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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.
Welcoming elusive Japanese guitarist, Kouhei Fukuzumi, for his 3rd solo full-length as Ultrafog. ‘A Replica Screams’ emerges as a collection of drifting memories, a chain reaction of unique combinations of elements already present in the World. It embraces the idea that existence itself is positively shaped by serendipity and meaningful coincidences, and that we are all falling together, in time, and on time.
The vinyl edition contains an original artwork poster presenting João Bragança Gil’s ‘The Origin’ (On & On), an installation on synchronicity and fossils, which materialized in conjunction with Ultrafog’s live show at Ufonic (Lisbon, September 2024).
Legowelt & Takafumi Noda aka Mystica Tribe with their third Noda & Wolfers album, this one is for the real dub headz!
Reissue of Teresa Bright's 2008 album of hapa-haole jazz, Tropic Rhapsody. Remastered by Jessica Thompson with newly composed liner notes by musician and radio host Bill Wynne.
Only Teresa Bright could have recorded Tropic Rhapsody.
In an era when Hawaiians are retaking the reins of their language--and especially the new generation of musicians who are composing and recording almost strictly in the Hawaiian language--Tropic Rhapsody was a bold move artistically and commercially to make an album of almost entirely hapa-haole material.
From her earliest moments in a recording studio, Teresa Bright was not afraid to have a go at hapa-haole music–not as the novelty it might have been becoming in that period when she debuted (the early 1980s), but as a serious art form. Her first outing, the 1983 album Catching A Wave with then partner Steve Mai‘i, featured such hapa-haole staples as “My Little Grass Shack” and “Sadie, The South Seas Lady,” and even the oft-maligned “Yacka Hickey Hula” which she tackled with the seriousness of a heart attack. Steve & Teresa would go on to record three albums--all of which are considered collector’s items today because they contain some classic tunes including the exceedingly popular “Uwehe, ‘Ami, and Slide,” Teresa’s wildly successful attempt at composing a modern hapa-haole song which would go on to take the coveted prize for “Song of the Year” at the 1988 Na Hoku Hanohano Awards and which remains a staple on local Honolulu radio nearly four decades later.
Twenty-five years into her recording career Teresa flipped the script and gifted the world with Tropic Rhapsody–an album of primarily hapa-haole tunes with just a smattering of Hawaiian language numbers. Among its many definitions, a rhapsody is a type of music. One source characterizes a “rhapsody” as “featuring a range of highly contrasted moods, color, and tonality” and “an air of spontaneous inspiration and a sense of improvisation.” In these respects Tropic Rhapsody lives up to its title. At the time of its release in 2008, Tropic Rhapsody boasted a roster of mostly hapa-haole tunes (and only three Hawaiian-language compositions - but all classics that are right at home in this collection). Working with arranger Kit Ebersbach, Bright crafted a collection that reflects her adventurous musical spirit. From the opening strains of “Lei of Stars,” the strings glistening and cascading around Teresa’s voice like the very lei of which she sings, you just know this album is going to be special. They chose Latin-themed treatments for such classics as “Silhouette Hula,” “Blue Hawaii,” and “Sweet Leilani.” Then they surprise us with a “Kaimana Hila” in 3/4 time. Cuba meets Hawai‘i as we delight in the rhumba rhythms of a hapa-haole rarity, “On A Tropic Night.” They pick up the tempo with a samba treatment of “Pagan Love Song,” but more delightful than this is that Teresa Bright sweetly harmonizes with herself (the only thing better than one Teresa Bright being two or three). And she closes with “Aloha ‘Oe,” an all too sad reminder that Teresa left this earthly plane in September 2024.
While she may have been a jazzer at heart, Teresa’s heart was first and foremost Hawaiian. To those unfamiliar with Hawaiian music, Tropic Rhapsody could be considered a jazz album. It would be right at home on the shelf next to Astrud Gilberto or Diana Krall. But because the romantic lyrics speak of the moon and the stars and evoke tradewinds and palm trees, and because of Teresa’s ever respectful approach to the material, it is also uniquely Hawaiian and deserves its place in the pantheon of classic hapa-haole recordings. A modern classic. Just like Teresa herself.
From the 2025 reissue liner notes, written by Bill Wynne.
John T. Gast’s 5GT label shells the baddest yet by their secret weapon Xterea, panel-beating aspects of free party tekno D&B and UK steppers with a proper rusty, distorted tang that works a treat - RIYL Muslimgauze, Yann Dub, Carrier.
With scant background info, comparisons between Xterea and his label boss have almost inevitably been made - kinda like loads of artists on Rephlex were presumed to be AFX aliases - but we’re assured that Xterea is not JTG, they just share a thing for the grubbiest subterranean dub rave.
Whatever, their latest is also their strongest, arranging brittlest, nagging drums and murky atmospheres into hypnotic propulsion systems with a dead satisfying sort of unfinished, off-the-cuff, uncommercial quality that hits where it matters.
Their 4th release, after a ’24 debut with Mindseyerecords.xyz, and preceding pair for 5GT, ‘I’ll Call You Later’ is their most substantial in terms of length and locked-in effect. A case in point is the 10 min standout ‘Don’t Shoot the Messenger’, reminding us to the trippiest ends of frenchtek via the neuro pressure of late ’90s D&B, and getting right into the whirring details with a restrained, hands-on dub tactility.
That aesthetic is thoroughly explored with rude swagger across all seven cuts, variously squashed into an industry-dancehall swivel on the tense ‘Playtime’, and spangled in killer electro-dub noise of ‘Mix Up’, thru the serotonin-depleted, up-for-3-days limb-mill of ’Style Like This’ and its dub, to the secret backroom warehouse steez of ‘I Swear That’s X.’
Jordanian producer Taymour teams up with Palestinian rapper/singer Bareetlblad on a killer mini-album of skewed gothic pop, like some auto-tuned, arabic-language re-imagining of Faith-era The Cure via Dean Blunt, Cocteau Twins x Future. Trust, it’s exceptional stuff, curving melancholy, PNL-style biomechanical rhymes around heartfelt new wave/post-punk loops, like little else.
'NOS INSAN (نص إنسان)' is such a potent fusion of ideas that you wonder why no one tried it sooner. Billed as a break-up record, it's dripping with intensity, finding fragile harmony between Future's slow-burning emo-rap milestone 'HNDRXX' and Martin Hannett's moody canon. If that sounds odd, just imagine a pulverised version of Dean Blunt's catalog: 'Black Metal'-era songwriting, Hype Williams-era beatmaking and Babyfather's plasticky rap commentary.
Haifa-based vocalist Bareetlblad is captivating on 'Sort Akrhek, Ad Ma Ba7ebek (صرت أكرهك ! قد ما بحبك)', singing and rapping over Taymour's beatless, chorus-heavy guitar loops. It's a flawless opener, isolating a mood that's potent and fully unique. There are no beats, just rain-soaked Vini Reilly-style shimmers over Bareetlblad's soaring AutoTuned vox. The album title means "half a man”, a reference to a hollowed-out stretch following a breakup, referencing vintage grunge and shoegaze while at the same time scraping life-or-death imagery from traditional Arabic poetry and the region's melancholy folk music.
Peep 'T2ddamet (تقدمت)', a track that pulls on the interplay between Taymour's '80s Cure-style drum machine splashes and Bareetlblad's melodramatic love-drunk rhymes, or the all-too-brief 'Bdounik (بدونك)', a minute and a half of washy industrial-cum-dreampop guitars over robotic, overdriven sweet nothings that sound as if they're being broadcast through an empty mall on a busted tannoy. Best of all, 'Msafreh (مسافرة)' rounds things out with a euphoric gust of strums and a half-heard vocal that you'd more likely expect to find on one of Cocteau Twins' late-period fantasies.
One of the best rap/R&B mutations we've heard in ages, a small, perfectly formed cult classic in the making.
“At the end of 2024 I was invited by Hanna Girma at Serpentine Galleries to write a piece of music for the first issue of their publication "Serpentine Reader" - a collection of texts from various authors on the theme of circulation.
I was immediately drawn to Hana Pera Aoake’s essay on listening to a river - there was a line that especially resonated with me about how rivers and other waterways in Hana's native Aotearoa are "conceptualised as both or either atua (gods) or living ancestors, who have their own life force and spiritual strength". In Japan, water is also deeply instilled in our culture as a sacred source - as one example, we cleanse ourselves with water at the entrance of a shrine, to purify the body and mind.
The composition is made of three studies relating to the three sections of a river, weaving together synthesizer soundscapes and field recordings from various sources of water between Yugawara, Kyoto and Osaka - starting with the upper section, the waterfall, travelling down to the middle, broader section where it slows in pace, and finally the lower section where the river eventually meets the sea.
Each study is in 3/4 time broken up into 9 cycles of 9 bars, and the set of three studies musically runs 12 minutes in total. The pace of each study relates to the velocity of the water in each section of the river - the first study incorporates different synth motifs, and the second and third are made of recycled material from the first.” - Hinako Omori
Don’t Trust Mirrors caps off one of the most transformative periods of Kelly Moran’s musical life. In 2019, her career was defined by extensive touring and festival dates — waking up early to play her sets, and staying late to dance to techno. The experience of staying out and absorbing this environment generated a new connection between herself & the music she was making, inspiring her to work on a more rhythmic followup to her 2018 Warp Records debut Ultraviolet.
But an unexpected and personal shift in her life, along with a halted tour during the pandemic, changed the course of the project. Her self-perception altered — both physically and emotionally — as well as her path, presenting a new creative process. This led to 2024’s Moves in the Field, which The New York Times called “a softhearted but steel-skinned set of 10 piano pieces that are as rapturous as a waterfall or as delicate as vapor.”
Setting itself apart from her last release, Don’t Trust Mirrors is a pivotal return to a project that was put on hold and to self-actualization, showcasing the experience of observing yourself through distortion, reflection, and the slow work of piecing yourself back together again. The album features Warp Records labelmate Bibio, and comprises 10 tracks of magnificent textural refractions — reflecting light, hard edges, and the full spectrum of embracing true embodiment.
The announcement is accompanied by the release of new single “Echo in the Field,” which opens the album, and comes with a mesmerizing, kinetic video directed by Katharine Antoun.
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(Limited quantity / Japanese Obi included / Booklet included) Richard D. James, aka Aphex Twin. At a young age, he earned the title of “Techno Mozart” and is widely recognized as the pinnacle of electronic music and the flagship artist of WARP RECORDS. This legendary album, released under the name Polygon Window and which changed the history of electronic music, is finally being reissued on LP with Obi.
Adrian Sherwood delivers a brand new full-length work for 2025, The Collapse Of Everything. A meticulously constructed album from the master mixologist, pushing his ever adventurous sound into new frontiers.
Although underpinned by a natural dub sensibility, the music presented on The Collapse of Everything fluidly crosses genre borders and seamlessly fuses a wide range of influences from a lifetime of listening and producing.
Featuring Brian Eno, Doug Wimbish, Keith Le Blanc, Cyrus Richards, and more. Mastered and cut by Frank Merritt at The Carvery. Artwork by Peter Harris.