Back catalogue: All genres

Review: One of the first soul jazz icons of the mid-60s, Ramsey Lewis recorded The In Crowd over three days during a 1965 residency at the Bohemian Caverns in Washington, D.C. Highlights from this lively collection include the bluesy 'Since I Fell For You', the groove on 'Tennessee Waltz', and the infectious title track, a cover of Dobie Gray's Top 40 hit. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Review: Under the now familiar Razmi alias, Phoebe Guillemot has spent the last decade carving a hard-to-pigeonhole musical niche that's all her own. While her music is always humid, heady, hallucinatory and intoxicating, it regularly draws on a dizzying array of styles. That consistent eclecticism is once again a major feature on Feu Fellets, her latest album-length excursion. Over the course of eight tracks, the Montreal native flits between Pat Metheny-meets-Steve Reich style Balearic brilliance ('Electric Counterpoint' inspired opener 'Risin'), dubbed-out mid-tempo chuggers ('Tien-Bon'), tropical breaks ('Zon Bien'), out-there bass music mutations (DJ Python hook-up 'Coucou Mon Ami', the two-step-fuelled psychedelia of 'Feu Foillets'), sparkling peak-time joyfulness ('Zombini'), and much more besides. In a word: essential!

Review: Phoebe Guillemot's world-building as RAMZi has yielded us a plethora of exquisite albums since she first emerged in the tape-oriented scene around 2013. She's gone on to helm different projects, tour the world and generally blossom as a singular and gifted artist. After a string of self-released LPs, she's popped up on Music From Memory with one of her most refined works to date. Hyphea unmistakably belongs in the RAMZi-verse, full of the same mystical, softly shaped flora and fauna which makes her music so inviting, but there's also a sense of structure and purpose here which suggests she was honing her expressions - a natural progression for an artist who can make electronic music sound so very natural indeed.

Review: Serving as a self-analysed response to 1998's ska and reggae-oriented Life Won't Wait, as well as growing criticisms that the band were slowly morphing into some form of Diet The Clash, punk legends Rancid would come to cave skulls at the turn of the new millennium with their second self-titled LP (after their 1993 debut), with many fans referring to the project as Rancid (2000) or simply Rancid 5. Reuniting with Brett Gurewitz of Bad Religion to handle production duties (a collaborative role he has maintained with the group ever since), the project easily serves as the most aggressive offering in their entire catalogue, drawing on elements of hardcore and Oi! and imbuing them into their established ska-punk formula, moving far away from any Clash comparisons, and sharing more of a sonic kinship with the type of aggy, scuzzy, brassless hardcore ska of Choking Victim. At 22 tracks spread out over a near-40 minute runtime, you do the chaotic math.

Review: Billed as the official follow-up to their career defining high point And Out Come The Wolves, the fourth full-length from Los Angeles punk legends Rancid marked their only work to that point not to feature producer/engineer Brett Gurewitz (Bad Religion) in any capacity, with Tim Armstrong and Lance Frederiksen opting to handle production duties themselves. This likely is where the project's deeper embracing of reggae and ska began to seep into the compositions, with cuts 'Hoover Street' and the essential title-track 'Life Won't Wait' both being recorded in Kingston under the tutelage of several essential reggae artists such as Buju Banton, leading to the definitive outlier in the Rancid canon.

Review: Bay Area punk legends Rancid are back, finally. Tomorrow Never Comes arrives six years after Trouble Maker, marking the longest gap between albums the veterans have ever managed since they kicked off in 1991. Of course there's a degree of expectation around a Rancid album, and all you need to do is stick on the first title track and you'll know you're getting the full hit. This is Rancid at their fist-shaking, shit-kicking best, with Armstrong and Frederiksen sounding as vital as they did on And Out Come The Wolves. Clocking in at 16 tracks in 28 minutes it's also their shortest album to date. Say everything you need to in less than two minutes - it's the Rancid way!

Review: Originally released in 2003 and now celebrating its 20-year anniversary, Indestructible served as the sixth full-length from punk legends Rancid. While initially criticised upon release due to the "poppier" sound certain fans took umbrage with, time has grown kind to the project which boasts some of the most personal penmanship from primary songwriter Tim Armstrong (of Operation Ivy), delving into his divorce from The Distillers' Brody Dalle (now divorcing Josh Homme of Queens Of The Stone Age), as well paying homage to two influential heroes who died during the recording process: Joey Ramone and Joe Strummer, with the latter even being mentioned in the title-track. Known to be the final album with original drummer Brett Reed, and even featuring one of the most underappreciated cuts in their catalogue with closer 'Otherside', written by guitarist Lars Frederiksen about his brother Robert who tragically passed away two years prior, Indestructible deserves your reappraisal as it's slowly become the forgotten gem in the Rancid crown.

Review: Tucked away on a private press release in the hidden corners of 70s Italian jazz, Enzo Randisi's debut album has been rescued from obscurity and given the reissue it so richly deserves. The extensive ensemble playing on this album includes Randisi's son Riccardo on Rhodes, Giuseppe Costa on bass, Enzo Palacardo on guitar and Franco Lota and Mimmo Cafiero on percussion, all serving as a backdrop to Randisi's exquisite vibraphone. It's a masterpiece of spiritual jazz cast in mysterious shades and sure to be cherished by any jazz aficionado, as confirmed by plaudits from such legends as Archie Shepp and Gil Evans.

Review: We are honored to release 'A Boy Alone', a double LP set from Manchester electronic music pioneer Eric Random. Best known for his early recordings for New Hormones and Les Disques du Crepuscule and collaborations with Pete Shelley (Buzzcocks), Cabaret Voltaire and Nico. As an original member of The Tiller Boys with Shelley, Random injected a healthy dose of Krautrock into the dour Manchester post-punk scene in 1978/79 before going solo the following year. Random's first 7" "Subliminal"/"23 Skidoo" was released in 1981 via Les Disques du Crepuscule and explored ominous sonic surrounds. That same year also saw the release of a second 7" single on New Hormones, "Dow Chemical Company"/ "Skin Deep". Both tracks offered bubbling, rhythmic sound patterns, and were the first to feature other musicians that would become know as The Bedlamites. Consisting of Lynn Walton on vocals, Ian Runacres and Andy Diagram of Dislocation Dance, and bassist Wayne Worm, aka Wayne Sedgeman. Their debut 12" single "Subliminal Seduction"/"Bedlam-a-Go-Go" was released in 1982 through Plurex, mixing arid funk textures and sparse melodies. That same year the group contributed proto chill-out track "6.55" to Plurex compilation 'Hours' and the highly filmic track "In Cassette Conference" to the Touch cassette package 'Feature Mist'. In 1983, Random spent several months in the Himalayas with a group of musicians from the Kulu Valley and studied non-Western instruments such as tabla. On returning to Manchester, Random convened a new group of Belamites including Walton, Sedgeman and drummer Graham Dowdall aka Dids of Ludus. They released the 12" single "Mad As Mankind"/"Dream Web Of Maya" in 1984 on Cabaret Voltaire's Doublevision, embracing electronic, industrial and dub styles. In 1985 they contributed the soothing "Pure Power" to Food Records' "Imminent Episode One" compilation. Our reissue also includes 4 unreleased bonus tracks from Eric's archives recorded between 1981-1984. The whole set adds up to 115 minutes of sinister, somnambulant Random music. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a gatefold jacket designed by Eloise Leigh featuring a spread of ephemera, photos with liner notes by James Nice of LTM.

Review: Trombonist Phil Ranelin alongside Wendell Harrison founded Tribe as a community enterprise and record label in Detroit in the 70s that went on to have a huge impact. Its musical legacy lives on through plenty of vital albums, not least Vibes From The Tribe. The Japanese Edition of the original album now arrives on Groove Diggers complete with an obi-strip and six spellbinding tunes that have all been remixed and remastered from the original multi-track tapes or lacquered directly from master tapes. It is as good as spiritual jazz gets, frankly.