.
Incredible LP of shambolic garage rock recorded from 1966 - 1968. Lo fi, sincere, deep, catchy, badass music. Hard to find gems. A must for fans of real deal 60's garage rock. Not for the faint of heart.
David Lewis was hardly eighteen years old when he and two friends, bassist Nigel Smith and drummer Gordon Barton uprooted themselves from Belfast and set their sites on the Big Smoke. With the move came a record deal with CBS and a rebrand from The Method to Andwella’s Dream. Now known as a cult psychedelic classic, their first and only LP under their full title Love & Poetry touched on just about every genre that was hip at the time, cross-pollinating folk, jazz, progressive rock, united by Lewis’s brilliant songwriting in the form of kaleidoscopic instrumentation and imagery.
Alan Vega’s self-titled debut solo album, originally released in 1980, marked a bold new chapter for one of New York’s most influential and uncompromising voices.
On his solo debut, Vega dove headfirst into the roots of his personal sound, fueled by blues, rockabilly, and his enduring love for Elvis Presley. Stripped of Suicide’s confrontational electronics but retaining Vega’s outsider energy and voice, the album translates early rock 'n roll through an art-punk filter and stands as a cult masterpiece in its own right. Minimalist, haunting, and deeply personal, it carved out a unique place in the underground canon.
Now available as a limited deluxe double LP edition, this definitive reissue pairs the newly remastered original album with a second disc of previously unheard early demos, offering a rare glimpse into the raw creative process behind this cult classic, and alternate artwork exclusive to this pressing. Alan Vega Deluxe Edition is a companion piece that sheds new light on Vega’s process and vision during this pivotal era, making it a must-have for collectors and longtime fans.
Extended Field unites Horse Lords and Arnold Dreyblatt for the eighteenth volume of FRKWYS, an intergenerational collaboration of adventurous musicians drawn to the sonically radiant world of just intonation—an ancient tuning system in which scale intervals are derived from whole-number ratios. Dreyblatt first immersed himself in this approach in New York during the 1970s, while Horse Lords began exploring and applying its possibilities nearly four decades later. Together, they create a vibrant harmonic environment, fueled by a shared devotion to rhythm, achieving a marriage of discreet but related aesthetics for the ages.
Benton County Relic is Cedric Burnside’s debut record for Single Lock. It was honored with a nomination for “Best Traditional Blues Album” at the 61st GRAMMY Awards. It was Cedric’s second nomination and Single Lock’s first. “Cedric Burnside carries the mantle — the joy and the burdens and the history of the North Mississippi hill country blues, a style like no other in Southern music.” - The Bitter Southerner Grammy-nominated Blues musician Cedric Burnside remembers his roots— NPR Weekend Edition “The Big Bad Burnside Sound is back… and how!”- MOJO “If you’re tired of typical I-IV-V fare, Cedric just might be your man, and Benton County Relic might be the tonic you’ve been wanting.” - Premier Guitar
An antidote for chaotic times, this collection of ambient pieces gathers the masters of the genre for a journey designed for calm, clarity and consciousness. All corners of the New Age genre are explored here with a spoken word intro from Jaroslav Kovaracek, host of long running ambient radio program “Dreamtime” that aired in Australia from the early 80s into the mid 90s.
The cultured dub and tech label Sushitech marks its 20th anniversary by branching out with a new imprint, Wood White Sessions, which has been designed as an outlet for more intimate, home-focused listening sounds that don't stray too far from the parent label's original ethos. Dedicated to albums from long-time collaborators and core artists, the new venture expands the Sushitech sound with a softer, more reflective edge, and seasoned dub craftsman Another Channel is up first. Across eight cuts rich in texture and atmosphere, he hooks up with Prince Morella, Masis, and Yassin Omidi to immerse you in the most shady and pristine dub.
The Heptones are without doubt one of Jamaica’s finest vocal groups. Emerging in the 60s at Studio One, they became a landmark for reggae harmonies. This 1978 album, produced by Winston ‘Niney the Observer’ Holness, features top musicians including George Fullwood, Sly Dunbar, Ansel Collins, Tony Chin, and Eric ‘Bingy Bunny’ Lamont. Recorded at Channel One and mixed at Harry J Studios by Sylvan Morris, it remains a stone-cold classic, true to its roots.
Ideologic Organ is proud to present the brand-new recordings from The Necks, the legendary Australian trio who excel in bypassing musical cliche whilst exploring and extending the practices embedded within improvisation, jazz, post rock, ambient, minimal, and textural, ‘sound based’ music.
The latest document from this long-running ensemble, Unfold, presents itself as a double LP, with four side-length tracks. A deliberate absence of numbered sides hands a substantial swatch of participation over to the listener, allowing her to navigate his own path through the soundscape at hand. The shorter length of the vinyl format, far from being a constraint upon the members of the ensemble, instead offers them a more compact horizon to contemplate, wherein the distance travelled is recalibrated to more immediate and dynamic textural concerns.
The immediacy of Rise confirms this new path, as the mournful tones of Lloyd Swanton’s bass swirl around Chris Abrahams’ crystalline piano motif, with Tony Buck’s percussion steering proceedings into enlightening free-jazz territories. Blue Mountain cuts a swathe through the sonic undergrowth, with soul organ, rattling percussion, whistles, and loping sound-waves all vying for the foreground. Overheard retains a sublime melancholic aura as the percussion and keyboards simultaneously embrace and fall apart, whilst Timepiece skips along as a gentle gesture of further possibilities.
Exactly how The Necks conjure their particular magic - as deceptively simple as it seems - whilst always moving forward, is anyone’s guess, but Unfold proves yet again that rules and schools are to be broken and re-formed into patterns and frameworks unlike those we know.
Looking for a fresh 45 to spin this holiday season? Look no further than your friendly neighborhood organ trio Parlor Greens! Their take on The Black On White Affair's classic version of Auld Lang Syne on the a-side, which absolutely crushes. Scone tears the organ to shreds leaving nothing left but a few stockings and some wrapping paper.
Flip to over to close the night with a beautiful and mellow instrumental version of William Bell's "Every Day Will Be Like A Holiday." Two sides to this very merry coin.
Historically considered as some kind of bridge between Ska and Reggae, Rock Steady is certainly one of the most influential music genres in Jamaican history. Originally released in 1968 this is an amazing compilation showcasing the cream of the genre. Some sort of Jamaican Sweet Soul Music Manifesto featuring an incredible array of groups and singers such as The Wailers, The Clarendonians, Justin Hines, Bob & Andy, Ken Boothe, The Gaylads, Pat Kelly and others.
First released on Prestige in 1957 "New Trombone" is Curtis Fuller's debut album. Back in the day, Fuller was a 23 years old Detroiter whose fluent style represented a new step in the trombone's evolution. Backed by a solid quintet featuring Sonny Red – alto sax, Hank Jones – piano, Doug Watkins – bass, Louis Hayes – drums, Fuller opens up with a strong Hard-Bop album including three originals and a couple of standards. This is highly swinging Jazz based on group interlay and with deep roots in Blues.
Fully licensed, all tracks remastered ! Earth Running, originally released in 1979 on the Tappa's Stars label, can be considered the Jamaican's toaster's maturity album. Lyrics here are rooted in the "ghetto life" as always. A work with an international flavour: On Side B, two convincing dance tracks, the anthemic funkfest "Freak" and "One More Chance", often championed by DJs in the following years. A work that explored new territories, a mandatory re-issue for all authentic reggae lovers.
Reissue of the third album from Brazilian combo. Creatively visionary and groundbreaking on numerous terms, 1975 'O Africanto dos Tincoãs' (as the previous Os Tincoas album) revolutionized Brazilian music by harmonizing Afro-religious singing, heavenly vocal harmonies, and Percussive rhythms derived from Candomblé traditions.
Even though it was recorded during a time of political repression, the album remains gentle, rhythmic, and eflecting Afro-Brazilian syncretism and resonating with themes of suffering, exile, and hope.
Recorded in Osaka almost exactly a year ago (11th Nov, 2024), II = II is the first and likely only collaborative album between CS + Kreme and KAKUHAN, a stunning flex of asymmetric and atmospheric world-building, mastered by Rashad Becker for added shine, and highly recommended if you’re anywhere on the line from Autechre to Beatrice Dillon, Mark Fell to HTRK.
Playing to the quartet’s respective strengths, II = II finds balance between KAKUHAN’s percussive tekkerz and CS + Kreme’s emotional heft, with Conrad Standish providing drum programming and bass, Sam Karmel on electronics, Koshiro Hino on sampler, and Yuki Nakagawa on Cello. The sound they make together is beautiful but full of swagger - as if SND’s MAX MSP-ed and Razor-ed electronics were blunted at the edges, very gradually melted to vapour. It’s music that’s hyper-specific, in a vein that will be familiar to anyone who copped KAKUHAN’s astonishing debut album ‘Metal Zone’ in 2022, and yet somehow super loose with it, unravelling through four long tracks that each progress and expand the same essential register.
Shot from the hip but with ample tricks in the pocket, enhanced by that distinctive room-recorded je ne sais quoi and Noh-style percussive theatrics, it’s the most human sounding electroacoustic music imaginable; tough, rolling, complex, full of space and resonance - and if it really is to be the last word from CS+Kreme (they recently announced the band was no more) - what a way to go out.
In A Mood is an album by the American musician Harry Case, released in 1989. It can be considered a fusion of jazz, funk, soul, and light electronic elements, creating a late-80s smooth and sophisticated fusion feel, merging some purely instrumental songs and, while others feature vocals. While not a mainstream or hugely celebrated album, In A Mood is often considered a hidden gem in the jazz-funk fusion world. This vinyl reissue is the first after eight years.
An inspired coming together of musical minds. To celebrate the 20th anniversary of In A Space Outta Sound, George Evelyn aka DJ E.A.S.E has handed over the tapes to dub maestro Adrian Sherwood to go on a heady version excursion with eight tracks from the original record, in the spirit of the reggae and sound system roots that informed the original album. The result is a fresh take on a much-loved classic, in the lineage of albums such as Massive Attack’s No Protection and Spoon’s Lucifer On The Moon. Features bold new re-works of iconic tracks such as “You Wish” (appearing here as “You Bliss”) and “Flip Ya Lid” (mutated into “Flippin Eck”). As well as his trademark mixing desk wizardry, Sherwood has also brought in some of the core On-U Sound players to add additional instrumentation and turn this collaboration into something which is much more than the sum of its parts.
Multidisciplinary Brussels-based artist Sagat steps up with a new mini album on the Basic Moves side label, Gems Under The Horizon, featuring a remix by Slovenian ambient bird e/tape. A few years ago, Wiet Lengeler, aka Sagat was invited by Basic Moves to create a live visual show using an analogue video synth setup to accompany a 5-hour dj set by e/tape at Face B in Brussels. From that moment on, the synchronicity between the two artists was clear - and this EP is the result.
Besides his visual work, Wiet Lengeler is also known for his contemporary techno music, primarily released on Brussels’ cult label Vlek Recordings. For this mini-album, Gems Under The Horizon 003, he presents four grainy ambient and textured electro-acoustic explorations. The tracks unfold organically — like ivy — gradually revealing layers of sound and hidden textures beneath babbling streams of electronics. e/tape’s remix feels like a natural continuation of Sagat’s sonic universe, together forming a mesmerising whole that explores the fringes of ambient music. In addition to the release, a limited run of the release + 30 x 3 riso printed posters from the visual show at Face B, made by Sagat and hand numbered are made available.
Mastering and lacquer cut was done by Frederic Alstadt at Angstrom Mastering. Artwork & inserts are designed by renowned Ghent-based visual artist Dieter Durinck.
Sit back and enjoy the wonderful aural world of Sagat and e/tape.
Sincerely,
The Basic Moves team.
Alpenglühen starts 2026 with two close friends working together in the 11th one.
Atàvic is the collaborative project between Estrato Aurora and Absis, merging two distinct yet complementary approaches to electronic music. The project is rooted in texture, atmosphere, and subtle narrative, allowing sound to evolve organically and without excess.
They together bring a refined sense of space and detail, working with ambient layers, restrained rhythms, and melodic fragments that unfold slowly. Here is a 4 track release with a more tactile and material approach, focusing on timbre, resonance, and sonic density, blurring the line between abstraction and structure.
The alignment between Atàvic and the label lies in a shared appreciation for subtlety, patience, and sonic storytelling, where each release is conceived as a complete and meaningful statement.
With this reference, Atàvic contributes a work that resonates with alpenglühen’s aesthetic ethos while reinforcing the collaborative project’s own identity: music that invites close listening and reveals its nuances slowly.
If you’re looking for a peak-time, dancefloor-driven banger to keep you moving until sunrise, this is not that record.
But if you’re after a mind-blowing experience that challenges and expands your listening (and dancings), this one’s for you. Don’t overthink it.
Recollection V-VI marks the third in a planned series of 7” releases, each built from Glonti’s expanding archive of Soviet-era recordings.
During the Soviet era, art often had to align with propaganda, seemingly fostering a symbiotic relationship between the state and its people. Consequently, in the realm of “Social Realism,” most forms of artistic experimentation were strongly discouraged and even punishable. With few exceptions, 20th-century Georgian classical/chamber music remained quite conservative; however, when faced with dysfunctional cultural phenomena, there will always be gaps in societal walls through which oppressed cultures can carry their historical heritage and unique paradigms.
In 2018, Glonti started collecting LPs of Soviet-era Georgian composers at Tbilisi’s “Dry Bridge” flea market.The records mostly consisted of classical and chamber music released on Melodiya, the singular, state owned record label of the USSR. It was through this process that the idea of Recollection was born, as Glonti aimed to create an album that would utilize samples from his growing collection.
The artwork by Dmytro Nikolaienko of Day Night reflects the generic qualities of Soviet-era cover art.