Double LP version. NOTON presents 12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto. The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skillful and sensitive electronic detailing. Their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety. 12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right. The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation -- sounds expanding, altering, and evolving through attentive listening. Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honous Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.

"Court of Violets is the shapeshifting solo project from Somerville, MA-based singer, songwriter, and musician Amanda Bristow, half of the elusive pastoral folk duo Baba Yaga and vocalist for Boston psychrock legends, Major Stars. With Court of Violets, Bristow presents a cycle of songs, improvisations, and ritual invocations about loss, feminine desire, dream-states, and unabated longing, casting dissonant shadows on your velvet morning. Utilizing shimmering guitars, sound healing instruments, birdsong, feedback dirge, and drone, gossamer folk, and lysergic overtone murk, Bristow encases her hypnotic vocals within a pulsating, resonant alchemical orb meant to soothe and transmute the self. Beneath the canopy of New England forests emerged these songs, spectral missives from the very center of the heart and somewhere else unknown. Parallelograms got locked in the Theatre Of Eternal Music and you're cupping your ear to the door."

In the spring of 1971, somewhere between Brussels, Paris and a collective pop fever dream, Le Monde Fabuleux Des Yamasuki landed on vinyl. It sounded like nothing else then and it still does not today. More than half a century later, Sdban Records presents a reissue of this singular cult album. The album was produced by Jean Kluger and written both by Jean and Daniel Vangarde (aka Bangalter, later the father of Thomas Bangalter of Daft Punk), who were already well-ahead of their time, long before electronic music rewrote the rules of pop culture. Released under the name Yamasuki, also referred to as The Yamasuki Singers, or The Yamasuki's, the project was never intended as a conventional band. It was a studio-born fantasy, a concept album disguised as a pop record. What began as a standalone single quickly expanded into a full-blown pan-cultural pop opera that ignored genres and common sense with joyful abandon. Musically, the album sits at a delirious crossroads. Psychedelic pop collides with funk rhythms, samba and bubblegum melodies, full of chants and choruses in a phonetic pseudo-Japanese, written with the help of a dictionary. Kluger and Vangarde famously recruited a children's choir to perform the vocals, and for added spectacle, they brought in a Japanese judo grandmaster, whose ritualistic shouts and battle cries erupt throughout the record. Over the years, Yamasuki has been quietly sampled, covered, and featured across media far beyond the realm of novelty pop. "Kono Samourai" was sampled in "The Healer" by Erykah Badu (2007), produced by Madlib, while "Yama Yama" has found its way into recent pop culture as well: appearing in the television series Fargo, on Angus Stone's project Dope Lemon, and on the 2008 Late Night Tales compilation curated by Arctic Monkeys drummer Matt Helders. This new reissue of Le Monde Fabuleux Des Yamasuki proves the renewed interest and respect for this cult album, faithful to the original spirit while finally giving it back the physical presence it deserves. In an era obsessed with genres and algorithmic neatness, Yamasuki still laughs, dances and karate-kicks its way past definitions.

"Amish Records presents the vinyl edition of Fractures on the Horizon, the latest album from British fingerstyle guitar virtuoso James Blackshaw. Originally digitally self-released on Bandcamp by James in February 2026, Fractures on the Horizon comprises two compositions totaling nearly 40 minutes of music. The title track -- a sweeping 25-minute piece performed in an open tuning -- finds Blackshaw at his most commanding, weaving hammered arpeggios and resonant melody into something at once technically staggering and deeply felt. The second piece, 'Three Interlopers,' shifts into hypnotic drone territory, rounding out the record with an unexpected and unsettling power. The album marks Blackshaw's second release since his return from a near-decade-long hiatus, following Unraveling in Your Hands, which arrived on Amish Records in 2025. Written, performed, and recorded entirely by Blackshaw, Fractures on the Horizon confirms his place as one of the most singular voices in contemporary acoustic music."

Sorcerer Records have a long-running relationship with the Milwaukee space-rock band known as F/I, having already reissued two of their old '80s albums on LP. The group itself has existed for over 40 years, sprung from that city's punk scene by a group of musicians who were equally inspired by the early industrial sounds of Throbbing Gristle, but also the earlier electronic explorations of Klaus Schulze, Cluster, Conrad Schnitzler, etc. and the fuzzed space-rock of Amon Duul II and Hawkwind. Over the years, they earned fans in Jim O'Rourke and Steve Albini and toured Europe, where they have a particularly dedicated fan base. Blanga was originally released on compact disc in 2005 on the Lexicon Devil label and went out of print over a decade ago, and it saw the core lineup of Richard Franecki, Brian Wensing, and Grant Richter reconvene to release an incredible "comeback" of sorts. Blanga is a mind-frying mix of Hawkwind-style heavy-duty space/psych-rock and raga-like electronic meditations. Featuring newly reconfigured artwork, the sleeve is printed on matte stock, the vinyl on orange/yellow/red mixed colors. 300 copies.

The final collaboration between Eliane Radigue and Important Records is this double LP edition of Triptych. Audiophile quality pressing at Optimal in Germany. Radigue insisted that her music only be released on vinyl if the pieces would fit without being edited or cut. Triptych met those requirements leaving room for an etching on the fourth side. Back to music after three years of silence. On the suggestion of Robert Ashley, Douglas Dunn commissioned Triptych from Eliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris. After the 1974 premiere of Adnos in San Francisco, a group of French students introduced Eliane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from "the spirit of the fundamental elements, water, air, fire, earth." Eliane Radigue likes to add that this has often been useful to her in her moments of research and transitions. This three-part composition, with its great humility and contemplative simplicity, heralded a new period of her work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos Trilogy (1980), Songs of Milarepa (1983) -- with the voices of Lama Kunga Rinpoche and Robert Ashley, Jetsun Mila (1986), as well as the Trilogy of Death: Kyema (1988), Kailasha (1991) and Koume (1993).

Splatter color vinyl version. Neil McDonald's love of the outdoors is a constant feature in his music, hence his Lord Of The Isles moniker, a direct reference to the Highlands and islands of his native Scotland. His vivid, effervescent and blissfully cinematic sound paints a soundtrack to unmade films, building imaginary worlds inspired by his childhood passion for science fiction. It is therefore no coincidence that the closing track "Subtle Thoughts" samples the inimitable voice of Carl Sagan and is also the name of his forthcoming album on Lapsus Records. Subtle Thoughts is an album of sumptuous melancholic electronica that, like all his previous works, avoids being pigeonholed. In it is ambient and IDM, but also breaks and down-tempo 4×4 beats with deep ruminations, and even passages akin to new age and Balearic. In Neil's own words, the real concept behind Subtle Thoughts is "The spaces in between. Listening to the quiet voices. Freedom of expression and being open. It also contains my hopes and fears for the future of our world, but mainly hope and love."

Originally released in 1971, Satori is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and traditional Eastern influences into a sound unlike anything heard before. Unlike many rock albums of the era, Satori is structured as a continuous musical journey, with its five tracks presented as interconnected movements rather than conventional songs. The band's powerful rhythm section, extended guitar passages, and the commanding vocals of Joe Yamanaka create an atmosphere that feels both intense and hypnotic. Recorded during a period when Japanese rock was developing its own identity, Satori drew inspiration from Western hard rock and psychedelia while incorporating a unique sense of space, improvisation, and spiritual exploration. Over the decades, the album has gained international recognition among collectors, musicians, and fans of vintage heavy rock, often cited as an overlooked classic that anticipated elements of later hard rock, stoner rock, and heavy metal. More than fifty years after its release, Satori remains as one of the most influential and forward-thinking records in Japanese rock history. Includes an insert.

2026 repress. Originally released in 1972 on the Odeon label, Quarteto Em Cy stands as a high-water mark in the group's prolific discography -- and a hidden gem for collectors of Brazilian vinyl. Known for their intricate vocal harmonies and deep roots in the bossa nova movement, the quartet ventures into post-bossa territory here, where sophistication meets groove in all the right ways. Arrangements by Edu Lobo and Luiz Eça (of Tamba Trio) lend the album a richly layered sound -- elegant, jazzy, and emotionally resonant -- while the group's harmonies remain as mesmerizing as ever. It's a masterclass in vocal interplay and tasteful orchestration, with an unmistakable Brazilian soul running through every track. Highlights include their stunning interpretation of Milton Nascimento's "Tudo Que Você Podia Ser," along with deep cuts like "Quando o Carnaval Chegar," "Canto de Obá," and "Cantoria." These recordings capture a moment when the group, already respected collaborators of Vinícius de Moraes, Jobim, and Chico Buarque, hit a new creative stride. Long out of print and often cited as their finest work, this self-titled LP has become a sought-after piece among collectors of MPB, bossa, and '70s harmony pop. For those drawn to groups like The Free Design or The Mamas & The Papas -- but with a distinctly Brazilian elegance -- this album offers a rare and rewarding listen. Reissue on 180g vinyl.

2026 repress. "Michael George Henry (aka Ras Michael and, for this lone release, Dadawah) was born in 1943 in Saint Mary Parish, in northeastern Jamaica. Henry was raised in a Rastafari community when the religious movement was still in its infancy and marginalized within Jamaica. It was there that he began performing Nyahbinghi, the Rastafarian devotional music that combines the influences of African drumming and Black gospel. Henry found himself in Kingston in the late 1950s where he worked for Coxsone Dodd at the legendary Studio One. By 1968, he had formed the group Sons of Negus and the first overtly Rasta record label, Zion Disc. As Rasta filtered into the mainstream, Henry released more music including albums for Trojan, Dynamic and Grounation labels. Originally released in 1974, Peace And Love - Wadadasow is Dadawah's magnum opus. Produced by Lloyd Charmers, the album features slinky basslines, wah-wah guitar, hypnotic keyboards, dubbed-out studio trickery and, of course, the propulsive drumming and rhythmic chanting characteristic of Nyahbinghi. Antarctica Starts Here presents the first widely available domestic release of Peace And Love - Wadadasow. This reissue is part of an archival series that focuses on Trojan's essential '60s and '70s catalogue. Liner notes by JR Gonne."

Legendary Japanese experimentalist Keiji Haino (Fushitsusha) and London's fearless drummer Steve Noble took to the stage at Cafe OTO in 2012 for a monumental concert -- with Haino's extreme treatments of electric guitar, and feedback, with Noble on a lot of percussion. While Keiji Haino theatrically sweeps between bleak and uninhibited paranoia, deep-level zoning and bluesy contemplation, Steve Noble's huge set up and graceful approach brings space, light and shade -- so much so that at one point Haino unplugs his guitar and picks up a small wooden flute. Dynamic, dramatic and surprisingly uplifting. From Londonears: "The sounds came across as random explosions, with passages of near-silence abruptly giving way to percussive clatters and sustained guitar roars. Then suddenly, they leaped into full chaotic freak-out mode, with Noble sending his small gongs and bowls flying as he pummeled the skins, unleashing a veritable thunderstorm of raucous sound. Meanwhile, Haino switched on the fuzz and feedback, his guitar screaming like a beast possessed, with molten solo after molten solo cascading out of the amps. Just as quickly, they'd revert back to contemplative mode, Haino twisting and twitching his strings with the delicate touch of a brain surgeon. The interplay between the two was bewitching." CD in matt digipak, with concert photographs by Andy Newcombe.

2026 restock. Transparent orange vinyl. LP version. Windborne is the debut album from young Norwegian power-trio Kanaan. With components from jazz, fusion and post-rock they have created six extended pieces of blazing free-form psychedelia. While the band is rooted in the same spirit that gave birth to Mahavishnu Orchestra and Larry Coryell's The Eleventh House in the 1970s, there's a distinctive modern flavor to Kanaan. Their Scandinavian genealogy is apparent as well; their intricate song structures seems to be branching off the same stem as Motorpsycho, Papir, and Jaga Jazzist. Opening track "A. Hausenbecken" feels like a sudden blast of refreshing Nordic air, with rolling guitar leads and growling Fender Rhodes. But Kanaan aren't afraid to get deep and heavy; the B-side dives into straight-up Sabbath territory, with "Act Upon The Mundane World" and "The Groke", before ending the album with the abstract, free-flowing title track "Windborne".

LP version. Edena Gardens unleash their most expansive work to date. Quintessence is structured in four parts as a Magnum Opus -- the ancient alchemical process of transformation. But this is not a work of high fantasy. It is a seismic meditation. A study of deep time, weighted matter, and the crushing gravity of change. Quintessence is massive. 79+ minutes of tethered magnitude, carved into six sprawling tracks. The trio pushes further down into the void, discovering new dimensions. Each piece allows the form to stretch. To break its own boundaries. Shifting terrains and unpredictable geometry. The core remains unhurried: A slow, relentless, unabridged crawl. This sort of alchemy demands patience, allowing every sonic mutation to breathe, shift, and solidify in a new atmosphere. Recorded by Jonas Munk (Causa Sui), the sound is rooted in a natural, anchored production, as if the band is right in front of you: Causa Sui drummer Jakob Skøtt drives the pulse and adds ghostly, sparse treatment to the mix. Nicklas Sørensen (Papir) weaves angular guitar geometry over the deep sediment of Martin Rude's bass and baritone strings. Martin also supplies the original artwork, spreading across four panels colored by Jakob Skøtt: A work in its own right. The final work is a massive, physical expanse: Their Quintessence.

2026 restock."Pleased as punch are we to be reissuing Michael Hurley's long-lost 1984 album, Blue Navigator. Admittedly, Secret Seven and Mississippi collaborated on a dandy 8-track version a decade ago, but the record has mostly been available as an obscure import CD -- if at all -- for many a year. The reason for this is that the Rooster Records HQ burned down in 1987, taking master tapes, extra covers and whatever else there was with it. This was a general bummer, but especially so for us Hurley fans, since his final LP with Rounder was Snockgrass in 1980, and he didn't hook up with Fundamental to do Watertower until 1987. The disappearance of Blue Navigator from this earth left a sizable hole. Which we'd now like to think has been plugged. Recorded with a cast of Northern Vermont hepcats including guitarist Jon Weber (of Dan Hicks' original Hot Licks), head Rooster William Wright on guitar and mandolin, Nancy Beavan on vocals, Gordon Stone on pedal steel and various other goners, all playing some sweet rural swing displaying exactly how Hurley became the toast of the snowmobile club circuit during his days in the North Country. A mix of old favorites -- 'Werewolf,' 'Open Up (Eternal Lips)' -- new favorites -- 'Code of the Mountains,' 'Ghost Woman Blues' -- and even a re-write -- 'Blue Navigator' -- it's a great, very casual sounding session, revealing more layers the more you listen. The instrumentation varies a lot between tunes, but the music always flows with Snocky grace and assurance. For this reissue, Michael has written a set of illustrated liner notes that scoot around just the way his conversation does on a long car ride. Which makes me miss the open road as much as anything else today. Just close your eyes, sink back into the music on Blue Navigator and pretend you're drifting through the hills and valleys of the Green Mountain State on your way to a cold growler of beer. You'll soon feel like a million bucks. Promise!" --Byron Coley, 2020

2026 repress. "If you're as obsessed with unfairly unheralded bands as Jackpot Records are, bringing out a proper, well-deserved official re-release to change that course is always an honor. Case in point, Jackpot announces Gandalf's 1969 self-titled release as one of our proudest moments. Working alongside band member Peter Sando from the original master tapes, it is time for the rest of the uninitiated to catch up with this beautifully crafted haunting psych-pop record (fans of The Left Banke, Kaleidoscope, The Millennium, and The Zombies, take note!). Recorded at Century Sound in Manhattan with Grammy-winning producer Brooks Arthur (who engineered Neil Diamond's 'Sweet Caroline' and Van Morrison's 'Brown Eyed Girl'), the production of the album was created on the spot in the studio with arrangements being thrown about and the incredibly haunted vocals being recorded directly from the band's PA using a Binson Echorec to make this innovative sound (Pink Floyd later used the same echo unit to great effect). Add to that sitars, vibes, B3 organs, harpsichord, minor tragic guitar chords, and bass drones aplenty, and you've got the recipe for an album that bears listening to with eyes closed, music cranked, mind open. So get in on the beauty of this record, and as Sando says on the liner notes: 'Put the needle in the groove, sit back, and take the trip with GANDALF.' Enough said."

20th Anniversary Reissue. Remastered. Groundbreaking MPB/downtempo classic. Originally released in 2005, Céu introduced the world to a bold new voice in Brazilian music. Seamlessly blending samba, MPB, soul, and downtempo grooves, Céu delivered a debut that felt both deeply rooted and strikingly contemporary. With her smoky, understated vocal tone, she evoked echoes of classic bossa nova while pushing into new sonic territory -- covering Bob Marley's "Concrete Jungle" with Afro-Brazilian swing and layering in dub and electronica accents. Hailed for its elegance and quiet innovation, the album hit No. 1 on Billboard's World and Heatseekers charts, earned a Grammy nomination, and became the highest U.S. chart debut for a Brazilian female artist since Astrud Gilberto. Now celebrating its 20th anniversary, Céu returns remastered for vinyl -- a modern Brazilian classic reissued for a new generation of listeners. Includes classics: "Lenda," "Malemolencia," and "Concrete Jungle." Mastering by Colorsounds Paris.

2026 repress. All-analog processed 150 gram vinyl. Features 2 tracks not found on the CD. "Perhaps it is best to describe Low's approach as essentialism -- allowing each musical gesture to make maximum impact. This is their fifth studio album and first for Kranky. Low remains tied to the simple grace of the voices Alan Sparhawk and Mimi Parker. Instrumentally, they have stretched out, but each song continues to be based on deceptively simple patterns of voice, bass, guitar and skeletal percussion."

2026 repress; double vinyl version in a gatefold sleeve. All analog production (AAA). Two extra tracks on the vinyl version. "The trio have succeeded in topping Secret Name -- Things We Lost In The Fire has songs that are lush ('In Metal') and songs that are naked ('Whitetail') and adds a layer of fuzz and distortion ('Dinosaur Act'). Alan Sparhawk and Mimi Parker's voices remain at the center of Low's music, Zak Sally's bass anchors the whole with carefully-placed pauses, making every second count. After five albums, Low have moved beyond tags like 'slowcore,' pace is not nearly as important now as placement."

2026 repress; originally released 2002. Double LP version, gatefold sleeve, all analog production. "Trust was recorded with Tom Herbert at 3rd Ear Studios in Minneapolis, and mixed in London by Tchad Blake (Latin Playboys, Lisa Germano, Pearl Jam). Guest vocals are contributed by Gerry Beckley of 70s soft-rock giants America on 'It's In The Drugs' and 'La La La Song'. Marc Gartman plays banjo on 'It's In The Drugs.' Blake's presence is immediately apparent with the bells, whistling and echoing drums on '(That's How You Sing) Amazing Grace.' Trust is the most assertive and expansive Low album yet, and loaded with meaningful sonic details. This record grazes you with a brick then knocks you over with a feather."

Restocked, LP version. Explosive. Urgent. Wildly inventive. Everyday Timebomb captures Dog Faced Hermans at their most fearless -- fusing punk intensity, free jazz chaos and political fire into a sound that defies genre and time. Long out of print and increasingly difficult to find, this lost classic is finally back on vinyl and for the first time on its own CD -- for a new generation to discover. Formed in the vibrant European post-punk scene of the late '80s, Dog Faced Hermans stood apart for their raw energy, charismatic vocals and an instrumentation that inspired artists from The Ex to Godspeed You! Black Emperor. Their fearless spirit and DIY ethos turned noise into art and protest into rhythm. This limited reissue stays true to the original analog sound while the fresh remastering gives the original tracks new depth and punch. Each copy includes carefully reproduced artwork and archival notes celebrating the band's unforgettable legacy. For fans of Chumbawamba, Rip Rig + Panic, Fugazi, and anyone who believes that music should sound like liberation itself. Everyday Timebomb is more than a record. It's a reminder of how revolutionary sound can be. LP limited to 500 copies; CD is mini-LP-format housed in Stoughton tip-on jacket. Cut at Schnittstelle Mastering and pressed at Optimal in Germany.

2026 restock. Reissue of an incredibly obscure private press LP, originally issued in an edition of 200 in 1976. Total weirdness from Middle America that must have stumped more than a handful of its original listeners. Was mentioned on the pivotal Nurse With Wound list that accompanied Chance Meeting On the Dissecting Table... and it's not hard to see why. One of 1998's most fascinating reissues. Beyond the Black Crack was the concept of Reverend Dwight Frizzell, a musician, film maker, doctor of metaphysics and minister in the Universal Church of Life. It remains a little-known classic, and one of the most unique listening experiences in modern experimental music. Recorded between 1974 and 1976 in locations as diverse as factories, the pyramid opposite Harry Truman's grave site as well as more "conventional" concert settings. Beyond the Black Crack is a dark, dizzying and exhilarating journey through free jazz, electronics and environmental sound, all shattered by Frizzell's radical tape editing. This CD re-release adds further material to the original LP -- "The Wandering Madness of Basilea," a suite from 1977, as well as unreleased material from the Black Crack sessions.

2026 repress; LP version. "There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction's almighty Moon Blood album does, and even fewer records in the world that could be dubbed 'Christian Rock' incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance -- and Moon Blood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians -- the line-up was ringleader Jim Beach (vocals), Don Swanson (lead guitar), Curt Swanson (drums), Victor Hemme (bass), and Robert Meinel (rhythm guitar). Amazingly the recording sessions for the album were recorded similarly on the fly. Particularly noteworthy is Beach's vocals -- as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach's lyrics. Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach's own. The other members contributions shouldn't be underappreciated though -- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish -- comparisons to the Detroit late '60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late '60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side one of the LP in particular cuts to the emotional core, with severely charged dark lyrics like 'Extend your thumbs and burn the darkness out of her.' Which leads to the Christian aspect -- it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most -- fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth. The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue."

2026 repress. "Hopeton Brown, better known as Scientist, has been a pioneering figure in the world of dub for nearly 40 years. His early love of electronics proved fruitful when (still a teenager) he was hired at King Tubby's studio in Kingston. Brown quickly ascended the ranks and became heir to Tubby's throne, producing imaginative and technically impressive mixes that solidified his forward-looking nickname. Introducing Scientist - The Best Dub Album in the World, his 1980 debut LP, lives up to its boastful title. Recorded with Sly & Robbie at Channel One Studio and mixed at King Tubby's, the album features hypnotic basslines, reverb- drenched keyboards, and fluid, start-stop rhythms. Opening track 'Steppers,' with its well-balanced phrasing and organic contours, shows Scientist's mastery of the studio- as-instrument concept. On 'Scientific,' the effectsladen guitars are stretched to their outer limit to create magnificent, spaced-out textures and muted tension. Introducing Scientist displays the talents of a man obsessed with every element of production, drawing out the very best of the dub form."

Warehouse find, last copies. "Long-lost demo album from this Welsh folk legend, recorded soon after his debut single for Decca but never issued. Eleven previously-unheard original songs like 'Winter Of The Clan' and 'Not For Me Mr. MP,' and a great companion piece to the now sold-out Ghost Town. 1,000 copies, 190 gram vinyl." Recorded at the Tony Pike Studio, in 1965. 2002 release.

2026 limited restock; In 1961, a giant awoke in South Central Los Angeles: a musically radical, deep-rooted, politically engaged band, its members drawn from the community it represented and served, and its music composed by them alone -- The Pan Afrikan Peoples Arkestra. The brainchild of pianist and composer Horace Tapscott, the Arkestra was intended to preserve Black music, nurture Black musicians, and above all contribute positively to community building in South Central LA. 60 Years celebrates six decades of his radical and uplifting musical and social vision. Digging deep into the Arkestra's archives, the album gathers breath-taking unreleased material, including previously unheard compositions, from every stage of the band's development -- from Tapscott's earliest iterations of the group, recording at home in 1961, to the current incarnation of the band, led by the new generation of young musicians. Tapscott passed on in 1999, but the Pan Afrikan Peoples Arkestra was built to outlast him: over more than half a century it has stayed true to its roots and to Tapscott's vision, welcoming multiple generations of players into its fold, and celebrating their music. And with current leader Mekala Session -- son of the Arkestra's veteran altoist Michael Session -- at the helm, the Ark is still going strong. 60 Years selects a song from every decade of its life, show-casing a musical family tree that includes renowned musicians such as Arthur Blythe, Dwight Trible, Phil Ranelin, Butch Morris, Kamau Daáood, Sonjia Maia Harper, Nate Morgan, Linda Hill, Adele Sebastian, Michael Session, Jesse Sharps and of course the late, great Horace Tapscott himself. Remastered from archival sources by the Arkestra's longstanding engineer Wayne Peet, 60 Years is presented by The Village -- a label operated by members of the Pan Afrikan Peoples Arkestra. With archival photographs documenting the Arkestra's history, the album arrives with liner notes featuring track-by-track commentary from Arkestra members past and present. For decades, Tapscott's musical brilliance and the majesty of the Pan Afrikan Peoples Arkestra was almost unknown outside South Central. 60 Years is the sound of all this history emerging at last, and also of history in the making. To quote Zekkeraya El-Megharbel, Arkestra conductor and trombonist: "There's more to be said, but words feel like they don't do the job."

2026 repress. Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. His much sought-after and stunning self-titled album from 1970 includes "Ele E Ela," as sampled on Jay-Z's "Thank You," as well as some of his most popular songs like "Freio Aerodinamico" and "Os Grilos," swinging between sophistication and groove. Remastered from the original tapes and pressed on 180g vinyl, this release is part of Vampisoul's new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon, and more. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d'état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. Marcos Valle was originally released in 1970 and features a dynamic musical backing from some of Brazil's most gifted players.

LP version. Wewantsounds presents the first-ever international release of the legendary collaboration between Abdullah Ibrahim (Dollar Brand) and Don Cherry, featuring Carlos Ward. Recorded live in 1972 at Jazzhus Montmartre in Copenhagen, this highly sought-after album was originally released exclusively in Japan in 1974 on the cult jazz label Trio Records via its revered Nadja imprint. An essential chapter in the musicians' discographies, the performance masterfully blends jazz with rich South African rhythms and global influences. This long-awaited edition features fully remastered audio, the original Japanese artwork, and a four-page booklet with new bilingual liner notes (English/French) by Jacques Denis. The Third World-Underground captures a rare convergence of three singular musical voices: Don Cherry's nomadic imagination, Abdullah Ibrahim's deeply rooted South African lyricism, and Carlos Ward's muscular alto saxophone. By 1972 when this magical album was recorded, Cherry and Ibrahim had already spent a decade redefining jazz by pushing beyond its foundations and embracing a broader, global musical language. Cherry was in constant search of new musical pathways. Drawing inspiration from the traditional sounds of Turkey, India, Africa, and beyond, he cultivated a fluid, borderless approach that expanded far beyond the trumpet, incorporating voice, percussion, and communal improvisation into his work. Ibrahim brought an equally profound sensibility. A spiritual heir to Duke Ellington, shaped by Cape Town gospel, township jive, and the emotional weight of exile, he transformed the piano into an instrument capable of both celebration and lament. Having first crossed paths in the mid-1960s, the musicians shared a deep mutual affinity that culminated in this performance. Recording under a name that reflected the era's growing decolonization movements, the trio created a fearless, boundary-defying statement across seven hypnotic pieces. The music unfolds as a continuous conversation: Ibrahim's cyclical piano figures provide an emotional foundation while Cherry and Ward drift, soar, and chant in ecstatic unison, searching collectively for new ground. Originally released in Japan in 1974 on Trio Records, the album was never reissued on vinyl, gradually attaining cult status among collectors and fans of Don Cherry and Dollar Brand alike. Freed from convention, The Third World-Underground remains a restless and deeply human work of collective discovery whose resonance continues to unfold with every listen.

2026 restock. Deluxe 3x10" boxset version with 2 bonus tracks not on the regular LP version: "Queen of the Icotion" and "Party Time on Enterprise." On colored vinyl. "A virtual wizard of the mixing desk, Overton H Brown has been one of the key figures in dub since the late 1970s. Getting his start as a teenager at King Tubby's legendary studio in Waterhouse, Brown was known as 'The Scientist' because his imaginative approach to the mixing desk and electronic gadgetry seemed to derive from magical powers that linked him to some intangible, futuristic realm."

Officially licensed from Irwin Chusid of the Sun Ra estate, Cold Spring negotiated rare and unreleased tracks from the Sun Ra archive to be remixed and treated by Masami Akita (Merzbow). The tracks incorporate the jazz power of Sun Ra, carried into brutal excess by the legendary Japanese noise artist, Merzbow. Originally released by Cold Spring a decade ago and long sold out, the music was spread across vinyl and CD, with completely different music on each format. The tracks are now collected together here for the first time, from the original masters and presented in the order originally intended (the vinyl format dictated the order due to optimal sound quality restraints). Also included (for the first time on any release) is the bonus two minute track "Granular Jazz Part 5," a special composition created for the Stuart Maconie's "Freak Zone" (BBC Radio 6), which was only broadcast once, ahead of Merzbow's show at Manchester's legendary FAC251, September 2016. Presented on 2CD with expanded artwork in a eight-panel double digipak. Comes with an eight-page booklet featuring a new essay by Gydja.

Eminent Vinyl present this incredible album on vinyl for the very first time. Steve Young was a pioneering American roots/outlaw/country singer-songwriter whose career spanned over five decades. Beyond the greatness of his own recordings, he saw his compositions covered by everyone from Dolly Parton to Joan Baez to The Eagles. Long Time Rider was originally recorded in the mid '80s, released on cassette in 1987 (which he would sell at shows), then issued on CD in France in 1990 and once again on Australia's Afterburn Records label in 2008. It saw Young experimenting with the Roland Juno 106 synth, mixing a warm, ambient sound with soaring vocals. A truly magnificent and unexpected addition to his catalogue, it's a wondrously loose and freeform sound, highly recommended to fans of Tim Buckley, Lee Clayton, and Townes Van Zandt. This edition comes with all-new artwork by family friend, Margot Walbert (RIP), and insert featuring photos, liner notes and lyrics. More than a mere 'Americana' or "roots" album from the '80s, Long Time Rider is a remarkable, forward-thinking and experimental outing from Steve Young which is ripe for rediscovery.

This album is part of two ESP-Disk' initiatives. The one that came first is the idea of teaming up artists who haven't worked together before. In this case, longtime collaborators Ullmann and Swell play with a rhythm section new to Ullmann: Morris and Downs. And, this is another ESP release featuring Charles Downs. The senior member of the trio, he is also known to jazz aficionados as Rashid Bakr, the name he used while drumming in various Cecil Taylor groups, Ensemble Muntu, and Other Dimensions in Music, to name a few. Around the time this album was recorded, ESP also teamed him with violist Melanie Dyer and pianist Megumi Yonezawa. Joe Morris, guitarist and bassist, studied with ESP-Disk' legend Lowell Davidson. Morris formed his first trio in 1977 and began his recording career in 1983, with well over 50 albums as a leader and many more as a collaborator, including albums on ESP-Disk' under his own name and with Flow Trio, Fay Victor's SoundNoiseFUNK, and a guitar duo with Elliott Sharp. The pre-eminent avant-jazz trombonist, Steve Swell has been an active member of the NYC music community since 1975. He has toured and recorded with diverse jazz personalities from Lionel Hampton and Buddy Rich to Anthony Braxton and Cecil Taylor. This is his first appearance on ESP. Gebhard Ullmann is a composer and woodwind virtuoso based in Berlin, Germany. He has released more than 70 CDs as a leader or co-leader and is considered one of Europe's finest improvising musicians, as well as a heavyweight composer of chamber and orchestra music. All music recorded live in the studio and instant-composed by the musicians on June 13, 2024 at Park West Studios, Brooklyn, NY.

"Few improvising artists can boast the stream of creative ideas that seem to bubble from Gebhard Ullmann. Ullmann focuses on the fundamentals of improvised jazz: melody, sound, syncopation and technical excellence, but what makes his writing and playing so successful is his seemingly never-ending innovative nature: without grasping for neoteric straws, Ullmann's performances are grounded in the past but plunge forward deliberately toward modernity. Ullmann leaves the strong mark of a disciplined sculptor of sound, who speaks his own compelling language." --Steve Loewy, Cadence

2026 restock; double LP version. RSE surprise album just in time before the migration to cooler waters. Grown in the shade of the glacier. Killer Whale Atmospheres is a future-memory affair of sub bass propulsive drones, rhythms, chords and dorsal scars building to a forbidding sense of cold echolocations yet to come through the violent procession of darkening rains. Black vinyl double LP in wide spine sleeve. Digital download code included.

Named after a now-shuttered nightspot that overlooked the beach on Italy's picturesque Tuscan coast, Maxime Denuc's Club Imperiale is a work of speculative historical fiction, a record that imagines a point of creative symbiosis between the Catholic church and the ecstatic dancefloors of the early '90s. Using a MIDI-controlled pipe organ, Denuc creates dense clouds of impossible-to-play notes that ricochet backwards and forwards through history, from Rome's reverberant cathedrals to the white, sandy beaches of the Balearic Islands. Two years ago, the Brussels-based French composer was forwarded a surprising video by a Belgian fan. It was shot during a wedding at a church in Menorca, where the organist was playing "Infinite End," the lead track from 2022's Nachthorn. Immediately, Denuc knew that this was the thematic backdrop he'd been waiting for; he imagined the aftermath of the event, wandering through small villages and teetering on a cliff's edge, finding a provincial nightclub and retracing his steps back to the beach to witness the sunrise. This time around, Denuc was gifted the time and the access he needed to fully refine his concept. The technical side of the process had already been solved; after recording Nachthorn, he was now very confident with his system, able to control the pipe organ's keyboards, stops and pedals incredibly precisely using Max/MSP and OpenSoundControl, or OSC. And his relationship with the St. Antonius Church in Düsseldorf had deepened significantly. The cantor offered him three- or four-days each month for a year to record the project and Denuc jumped at the chance. He moved into a small apartment nearby and spent every available hour behind the organ, working from 9AM until 5PM, stopping for mass and then returning for another long session, heading back to his studio on the off days to listen back to the recordings and plan fresh approaches. This allowed him to sculpt the experience meticulously, thinking about the history of sacred music and considering the real reasons that its compositions have lingered in the secular consciousness for so long. He wanted to concentrate on the visceral acoustic qualities of the church itself, so used a spatial multi-microphone setup to situate listeners between the concrete walls, fabricating an acoustic experience that's multi-dimensional and cinematic.

LP version. A note from Lawrence English: "Nostalgia is not an ideology, though in this moment, we could be mistaken for thinking it might be just that. Over the past years, the idea of nostalgia has been filtered through various political and technological lenses and has become a tool used for forgetting, rather than remembering. Instead of embracing histories' complexities and inconsistencies, this version of nostalgia seeks only singular recollection. This contemporary phenomenon of nostalgia has become a methodology at best, and a weapon at worst, used to erode the past and project forward a collapsed and unimaginably sanitized version of things, places, and ways of being from former times. It's this projection that sees it playing a mounting role in a social pathology associated with reducing the imagined possibilities of future. The Rest Is My Ghost is a record that interrogates the manifestations of this reductive futuring and celebrates those that have tried (and failed), and those who continue to push back against decayed and revisionist positions. It's a record that considers the weaponization of nostalgia for the purposes of cloaking possible futures. In recent times, I've proposed a term for this weaponized use of nostalgia, something I have called 'Acid Nostalgia.' I offer it as a shorthand to describe the de-contouring of the future through a corrosive fixation on a flatten rendering of the preceding times. It is, in part, a certain type of lazy cultural scripting where tropes of the past are presented in the absolute, as empty pictorials; photocopies without any original from which to draw actual meaning, or useful detail. Acid Nostalgia describes an increasingly common political projection of nostalgia that exists without any subjective connection to the memory surrounding and contained within it. Like acid poured onto a surface, this use of nostalgia seeks to erodes and smooth out the complexity and texture of lived connection and longing, which has until recently guided contemplations of nostalgia... The Rest Is My Ghost is not however some universal reading of these things and happenings. Rather it draws its breath from a very personal pathway carved through my own fraught experiences of nostalgia and framed through a disparate collage of chance encounters, situations, places and provocations. It takes oblique notes from civic and architectural references such as Japan's Metabolist movement, Hong Kong's 'one line sky' and Los Angeles's vanished Sodium Vapor lights... The Rest Is My Ghost is ultimately a record about the promise of constructions and connections to come, material, social and political. It's a record that accepts the fragility of failure as a source of ultimate potential, and a position from which the deepest freedom of imagination might be sought and summoned forth to conjure even the most unimaginable, (but) possible futures."

In September, 1967, three of the primary ensembles of free music in Northern Europe gathered for a mini-festival on Radio Bremen: the Manfred Schoof Quintet, the Peter Brötzmann Quartet, and the Irene Schwiezer Trio. Pianist Alexander von Schlippenbach appeared as part of the Manfred Schoof Quintet, but in these sets, which mixed the dozen members of the ensembles, as well as presenting them on their own, Schlippenbach in fact either led or was at the center of several groupings, presenting two of his compositions. Main Lines/1967 compiles four tracks from these formative studio sessions, which took place just as the participants were formulating the basic direction of improvised music in Europe. The CD includes large ensemble music in the mode of Schlippenbach's Globe Unity recordings, the first of which were made a year earlier. Mani Neumeier, who would soon become the drummer in the rock group Guru Guru, offers a wild percussion-centric ride in "It's Up," while saxophonist Peter Brötzmann squares off against trios -- three basses, three pianos, three drummers -- in the volatile piece "Three." The most compositionally complex works are Schlippenbach's, the title track and "Turn 14," which was part of the Schoof Quintet's repertoire. Other participants include drummer Jaki Liebezeit, who would go on to propel Can, bassists Peter Kowald, Uli Trepte, and Buschi Niebergall, pianist Fred Van Hove, saxophonist Gerd Dudek, and celebrated improvisor/drummer Sven-Äke Johansson. A major unearthing, these recordings celebrate their 60th anniversary next year but have lost none of their incendiary edge.

"Axieme captures legendary soprano saxophonist Steve Lacy in a deeply personal solo performance that distills decades of artistic exploration into six remarkably focused improvisations and compositions. Long celebrated for expanding the expressive possibilities of jazz while embracing poetry, literature, and experimental forms, Lacy approaches solo performance with an economy of means that reveals extraordinary depth. Working within simple melodic frameworks, he transforms silence, breath, resonance, and repetition into essential musical elements, demonstrating the unique improvisational language that defined his career. Throughout the performance, Lacy explores progressive melodic development, moving effortlessly between blues inflections, avant-garde abstraction, and lyrical introspection. The recording makes full use of the acoustic space, with Lacy manipulating distance, dynamics, and timbre as expressive tools while allowing the natural resonance of the performance hall to become an active participant in the music. At the heart of the program are two movements from his celebrated Tao Suite, a work inspired by the writings of Lao-Tzu that became a cornerstone of his repertoire over the course of a decade. Released by Red Records, Axieme presents Steve Lacy at his most intimate and inventive, offering an illuminating portrait of one of jazz's most original improvisers through a performance that balances technical mastery, philosophical depth, and remarkable expressive simplicity."

An audio essay on crossing to the other side. The two distinct faces of the vinyl trace the boundary between life on earth and what lies beyond. Side A reflects the fragile, tangible world of mortals -- where love awakens as instinct and memory endures as a gift. Side B opens to the cosmic beyond, home to souls and celestial beings -- eternal presences that dwell beyond matter and the fleeting breath of existence. At the heart of the music moves a quietly ironic solace: the creative pulse that death, in its strange mercy, leaves behind when it takes someone dear. Written, performed, recorded, and mixed by Sissi Rada, with cherished appearances and collaborations from Charis Karantzas, Jay Glass Dubs, Oï les Ox, and Theodor Milkov.

A note from Mike Cooper: "In the past some reviewers and critics of my series of ambient/electronic/exotic releases mentioned Jon Hassell and even suggested that we should make an album together. That never happened of course and probably never would have. An influence of his music on my exotica music is in some ways true but initially to be honest it was the cover art by Mati Klarwein for Aka/Darbari/Java and Dream Theory in Malaya that I would sometimes turn to look at for inspiration. They reminded me of places that I loved to be and why I was making the music. They were non-existent or imaginary places that I might have visited in dreams or half remembered from real places. Mati also provided art work for the covers of Miles Davis's records, from Bitches Brew onwards and for Carlos Santana amongst many others. There is also a lot of King Tubby and Lee Scratch Perry's influence here in the process as well as the poetry and novels of Nathaniel Mackey which were referenced often during the gestation period." Featuring Mike Cooper (samples, field recordings, voice, lap steel guitars), Pierre Bastien (valve cornet), and Mark Cunningham (trumpet). Mastered by Lawrence English at Negative Space. Design by Traianos Pakioufakis. Cover image by Mike Cooper.

Sababa 5 and vocalist Yurika are back on the exclusive Middle Eastern grooves with their newest double-sided 7" collaboration titled Tokyo Midnight. A dazzling encounter of cultures, inspired by the funky and exotic melodies of Sababa 5 and the resplendent Japanese words of Yurika. Title track "Tokyo Midnight" opens with a groovy guitar riff and continues into an upbeat rhythmic workout, complete with a funky bassline and ululating keyboards. Yurika's enchanting voice ties things together in a soft yet hypnotic musical whirlwind. On the B-side, "Nasnusa", a beautiful guitar solo flows into a captivating rhythm inspired by traditional Mizrahi music. Yurika's delicate vocals evoke a love story: a couple watches the sunset as the gates to a new world begin to open. As Nasnusa fades into the light, her lover recalls her beauty and reflects fondly on the wonderful time they shared together.

The first encounter between Felix Kubin and Bound By Endogamy dates back to March 7, 2024, during a Bongo Joe night at Petit Bain in Paris. BBE performed their debut LP, while Felix presented Cell with Hubert Zemler. Later that year, they reunited at Kalabalik på Tyrolen, realizing how much they shared musically. In 2025, invitations crossed paths: BBE performed at Papiripar Festival in Hamburg, then Felix spent time in Geneva. At Shlomo's studio, machines were synced, knobs twisted, natural wine poured, and improvisations recorded. Felix shaped the material into two instrumental drafts and sent them to Geneva. BBE reworked them, adding vocals. A series of tight exchanges between Hamburg and Geneva followed until the final form emerged. The 7" was then mastered by Gavin Weiss.

"In the wake of the acclaimed Inland See, the on-growing analog ecosystem being animated for ten albums now by Bitchin Bajas boasts new high energy views. Isle Peaks speaks of directions in beats of time, weather and the heart to wherever coast they found themselves when they got it all laid out. Sourced from Inland See sessions, these cuts were subjected to further edits and tweaks, with electroacoustic textures of sampled kalimba, field recordings, autoharp and EWI to activate and transport divergent quadrants of the Bajas cinematic universe. The first two songs were previously released digitally on Qobuz in Jan '26. 'Watch your Step' has been added to balance scales and acidity for the 'Isle Peaks' vinyl edition. 'Isle Peaks,' throbs with the heat and humidity of an unknown landmass, ascending to signal-splitting heights on both atmospheric and ecstatic scales, the most wired ever but calm, then trancing ambiently in heavy modern electronic church thick with drone and atmosphere. High-energy music, first to dance, then to dream! The escaped and wild stepchild of Inland See is a half-hour highlight of the rest of your life to be: 'Isle Peaks.'"

LP version. "In the spring of 2025, right around the release of Possession, Ty Segall started hearing voices, calmly at first, but soon screaming: 'Get the band back together!!!' Immediately, his mind began working, creating, collecting and collating riffs for songs, an album that he and the band -- Ben Boye, Evan Burrows, Mikal Cronin, Emmett Kelly -- will come to all call Chrome. Chrome -- the element, not the album -- is shiny, reflective, resistant to corrosion. Chrome the album's got that too: in hard-springing rock strung with lyrically allusive passages moving furtive and bleak through labyrinthine paths in the darkness. Joining social phenomena and autobiographical dream imagery in song-sequenced, head-snapping flashes, hitting left/right hemispheres fast and furiously. In massive riffs and thudding power in the rhythm core, twin-guitar attack and parry, tightly arrayed lines of fuzz distortion, keyboard textures of bright and thickness. All mixed immediate and flexible, colorful and clean, spicy-sweet, with Ty's vocals of vinegar and sand, wine and grains of silver nitrate, pointing the way. That's Chrome. The band came together fast and hard, their five heads writing half the songs here, with others featuring Ty and Evan collabing, Matt Yoka and Denée Segall writing some too. Accounting for its high-performing social nature and hot rocks. Its guitars slammed immaculate, big waves and dark apocolypto energy bonfires on the beach, from proto to punk to grunch, projected from the crowd-sourced energy of their mind-meld to shake the cages of the larger collective beyond. RIYL: Television, Blue Oyster Cult, The Adolescents, Pink Fairies, Iggy, Crazy Horse, Nirvana."

"In A Strange Place is my album of covers, an idea I've always caressed and finally, about five years ago, found the time to write and produce. Given the importance of this project, it took me quite some time to properly release my take on these songs and musics. I deliberately waited years to see if they could stand the test of time and I would say, for most of them, luckily it happened. My approach on this work is, while featuring other artists' works, to describe a microcosm of feelings and an intimate sonic landscape. A place where the listener could immerse his/her self and take the distance from the world we actually live in. And this is the reason why, as a sonic palette, I've chosen to work with piano, strings and subtle electronics, giving these tracks a slower and delicate vest. This album also features instrumental tracks and interludes featuring echoes of the other tracks included. It's like describing the memory of something, or the intuition of something to come. There are no spaces between tracks, everything is linked in a continuous listening experience to immerse ourselves. The title In A Strange Place, taken from a line of the song 'How ghosts affect relationships' by His Name Is Alive, well describes the nature of the state where we should feel while listening to these tracks, songs about love and the high and lows of life. A place of shelter where we could hide and feel safe for a while, like when we were younger and listened to our favorite songs in the secrecy of our bedrooms. This album sees the collaboration of singers like Anne Garner, Dominic Appleton (Breathless, This Mortal Coil), Lilies on Mars, Emma Anderson (Lush, Sing-Sing), Heidi Berry, Paula Frazer (Tarnation) and Ian Masters (Pale Saints) while featuring tracks by artists like Nick Drake, David J of Bauhaus, His Name Is Alive, Colin Newman of Wire, Steve Miller, Pieter Nooten, Tarnation, Jane, Brian Eno and John Martyn. The last track, 'Hope (Te aroha),' is based on a field recording I took during my honeymoon about ten years ago in Venice, featuring a traditional New Zealand chant of love and peace." -Stefano Guzetti

Released as a private pressing in 1968, Song Of A Gypsy has grown from an obscure self-released album into one of the most coveted psychedelic records ever made. Revered by collectors as the "Holy Grail" of psych, original copies now command thousands of dollars -- but its legendary status rests not on rarity alone. The music remains as captivating today as it was over half a century ago. A singular blend of psychedelic rock, Eastern influences and mystical songwriting, Song Of A Gypsy weaves floating Arabic melodies, finger cymbals, hand percussion, shimmering fuzz guitar and Damon's unmistakable, haunting vocals into a deeply spiritual listening experience. Its songs explore love, loss and the search for meaning with a sincerity that continues to amaze. Behind the music was David del Conte, better known as Damon The Gypsy. After performing around Southern California in the early 1960s, personal struggles led him to abandon the club circuit in search of a different path. Settling in Big Sur, his life took an unexpected turn when an impromptu encounter and jam session with George Harrison and Ravi Shankar inspired the distinctive five-string guitar tuning and Eastern-tinged sound that became the foundation of Song Of A Gypsy. Recorded with guitarist Charlie Carey and a small circle of friends, the album was privately issued on Damon's own Ankh label in an edition believed to total of a few hundred copies across two sleeve variations (single white cover and black gatefold leather textured). With virtually no promotion or distribution, most copies were simply given to friends and family. Decades later, the record was rediscovered by legendary collectors Veronica Breth and Paul Major, sparking a worldwide cult following. Its growing reputation eventually led to acclaimed reissues by Shadoks in 1998, Guerssen Records in 2005 and Now-Again in 2010. Damon himself remained humbled by the album's remarkable journey, calling its success "a mystery" after years of obscurity. Damon passed away in 2016, but Song Of A Gypsy endures as a timeless masterpiece, one of the most extraordinary and original recordings of the psychedelic era. Featuring original artwork (single white cover variant) and remastered sound with pitch corrected. Includes insert with liner notes and photos.

Eden Samara grew up in the mountains of western Canada, writing folk songs and performing in the theatre. Following a trip to Europe where she had her first formative clubbing experiences, she relocated to London in 2019 where she's become a consistent presence and voice in the city's underground, collaborating with artists like Parris, Ciel, and Loraine James and earning praise from The Guardian, Pitchfork, Rolling Stone, Crack, and DJ Mag. 2022 saw Eden release her debut album Rough Night on Local Action, blending freaky club-pop, introspective R&B and more while collaborating with leading scene figures TSVI, Call Super, and Shanti Celeste. Described by Dazed as "an embarrassment of riches" and by Mixmag as one of the best albums of the year, in Eden's words it was simply "a tragicomedy in seven scenes and an interlude." On her second album Odyssey, Eden brings more elements into her ensemble (jungle, choral singing, live harp) while honing her song-writing -- it's an expansion and a tightening at the same time. Inspired by epic literary works like Homer's Odyssey, The Alchemist and The Picture of Dorian Gray, the album reimagines the archetypal quest through a personal lens: a healing journey amid the collapse of close relationships to addiction, mental illness, and the weight of codependency disguised as love. In Eden's words: "This work is a narrative and sonic expedition -- part myth, part memoir -- that traces my path through the emotional aftermath of watching loved ones struggle with drug addiction and mental health crises, and the impact it had on my own mental wellbeing. The album addresses substance abuse, toxic relationships, and the internalized belief that love must come through sacrifice, even at the cost of one's selfhood." For this special release, Barcelona's Lapsus and London's Local Action join forces for the first time in their respective journeys, reflecting the affinity between both platforms and their shared vision of contemporary electronic music.

2026 repress. Originally released in 1968, Caetano Veloso's debut album did for Brazilian music what the Beatles' Sgt. Peppers did for rock & roll, giving birth to the soon-to-be Tropicalia movement, which fused Brazilian music with pop, psychedelia and social awareness (and Veloso's leftist politics actually earned him a stint in jail in 1968 for 'anti-government activity'). Veloso, nonetheless went on to become one of the most popular and influential Brazilian musicians of all time. Includes the genre-defining classics "Clarice" and "Soy Loco Por Tì, América", "Superbacana", "Tropicalia" and "Alegria, Alegria". Now with bonus CD of the album and OBI "bookmark" Japanese style.

Berlin's Kuboraum Editions celebrates another round of its ongoing Kuboraum Sound Residency with a bumper 19-track volume of exclusive tracks from its vibrant creative community, music that challenges contemporary logic and prioritizes what really matters: experimentation, exchange and evolution. Like its predecessor, Kuboraum Sound Residency Vol. 2 is assembled like a proper album in the classic sense, something that's supposed to be absorbed from start to finish. And although there are no constraints placed on artists, there's a similar radical philosophy that surges through each and every contribution. From beginning to end, it's music that rewards curious ears and open minds. South Korean artist bela opens the compilation with "Mouton and Blade," shaping their powerful voice into an orchestra of growls alongside a wheezing, instrumental ensemble. And Rome's Cosimo Damiano, who's been a part of the Kuboraum family since day one, turns in an unsettling solo experiment, juxtaposing Irma Ticozzelli's pitch shifted voices with scratchy, psychedelic electronics. Catalan pianist, vocalist and producer Marina Herlop traverses her verdant sonic landscape on "alas," matching her singular voice with birdsong to provide a hopeful interspecies dawn chorus. Kenyan vanguard Lord Spikeheart meanwhile links hands with Italian producer Talpah to dream up "SILENCE IN THE C-DRAL," a gruesome trap hybrid that airlifts itself from the basement to the stadium. All of that noise makes Mexican duo Estrella del Sol and Luisa Almaguer's peaceful "Deseo" a necessary palate cleanser. On "TLC," versatile French producer Low Jack reconvenes with Le Diouck, complimenting the Franco-Senegalese artist's throaty rhymes with serpentine synths and jerky rhythms. Colombian sound artist Lucrecia Dalt teams up with percussionist Alex Lázaro, whose flexible electroacoustic rhythms are the perfect foil for her sultry lounge shakes on "Synonym Mask." Bristol's Mun Sing continues his journey towards the club's quirkiest corners with his aptly titled loosie "Fluffy," a bass-heavy, lurching banger. Working again alongside the great Annie Hogan, EROS turn in the moody "Burnt Crossing," a slithering, moonlit addendum to 2024's "Your Truth is a Lie." As the compilation moves into its final act it ventures to the UK once more, stopping in Birmingham for a track from Lee Gamble and in Preston to pick up Rainy Miller's widescreen "My Wings, Never Clipped." Then, fittingly, it's back to Italy for the noisy "Fury," a punky and curiously romantic solo experiment from acclaimed visual artist and musician Emiliano Maggi. The curtains finally close on Julija Castellucci's operatic "Lullaby," a perfectly evocative conclusion to a project that exists between disciplines.

2026 restock, reduced pricing. Blind musician Hrant Kenkulian (1901-1978), generally known as Oudi Hrant was a master of the oud (fretless lute) who was probably best known for his taksims. He was an Armenian born in Adapazar, a city close to Istanbul which had a large Armenian population before the Genocide of 1915. After WWI, Hrant's family settled in Istanbul. Hrant started out singing in the church choir, but soon moved on to the oud. He made his career in Istanbul, but he toured the US in 1950, and did a world tour in 1963 to Paris, Beirut, Greece, America, and Yerevan, Soviet Armenia. He was a teacher of many Armenian-American oudists including Richard Hagopian. He was the pride of the Armenian people, and many consider him to be the most soulful oudist ever to emerge from Turkey. Released in 1964 on jazz label Prestige, this record shows the stunning classical inspiration of the musician.

Simon Popp is back on Squama with his fourth album Trio. At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument. The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds. Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.

Multi-dimensional expressionist Maia (aka Sonjia Hubert Harper) is an internationally renowned vocalist, multi-instrumentalist, songwriter and composer who is proficient on several musical instruments that include flute, piccolo, harp and vibraphone. As a music educator Maia specializes in vocal training for adults with developmental disabilities (Autism, Down Syndrome, etc) and school-aged children. Over the years Maia has gained notoriety as a longtime member of the Association for the Advancement of Creative Musicians (AACM of Chicago) and Pan Afrikan Peoples Arkestra (Horace Tapscott, Los Angeles). Maia headlined the Gorée Island Jazz Festival in Dakar, Senegal in 2019 with the Maia Quintet, the first all-women band in the festival's history. She has performed live with the André 3000 New Blue Sun Ensemble at Hollywood Forever in Los Angeles, and has appeared on recordings by Carlos Niño & Friends. A former Executive Secretary of the AACM, she is also a 2025 M3 Luminary Award recipient through the Mutual Mentorship for Musicians program. Water is life. Water is a vital spiritual medicine, essential for cleansing and healing. It embodies a space for surrender, memory, strength, and enlightenment. All living beings depend on water to thrive, as it symbolizes life, fertility, and sustenance, as well as hardship. For many people, water is viewed as a sacred gift from the Creator. Maia originally created Waters Deep as a solo harp piece to accompany a dance tribute, choreographed by Laurie Goux, for the iconic dancer Miss Katherine Dunham in Chicago in 1996. Miss Dunham was present at the debut of this piece. Over many years, Waters Deep evolved into a three-movement suite celebrating water as life's essential force.

The third in an ongoing series of collected international audio diaries; the premise is quite simple: the two meet at a mutually agreed upon destination along with the facilitation of something to record audio of these experiences on. The intent is to capture and augment these sonic documentaries of their travels which then are sculpted into soundtracks. This is done by sourcing the culture, environment, persons or events that make their voices available. The result might be pleasantly kind and floating or unpleasantly rough and jarring unveiling a light or dark world. In February 2024, CM von Hausswolff and Chandra Shukla met in Chaing Mai, Thailand over the course of nine days. Recordings were made at 31st Century Museum of Contemporary Spirit, Wat Umong (Suan Buddha Dhamma), Wat Phra Singh, Wat Phra That Dot Suthep, Loi Kroh Boxing Stadium, Wat Chedi Luang, Mae Wang Mae Win, Was Pha Lat, Wat Phra That Dot Kham, Wat Rong Khun Chaing Rai, Rong Suea Ten Temple Chiang Rai Ancient City, House of Opium Museum Chiang Saen, The Mekong at The Golden Triangle Chiang Saen, and One Budget Hotel Chiang Saen. von Hausswolff and Shukla rounding off another whirlwind nine days in Southeast Asia in the unusual setting of the Lanna Kingdom (Kingdom of a million rice fields) of Northern Thailand. A multifaceted location where Thailand shares borders with Myanmar, Laos and China in what is known as The Golden Triangle, a commercial trade zone between the nations. This frontier region is home to hill tribes, countless Buddhist monasteries, stupas, The Mekong River, mountains and forests. All of which can be heard on this recording. Always finding themselves in the most untypical of off the beaten tourist destinations and settings, CM von Hausswolff and Chandra Shukla use the Northern Thai backdrop for more sonic tapestries and meditational sound weaving. Perhaps not always in the calming of ways but more often in the midst of noise laden cacophony.

2026 restock. Vampisoul present a reissue of Afrosound's La Danza De Los Mirlos, originally released in 1973. Afrosound was born from the desire of Discos Fuentes vice-president José María Fuentes to come up with a domestic version of the emerging African and Latin rock sounds coming from outside the country, inspired by groups like Osibisa and Santana. The mission was to emulate the guitar-heavy tropical sounds emanating from Perú and Ecuador at the time. According to various sources, the 1972 tune "La Danza De Los Mirlos" (by Peru's Los Mirlos) emerged as a great success in Colombia and with it a new way of interpreting the country's most famous musical export, namely cumbia, through a Peruvian perspective. Afrosound would cover not only "La Danza De Los Mirlos" and name their debut LP after the song in 1973, but they would also faithfully reproduce the unique sound of their guitar hero Enrique Delgado. The first Afrosound recordings were made with a fantastic rhythm section consisting of talented musicians that had played with Fruko y sus Tesos. To add to the hippie vibe, there were plenty of whacky improvised vocal asides (called "inspiraciones"), plus custom fuzz, wah-wah, flange and echo effects boxes for the guitar and keyboards. A barrage of odd sounding synths, drum machines and other electronic flourishes were sprinkled in to spice up the proceedings, providing a competitive edge that made the Fuentes sound so unique. La Danza De Los Mirlos kicks off with most famous Afrosound hit of all, 'Caliventura', a genius blend of funk and cumbia. Aside from the cumbia amazónica title tune, there are several other covers including three popular songs by Nelson y Sus Estrellas, plus radically reimagined versions of various Colombian costeño classics published by Fuentes. Mario "Pachanga" provides a sad but still groove-oriented Christmas son montuno/cumbia hybrid while Fruko brings us the bomba-funk ditty "El Chorrillo" and the rocking cumbia Andina gem "Cabeza De Chorlito" where Sepúlveda channels Enrique Delgado. Fruko collaborator Hernán "Hercovalle" Colorado Vallejo rounds things out with the melancholic psychedelic cumbia "Esperando Por Ti", proving that every tropical party has to have its down side as well. All in all, the dozen tracks on Afrosound's debut long play make for a surprisingly diverse palette from which these Colombian musicians painted their daring portrait of Peruvian cumbia, returning the favor in bold colors that still resonate almost 50 years later. The original Fuentes artwork, with a far more outrageous "cheesecake" image, can be seen on the back cover.

2026 restock. This is the best Chilean album of all time according to Rolling Stone magazine. It contains the latest compositions by Violeta Parra, including her global hit "Gracias a la vida." Vampisoul are now glad to present Las últimas composiciones de Violeta Parra as originally released in 1966, with remastered sound from the tapes and the original artwork. 180g vinyl. It was recorded for RCA Víctor at the end of 1966, despite the artist had signed a deal with EMI Odeon and released her previous albums on this label. After spending some time in Europe, Violeta Parra was back in Chile and wanted to record her most recent songs, filled with lyrics inspired by personal life's disappointments and social topics. The album contains great songs such as "Run Run se fue pa'l Norte," "Maldigo del alto cielo," "Rin del Angelito" and the global hit "Gracias a la vida." This is the very last album released while Violeta Parra was still alive as she would kill herself only four months later, in February 1967. In 1974 a new version of the album was released featuring string arrangements by Chilean composer Nino García and new artwork, a full-color illustration based on the black and white photo of the original album cover. This became the most popular version of the album available in decades. The ownership of the original master tapes has been the subject of judicial disputes since the late 1990s and until very recent times, which explains the difficulty in having access to the original work, as originally conceived, throughout this period.

"More than 25 years after the start of collaboration with Acid Mothers Temple mastermind Makoto Kawabata (including the INUI series and the classic Kawabata/Youngs release) comes the first proper VHF LP by the prolific quintet. One of an occasional series of 'minimalism' inspired LPs by the group, In A Not C is a not a barely changing drone, but a wild ride with the band in full flight, rushing along in a glorious swirl of psychedelic madness. Like the band's well-known 2001 version of Terry Riley's 'In C,' the group uses a small cell of repeating sound as a jumping off point and then gradually revs up to maximum velocity. The current AMT lineup has produced a series of fun and unique variants on the band's longstanding signatures, with the addition of vocalist/guitarist Jyonson Tsu and drummer Satoshima Nani providing a lightness and nimbleness of touch that resets the context of the band's usual blazing electric guitar and burbling synth. Both sides here build to a multi-layered crescendo, with loops of Tsu's gentle vocals competing with frenetic drums, whistling electronics, and guitar that alternates trebly feedback and soft arpeggios. Cut by Golden, pressed in Chicago at Smashed, first pressing on clear vinyl."

It is virtually impossible to describe with mere words how emotionally powerful this work of art is. Just listen. A blissed-out 80-minute epic, Hatchback's Phaser For The Ocean, Chorus For The Moon is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Moving, hypnotic and deeply meditative, it's FFO Mike Brooks, Deuter, Klaus Weiss, Innovative Communication, Harmonia, Cluster, Ashra's New Age of Earth, Stomu Yamashta, Haruka Nakamura, Yoshimura, Hosono, the works. A record truly deserving of the deluxe Be With treatment, the vinyl was specially cut at Abbey Road Studios whilst the original stunning artwork has been pleasingly expanded. Now, an eye-catching holographic-foil layer moon is set against the original tones, wrapped up in a sumptuous double-gatefold jacket. Soaked in Californian consciousness and limited to a run of just 500 copies for the world, this release is a treasured balm like no other for these troubled times. Hatchback is the atmospheric, melodious ambient alias of California-based artist Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs. "When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like Quadrophenia and The Lamb Lies Down on Broadway, as well as epic pieces that took up an entire side of a record: Pink Floyd's 'Echoes', Yes' 'Close To The Edge,' Klaus Schulze's 'Nowhere Now Here,' Miles Davis' 'Shhh/Peaceful' and 'He Loved Him Madly.' In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title -- Yes' 'Tales From Topographic Oceans' and Tangerine Dream's 'Zeit' being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural -- if indulgent -- goal. From there, each new piece followed sequentially. Four songs. My fourth album.' Phaser For The Ocean, Chorus For The Moon is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI. These are songs for the sunrise and the sunset -- and every color in between.

LP version. Based in Cornwall, Blind Yeo emerged from the isolation of lockdown. Built as an open collective, the project brings together musicians, visual artists and performers, developing a practice rooted in improvisation, live energy and shared creation. The Lemoine Point, their debut album, was recorded on a disused airfield near St Agnes. The title refers to a hidden geometric center where lines converge, a metaphor that runs through the record as past, present and future meet within a single moment. Much of the album was captured live by a core ensemble including Sam Pert, Phil Self, Henry Greenham, Philippa Blum, Jake Sheridan, Will Greenham, and Anouska Helm. These recordings are balanced by more intimate sessions, shaping a sound that moves between reworked folk traditions, electronic textures and raw, organic energy. Across the album, fragments of stories and emotions intertwine, exploring themes of love, duality and disorientation in time. Rooted in the Cornish landscape yet open in form, The Lemoine Point unfolds as a space where place, people and memory converge into a fluid and immersive whole.

2026 repress. Efficient Space honors the memory of producer and MC Ali Omar with Hashish Hits, a posthumous selection from the dub rebel's self-released discography. One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage -- a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he co-founded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald. As an MC, he infiltrated the city's house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma. Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden -- who supported The Beatles on their final UK tour and was signed to Decca and Columbia -- the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release. Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum -- Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on "On Release," and Wicked Beat Sound System's Kye on "Poor Man Beggar Man Thief." Meanwhile, "Suicide Bomber" smolders with the tension of a lost Muslimgauze relic, as the instructional "Roll Up" and "The Last Straw" spiral deeper into Omar's signature production vortex -- where space stretches in slow motion and walls reverberate with ricocheting delay. A true icon of Sydney's underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humor, wild anarchic personality, and enduring mantra: "Love and live your life."

"We first became aware of this great Australian-born rover when he had finished recording his 2018 progressive folk masterpiece, Old Chestnut. Ned followed this up with 2019's surprising, fantastic instrumental trio LP, Afternoon-Dusk. Then in 2022 we vinylized his great solo debut, Jokes & Trials and did a lathe of his excellent appearance on our covid-era Quarantunes series. 2024 saw the release of Our Other History which was a lovely assemblage of material recorded in a variety of formats. Now we have a new slab on Ned called Mixed Light. And it's a beaut. Like Our Other History, this new one is more of a blended sonic journey than any kind of monolith. Recorded over time in a variety of locations, the sound is certainly congruent throughout, but its detailing varies quite a bit from track to track. The opener, 'Evening,' for instance, is a solo piano track, sounding something like early '60s Erroll Garner lazily riffing on a theme from Monk's 'Ruby My Dear.' This dissolves into the acoustic strum of 'Curious Thing,' featuring Joe Talia's fantastic drumming, Ben Bourke's gently melodic bass and Leah Senior's background vocals. All of which revolve around a great block sequence of descending piano chords, a soft splash of Al Kooper-esque organ and Ned's dark-edged voice. The next track, 'Paper Night' involved a full-on jazz quintet, featuring Chris Abrahams's gorgeous piano tones, with an overall vibe reminiscent of what the legendary Mike Cooper was doing with his Machine Gun Company band, or even what Robert Wyatt did with the Brotherhood of Breath dudes. It's a true jazz/folk fusion with a bit of a prog rock overlay. Which might make it seem pretty complicated, but mostly it's just lovely. In a general way, these three tracks serve as the main templates for the sounds explored on Mixed Light, with the exception of 'In the Kitchen,' which is a stripped-down folk/blues duet with Bonnie Prince Billy. The album is full of great tunes, that flow with casual elegance of Ned's best work. And everything manages to fit together seamlessly, despite being recorded in patches. Here's hoping there will be some American shows on the horizon soon. Ned's songs always manage to burn with extra flame in a live context. " -Byron Coley, 2026

Canarios, the band led by Teddy Bautista, was one of the first Spanish groups to incorporate the sounds of emerging musical trends -- primarily from the English-speaking world -- into its repertoire. In 1968, "Get On Your Knees" was released, a stunning soul track recorded by Swiss producer Alain Milhaud that quickly climbed the charts in numerous countries. "To Be A Man" is something of a rarity in the discography of Spanish singer Camilo Sesto, whose songs typically lean toward straightforward melodic pop and ballads. Surrounded by an international team of collaborators under the direction of former Brincos member Juan Pardo as producer, he recorded this psychedelic-tinged pop song.

"La Balsa" was the first Argentine massive rock hit. In 1967 Los Gatos became the most famous local rock band with this song. At the front, as composer and singer, was Litto Nebbia. Although this milestone has remained eternally linked to Nebbia's name, almost eclipsing the rest of his work, it is really his solo career that unveils the artist's overwhelming talent and his determination to create music freely, regardless of commercial considerations. Fuera del cielo (1975) is an art rock/space jazz masterpiece infused with prog scents from one of the true legends of Argentinian rock. The sounds of floating acoustic pianos, organ and harpsichord, basslines and even bandoneon combine with Litto's own voice and create a unique blend of deep and delicate beauty. It is an album to be filed next to the highly acclaimed Bazar de los milagros and Cosas que no quieren morir, released the following year, creating an outstanding body of work that represents Nebbia's talent at its best. Nebbia's genius transcends beyond the Southern Hemisphere. The international scene of DJs and vinyl collectors shows signs of its taste for Litto Nebbia recordings, now highly sought after in their original editions, probably as part of a rediscovery of little-explored global sounds, within a journey through music always hungry for exciting new sounds. First time vinyl reissue, remastered sound.

"Fifty years after I first encountered the music of Orchid Spangiafora, it is a pleasure to be listening to new work by this most bonny of modern sound manipulators. Like Flee Pasts Ape Elf, which we reissued in expanded form in 2013, Eel Asp Flays Feet (the title of which is an anagram of the earlier set) is an assemblage of immaculate invention. It manages to produce a unique splotch of confusing analog surrealism in an increasingly digital world, and Robert Carey (aka Orchid himself) deigned to provide these notes on creating the music: 'This album is a combination of some new material and ideas and some older stuff that had not found its way into a tangible (non-online) form. 'Syllabus,' 'Dyad,' and 'Retroscope' were an attempt to return to an older style of electronic music. I put these on bandcamp, but they did not attract much attention. In mid-2021, David Greenberger provided me with the voice recordings he had made for the Everybody's Home project he did with Tyson Rogers. He asked if there was something I could do with them. I put together 'Holding Pattern' and 'In A Fog.' These two pieces might be considered the 'dub version' of Everybody's Home. I put them on Bandcamp as 'Nobody's Home.' The rest were originally made up of typical Orchid snippets. When I first took an electronic music course in 1972 one of the things that struck me about tape loops was how readily they produced interesting rhythms. Since then I got more into selecting them for the rhythm, but rather than repeating I tried to convey it in a single shot followed by slightly modified versions. In a number of these pieces I tried returning to actually repeating phrases enough to hear the natural rhythm of each loop. The mechanical sounds combined with vocal loops in, for example, 'Interlude One,' probably were influenced by the collaboration with Seymour Glass on Cous Cous Bizarre. The rapid streams of syllables in the 'Ur Sonata' came from playing around with an audio batch processing program. I used it to cut up regular loops into very short bits and string them together. Then, as with most electronic or 'tape' music, the real work consisted of removing the parts that didn't belong. The title comes from Kurt Schwitters because I felt the piece shared some of the same motivation or aesthetic, although the implementation is not at all alike.' Well, those are the component parts, but to truly grasp the whole, you must hold your brain tight and jump right in. There is just nothing like an Orchid Spangiafora album. Tell your friends." --Byron Coley, 2024

"Fifth solo outing by one of the founding guitarists of Elkhorn, who has also been an essential part of Jeffery Alexander's Heavy Lidders. Gardner is the master of several distinct styles. He can grab the ring of psych-eternity with rare surety. He has versatile outward-spiraling jazz chops. And I've even caught him playing a sort of avant doom metal like he was born Norwegian. I'll admit I haven't heard his last two albums (no promos I guess), but I'll bet they're pretty cool, since Rabbit Ears is a solid gas. The band this time is a quartet. Bassist Andy Cush and drummer Ryan Jewell are still present, with the new addition being guitarist Tom Malach (who is Cush's partner in Garcia Peoples) and the four tracks here are instrumental, loose and open. I am reminded in more than a few spots of Jerome John G****a's work of the early '70s, both in his duos with Howard Wales on Hooteroll, and on the extended tracks from Skullfuck, which Lenny Kaye characterized as 'pome tomes' in his Rolling Stone review of that set. Which is not to infer there is anything lazily referential or anachronistic about the tunes. The band's overall instrumental approach is as fresh as the just-torn veil of a psilocybin mushroom. But it is steeped in the tea of history. There's plenty of real melodic and rhythmic invention going on here, it's just done within a framework players and listeners have been exploring for half a century now. This lends the tracks a kind of faux familiarity that makes them as comfortable to sink into as a scented hot tub. You may have not heard them in this exact configuration before, but the notes documented here are all old friends and should be welcomed as such. A fine and hearty slab. Dig in." --Byron Coley, 2026

"Heatmiser's Dead Air is still a mighty fine debut album, though more credit should probably go to Elliott Smith's co-singer/guitarist Neil Gust. There's a perhaps inevitable casting of grunge over everything given its 1993 genesis, but instead of sprawl, the emphasis is on tautness, vocals rough but not whined, more Hüsker Dü and Mission Of Burma, say, than Black Sabbath or Black Flag. Neil Gust's knack for anthemic, empowering choruses infused with open emotional passion makes the Fugazi comparison in particular appropriate. The songs don't waste time -- 14 in 37 minutes -- and steer away from easy singalong approaches in favor of slightly more complex headbanging with a brain and heart. 'Stray,' re-recorded from an earlier single, sounds fantastic, just brawling with both fierce energy and close-to-the heart empathy, not to mention a great chorus. 'Bottle Rocket' is a definite winner, with some great call-and-response vocal work and a steadily building verse-into-chorus structure that's fierce without falling prey to incipient emo clichés. Every so often there's some great flash on the guitars -- check out the solo on 'Dirt' -- while the rhythm section does well enough (drummer Tony Lash in particular)."

"Arriving right on time for its 20th anniversary, Faun Fables' musical theater work The Transit Rider returns in a lovely 2LP vinyl edition that dimensionally burnishes the bristling performances and elevated chamber/cabaret folk sounds of the original CD-only release. At once a work of theatre, allegory and autobiography, The Transit Rider amplifies Faun Fables' distinctive electroacoustic wash of Anglo-European folk sounds, shimmering allusively from traditional to Kurt Weill to folk-rock and back again. The route that led to The Transit Rider goes back even further than 2006; it was first embarked upon in the early '90s, when Dawn McCarthy moved to NYC and was introduced to the transient and constant glories of its subway system, a massive world unto itself. As she rode the trains, the subterranean, singing landscape suggested a journey in song: a rider aboard a ubiquitous transit system, a network of rails, roads, corridors and trails extending in all directions, meeting itself again on the far side of the world. Upon this endless circuitous path, she encounters characters that may or may not help her search to find a clearing amid this mass of machinery and humanity in which to stop and have a picnic. In 2001, The Transit Rider took the form of a full-length theater production in San Francisco, with a cast of thirteen aided by the inspiring work of director/lighting designer Allen Willner. Its music was further developed/recorded/adapted into a touring show by Dawn and her stalwart co-conspirator Nils Frykdahl, joined by multi-instrumentalists Jenya Chernoff and Matt Lebofsky. The album features contributions by Dawn's mother Michelina Tyrie and father Will McCarthy, with thematically related songs by Zygmunt Konieczny, Soeur Sourire, and the Anglo Saxon traditional 'House Carpenter' added to the mix. For the LP release, the artwork has been revamped, featuring previously unseen photos of the original stage show and the touring cast that followed. As with all Faun Fables music, the sweep of history and the voices of the people thrillingly coincide in the songs and singing of The Transit Rider. The project's conceptual/theatrical properties give it a special pride of place in Faun Fables lore. Fortunately, all capricious mists of time have parted just in time for The Transit Rider's 20th anniversary celebration. The Transit Rider combines Faun Fables' distinctive song-telling style with their full-hearted/throated thespian energies, rumbling trippily past flashing lights and strangers in thirteen exquisite folk-cabaret urban anthems, a pungent masterpiece of 21st century folk rock."

Privately pressed in Scotland in 1974, Captain Marryat is one of the great lost rarities of British progressive hard-rock. Issued in an edition of just 150-200 copies on the band's own Thor label and sold only at gigs, the album disappeared almost immediately, later becoming one of the rarest and most sought-after private press LPs of the era. Named after 19th-century novelist and seafarer Captain Frederick Marryat, the Glaswegian band evolved from a hard-rock trio into a five-piece featuring Tommy Hendry (vocals), Ian McEleny (guitar), Allan Bryce (organ), Hugh Finnegan (bass) and Jimmy Rorrison (drums). Originally planning to record only a single, they found themselves with enough studio time to capture a full album, recording five original songs before closing the session with the improvised instrumental "Dance Of Thor." Deeply inspired by the organ-driven power of Deep Purple, Uriah Heep, and Beggars Opera, Captain Marryat played a powerful blend of progressive rock and heavy psych. Dominated by thunderous Hammond organ, raw guitar solos and strong melodic vocals, the album ranges from the dramatic opener "Blindness" to the epic eight-minute "It Happened To Me," the more accessible "Changes," and the explosive instrumental finale "Dance Of Thor." Although the band built a solid reputation on the Scottish pub circuit, the lack of label interest brought their career to an end in 1975. Their sole album, however, has only grown in stature, earning cult status among collectors and fans of early-'70s progressive heavy rock. Featuring remastered sound. Includes insert with liner notes, photos, and download card.

You Should'nt try to barrow other People's skin [sic] was recorded professionally with quality vintage microphones, while a few tracks were self-recorded. Each song was recorded live in the studio -- no overdubs, no edits -- giving the album a raw, authentic edge. All songs were recorded analog to two-track tape or four-track tape, with the exception of one song being recorded on a portable tape recorder. Overall, the guitar sound is heavy, hypnotic, and catchy. And at times drone-y and chorus-y. The whole release starts out with a somewhat jarring piece, "Hair Productions Presents Lucas Gunn's Petertag," a very quick thick drone and high-end burst, more expected on a noise record, but showing Lucas' range and playfulness. It actually sounds like it could be the introduction to a low budget horror movie. It has an infectious nursery rhyme quality at times, yet leads into unexpected, unpredictable territories, paving the way for what is to come. The next three pieces feel like a triptych -- all move in and out of emotional stories, raga/raag at times, and always head-nod and toe-tap inducing. Each song utilizes a distinct left field sonic modulation, transforming the structure into an unpredictable journey. "Grandma Rainbow Nervous flew away tomorrow" starts side 2, continuing on with the perfect combination of left and right hand American Primitive styling ala Fahey. Luc then performs a great instrumental rendition of Mississippi John Hurt's "Monday Morning Blues." "Last Creepy Ever" take one starts with a vocal introduction, and then proceeds to its haunting minor key theme in a natural chorus-y tone. "My Flower and my Yellow skinned bird" has a spontaneous and unscripted quality unlike the other songs, a more home-recording sound, with herky-jerky plucking at times, like a peak behind the curtains. "Petertag's mom and dad love theme" is a short keyboard/synth based ditty that feels like a very unexpected shift after the previous wandering guitar piece, but works well. "Swallow the Bird Floating in Sunlight" then returns to the guitar, and has the feeling, like the title conjures, of watching birds floating and soaring in the sunlight, possibly in the late-day golden hour's glow, right when the sun is laying its head down for the night.

The defining feature of El Bienestar del Espíritu is its sense of movement. While Pirámides have long explored psychedelic and experimental territory, this new album places rhythm firmly at the center of the experience. Bass and drums drive much of the record, creating hypnotic, trance-inducing foundations that pull the rest of the music into orbit over which voices and atmospheric textures gradually unfold. El Bienestar del Espíritu is the latest transmission from Monterrey (via Tucson) Pirámides. Pirámides have never been easy to categorize. Built around the songwriting of Patricio Coronado and shaped by a philosophy closer to musical collage than traditional rock orthodoxy, the band's music draws equally from folk traditions, improvisation, drone and repetition-based minimalism. That openness is evident throughout El Bienestar del Espíritu. The album's opening track, "En Tu Mirada," develops through subtle variations while "Refugio" or "con las aves" accumulate momentum through polyrhythmic and repetitive patterns. Elsewhere, "al caer la noche" and the closing "para llegar a ti" embrace a more meditative approach, built from drones and gradual transformation until distinctions between song and ritual begin to blur. What makes El Bienestar del Espíritu so compelling is the way it balances opposing forces. The music is rhythmically heavy yet also airy, deeply rooted yet exploratory. Vocal melodies emerge with mystical lyrics from either walls of complex rhythms or from open vast soundscapes with no clear pulsation. Mexican and Latin American influences are woven into the fabric of the record without ever becoming a stylistic exercise. Everything serves the larger drift. This isn't a record interested in quick conclusions. It moves deliberately, revealing itself through repetition, texture and groove. Most psychedelic records float. This one walks.

Chicago cosmic explorers Spiral Galaxy return with Spiral Galaxy II, an ecstatic, deep-space voyage of pulsating drift by flutist Sara Gossett and Plastic Crimewave on guitar/keys/machines. Expanding on the terrain mapped out by their acclaimed 2020 debut, the duo push further into a world where flute, raagini, guitar, drone, and an old school drum machine merge into long-form galactic excursions that feel both meticulously crafted and gloriously untethered. Spiral Galaxy II was aided by the guiding hand of Windy City weirdo-visionary Bobby Conn, who contributed textural treatments and overdubs, vintage percussive devices, and spoken-word passages that all deepen the album's ritualistic atmosphere, placing Spiral Galaxy somewhere between kosmische music, astral folk, and grooving minimalism. The album also draws in a wider circle of collaborators, including Conn's violinist/partner Julie Pomerleau (Monica BouBou) and musicians whose contributions grew organically from years of shared stages and sonic communion. Avant improvisers Drazek Fuscaldo (Mako Sica), alchemical folksters Jen Powers and Matt Rolin, synth-lord Jimmy Lacy (SiP), and motorik country deity Lawrence Peters all make guest appearances. These performers truly became part of the album's collective spirit, adding new dimensions to Spiral Galaxy's evolving sound. Pieces like "Axos IV" developed over years of live performance, while "E' Glynner" transmuted in the studio, revealing new colors and possibilities with every devotional layer. What emerges is pure head music that balances the earthly and the celestial. Eastern resonances, soaring flute lines, shimmering guitars, ticking electronics, and expansive drones, create an auditory world that is simultaneously rooted and interstellar. Spiral Galaxy II is an invitation to surrender to the drift, scoring twilight hours, altered states, and open horizons -- where repetition and devotional sonics merge into a propulsive groove that barely holds reality together. Step into the orbit. Just don't expect to come back unchanged. FFO: Popul Vuh, AshRa, Cluster, Gila, La Dusseldorf, Terry Riley, Faust.

"A skull crushing selection of pure, primeval, rare and untamed tracks from the British masters. Comprised of a lethal Radio 1 session, B sides, outtakes and rare tracks recorded in the golden years of the band, between 1982 and 1985, this selection is sure to please the legions of Venom fans thirsty for a good dose of the legendary trio. A loud, ass kicking, devastating record that proves again Venom are of the most important (and best!) metal bands to ever walk the earth, long live the kings!"

First time ever on vinyl, Twilight Curtains presents a long-overlooked chapter in the legacy of Truly, the acclaimed Seattle band formed by songwriter Robert Roth alongside Hiro Yamamoto, co-founder of Soundgarden, and Mark Pickerel, founding drummer of Screaming Trees. Originally released in 2000 as a CD-only collection, Twilight Curtains gathers rare, unreleased and alternate recordings captured between 1991 and 1997, documenting the band during its most creative and exploratory period. More than simply another Seattle group, Truly forged a singular sound that blended heavy psychedelic rock, grunge-era intensity, damaged pop and expansive melodic textures. Featuring the contributions of three key figures from the Pacific Northwest underground, this collection offers a fascinating glimpse into the band's evolution through alternate versions, lost recordings and previously unavailable material. Twilight Curtains finally makes this missing piece of the Truly catalogue available on vinyl.

2026 restock, last copies; double LP version. 180 gram vinyl; includes CD. Tak:Til/Glitterbeat present the first ever reissue and remastering of Jon Hassell and Farafina's prescient, "Fourth World" masterwork, Flash of the Spirit, originally released in 1988. Propulsive Burkinese rhythms meet revelatory, ambient soundscapes. Co-produced with the legendary studio team of Brian Eno and Dainel Lanois. Composer and trumpeter Jon Hassell has been an elusive, iconic musical figure for more than half a century. He's best known as the pioneer and propagandist of "Fourth World" music, mixing technology with the tradition and spirituality of non-western cultures. In 1987 he joined with Farafina, the acclaimed percussion, voice, and dance troupe from Burkina Faso, to record Flash of the Spirit. While the album is a natural extension of those "Fourth World" ideas, and a new strand of Possible Musics, it also a distinctive outlier in the careers of both artists; an unrepeated merging of sounds whose influence still reverberates today. The eight members of the band -- who had also collaborated with the Rolling Stones and Ryuichi Sakamoto -- brought their long apprenticed, virtuosic drumming, and melodic textures (balafon, flute, voices) to the sessions. They built up layers and patterns of rhythm, while producers Brian Eno and Daniel Lanois (fresh off the success of U2's Joshua Tree) created a sonic atmosphere in which they could creatively intertwine with Hassell's digitally processed trumpet and keyboards. Despite their initial skepticism, the musicians from Farafina ended up relishing their interaction with the studio team and the trumpeter/conceptualist Hassell. The music that emerged was rich and groundbreaking, a move to transcend the boundaries between jazz, avant-garde classical, ambient and the deep rhythmic tradition embodied by Farafina. On "Out Pours", the groove simmers softly, led by shifting patterns on the balafon, while Hassell's heavily treated trumpet creates breathy swirls of sound that play and dance around them. Percussion leads on "A Vampire Dances," pushing and probing and seeming to force electronic shrieks as a response from Hassell's trumpet, while the keyboard creates a bed of sound that refuses to hold still. "(Like) Warriors Everywhere" takes that idea even further. Over Farafina's surging rhythms, Hassell's electric piano and trumpet dig deep into abstract, melodic ideas hinted at by the Bitches Brew-era Miles Davis band. Farafina create the rhythms and counter-rhythms that spring and move. A new, natural trans-cultural harmony is apparent on the final track, "Masque", where percussion and treated trumpet draw the listener along on a journey through shifting landscapes.

2026 restock. Masayuki Takayanagi was one of the truly iconoclastic musicians to emerge from Japan, or anywhere else, in the 20th Century. Though he won acclaim in the 1950s and '60s as a master of the electric guitar and jazz improvisation, Takayanagi was a restless spirit, deeply engaged with the era's new movements in contemporary art, music, literature, and philosophy. His work, beginning in the late 1960s placed him on the leading edge of these developments; he began expanding on the most radical elements of American and European free jazz, infusing them with the raw feedback and dissonance of electronic and avant-garde music. With his various New Direction groups, Takayanagi broke free of traditional structures and developed a new theory of music that embraced an aggressive and unrelenting style of playing that has remained almost completely unparalleled in its ferocity. Of all the albums to be released during Takayanagi's lifetime, 1975's Eclipse was perhaps the most enigmatic and sought after. Released in an edition of only 100, it almost immediately disappeared and became a holy grail for Japanese connoisseurs of adventurous music, and rightly so. It's first side contained a two-part realization of Takayanagi's "Gradually Projection" modality -- a searching interplay between instruments -- slowly emerging from a sparse open field and building with the tension of a looming thunder storm. The second side contains an epic performance of a "Mass Projection", a high energy, densely layered barrage of sound that in its 25 minutes, never once slackens its intensity. It would be another 31 years before this key album in Takayangi's oeuvre would finally have a (slightly) wider audience through a CD release by Japan's P.S.F. Records.

Black Editions present a deluxe vinyl edition of this masterwork, revealingly remastered from the original tapes by Elysian Masters. The album is packaged in a heavy double tip-on gatefold jacket that pays tribute to the original handmade packaging and features a previously unseen studio photograph of Takayanagi by Tatsuo Minami. Recorded in Tokyo, March 14, 1975. Engineer: Mikio Aoki. Cover, photographs and design by Kazuharu Fujitani. Gatefold photograph by Tatsuo Minami. Insert Notes by Yasunori Saito. Produced by Satoru Obara, Yoshiaki Kamei, Nihon Gendai Jazz Ongaku Kenkyukai. Originally released in an edition of 100 by ISKRA Records, Japan in 1975. Remastered from the original master tapes by Dave Cooley, Elysian Masters, and produced by Peter Kolovos. Deluxe heavy tip-on gatefold LP with matte black paper, second tipped-on metallic gold wrap and insert.

Geometrik Records once again plays a part in the exclusive recovery of Marcelo Expósito's previously unpublished work, which had been lost since its original creation in the 1980s. Marcelo Expósito is one of Spain's most internationally renowned contemporary artists, whose work is regularly exhibited across Europe and Latin America. He began his career at a very young age during the era of sound experimentation that flourished in the wake of so-called industrial culture, which found particularly fertile ground in Spain. As co-editor of legendary publications such as the fanzine Experiencias (1983) and, above all, the cassette-fanzine publisher Necronomicón (1983?1987), which operated on an international scale, Marcelo Expósito has, in recent years, been reconstructing those of his sound experiments that had been lost for decades. This album brings together material previously released on cassettes as EGK023 in a very limited edition. These tracks have now been remastered and expanded to complete this record, which noise musician Mattin has described as "secret recordings that constitute a gem from the rich Spanish underground of the 1980s." In the words of Luis Alvarado, editor of the Peruvian label Buh Records, this album "allows us to appreciate how Expósito developed a style of his own that understood sound as a malleable material open to chance. The recordings gathered on The Lost Tapes reveal an artist who moves as much through territories of unsettling textures and atmospheres as through zones of abstraction and radical noise." Influenced by the early work of figures such as Maurizio Bianchi, Nurse With Wound, and La Otra Cara de un Jardín, the release of this album provides a key piece in reconstructing the genealogical puzzle of Spanish experimental music. This carefully curated edition -- in Spanish and English -- includes a lengthy essay by Marcelo Expósito on the creative processes behind his work and the historical context of the industrial culture of the 1970s and 1980s, as well as extensive liner notes contributed by Vittore Baroni, editor of the legendary Italian label Trax; Francisco Felipe, co-founder of the Ars Sonora program on Radio Clásica (Radio Nacional de España) and one of the most active names on the Spanish experimental scene of the 1980s; Mattin and Susana López (Susan Drone), key figures in the sound experimentation of the generation that emerged in the 2000s; as well as the aforementioned Luis Alvarado.

20th anniversary edition of what began the electronic era of Prurient. Subtle alternate layout with 16-page booklet. Digital download code included.

"Coming on the heels of Jackpot Records' vinyl reissue of The Wild Magnolias' S/T debut LP comes the band's follow-up record, They Call Us Wild. Championed by critic Robert Christgau as creating 'the most boisterous recorded party I know,' the band released this funk masterpiece in 1975, but now with a psychedelic streak running deeply throughout it. While the first album (which was also the first commercially released record by a Mardi Gras Indian group) declared 'Smoke Your Peace Pipe (Smoke It Right),' They Call Us Wild is a different type of 'elevated' sonic celebration. Vocals echo and drip; saxophones and keyboards swing from each other's arms, and the omnipresent multi-layered percussion, which The Wild Magnolias were known for, showcase why they continue to be one of the most sampled bands of all time (they have been sampled by everyone from Nas to Public Enemy to Jungle Brothers). With producer Philippe Rault at the helm once again, he continued to capture the dense magic within the band, but on They Call Us Wild, they are taking a darker, more haunted approach with their music. The smokey interplay on songs like 'Injuns, Here We Come,' with its jazzy piano/bass meltdown (courtesy of Erving Charles Jr. and Wilson Turbinton of the legendary New Orleans funk band The Gaturs), solidified them as a band rather than capturing a moment, even though the celebration in the studio is still going just as strong. The band also takes itself to new sonic territory, for instance, slowing things down with 'Jumalaka Boom Boom,' with its sexy groove and spoken-word storytelling sections that rival the best of P-Funk."

2026 restock. Collection of early works and Joan La Barbara's first vocal compositions, originally released on LPs in the 1970s and early 1980s on her own Wizard Records. La Barbara says, "One of my earliest pieces, 'Hear What I Feel', was a self-exploratory, sensory-deprivation experimental work, designed to help me discover new sounds, delve into psychological aspects, as well as communicate with the audience on a pre-verbal level of awareness. After spending an hour in isolation with my eyes taped shut and not touching anything with my hands, I was led our into the performance space where my assistant had placed a variety of substances in six small glass dishes. As I touched the material, I tried to give an immediate vocal response to what I felt both emotionally and physically, without the benefit of visual information. I expected the shock of bringing a solitary state of mind into the heightened awareness of a performance situation to intensify my experience, and the poignancy of my 'prepared' state to affect the audience. The sounds are presented here in their raw state; it is truly an experimental work with no intentional musical implications or designs. 'Voice Piece: One-Note Internal Resonance Investigation' explores the color spectrum of a single pitch. 'Circular Song' was inspired by the circular breathing technique of horn players. 'Des Accords pour Teeny', an exploration of multi-phonic technique or choral singing, was dedicated to Teeny Duchamp. In much of my early work I dealt with sound as a physical presence, sculpting it, building up layers in complex constructions, letting the flow of thought and the visualization of sonic gestures direct my studio art. Voice Is The Original Instrument was both a statement of purpose and a manifesto as, through various experiments and explorations, I tried to rediscover the basic function of the voice as the first means of expression as well as to release untapped sonic material. As I gave my classically trained voice its freedom, letting it direct me toward new places and ideas, I developed what was a unique vocabulary and used those sounds to score an orchestra of layered voices."

2026 repress; LP version. Digitally-remastered 2002 release. This is the fourth album by German avant-garde industrial band Einstürzende Neubauten, originally released in 1987. The bonus track "Adler Kommt Spaeter" is an early version of "Zerstörte Zelle." Considerably lower-key than all their previous releases, Fünf Auf Der Nach Oben Offenen Richterskala (trans. "Five On The Open-Ended Richter Scale"), with especially puzzling, almost country-rock track "Morning Dew," sung in English, but with moments of whip-cracking and atomic explosions. There's the same attention to rhythmic assault on this record as on the others, but there's a quieter, more sinister, darker, lower-key ambience at work here, with Blixa Bargeld's vocals right at the center-front of the mix, as he experiments with breath, lower pitches, whispers, and barely-audible squeals. There's a barely-restrained, beautiful tension here that never gets resolved, sounding as if the band is holding itself back from complete annihilation.

2026 repress. 180-gram LP version with embossed chessboard artwork print and printed inner sleeve. In celebration of the 2016 35th anniversary of the December 12, 1981, recording of Manuel Göttsching's legendary E2-E4, one of electronic music's most influential recordings, Göttsching's MG.ART label presents an official reissue, carefully overseen by the master himself. Includes liner notes by Manuel Göttsching, archival photos, and an excerpt of David Elliott's review in Sounds from June 16, 1984.

"As the story is sometimes told, Göttsching stopped in the studio for a couple of hours in 1981 and invented techno. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. The sleeve credits the former Ash Ra Tempel leader with 'guitar and electronics', but few could stretch that meager toolkit like Göttsching. Over a heavenly two-chord synth vamp and simple sequenced drum and bass, Göttsching's played his guitar like a percussion instrument, creating music that defines the word 'hypnotic' over the sixty minutes . . . A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times." --Mark Richardson, Pitchfork

2026 restock; 1992 release. "More classics from the Dangerhouse label's vaults. Also contains previously unreleased songs." 01. Alley Cats - Give Me a Little Pain (2:36) 02. Alley Cats - Too Much Junk (2:44) 03. Eyes - Eniwetok (2:00) 04. X - Adult Books (3:14) 05. Weirdos - Neutron Bomb (2:59) 06. Black Randy - Idi Amin (1:25) 07. Black Randy - I Slept in an Arcade (2:29) 08. Bags - Babylonian Gorgon (2:35) 09. Bags - We Will Bury You (1:55) 10. Rhino 39 - Xerox 12 (1:06) 11. Rhino 39 - No Compromise (0:54) 12. Avengers - Car Crash (4:18) 13. Randoms - ABCD (4:07) 14. Dils - Mr. Big (1:42)

Deluxe LP version. Coke-bottle green vinyl. Renascent marks the long-awaited return of legendary Manchester outfit The Durutti Column, their first new studio album in over fifteen years, produced by Keir Stewart. Around the guitar work of Vini Reilly, the album plays between sonic atmospherics and structure: warm ambient washes, piano, beats and guest vocal turns by a new generation (Caoilfhionn Rose on "Agonistes" and Lucas Elliot on CD bonus track "All they See is Fire"). Both contemporary and otherworldly, and with a swathe of new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis), Renascent is a timely and vital rebirth for The Durutti Column. Artwork by long-time collaborators 8vo.

Double LP version. Dark ice color vinyl version. Gatefold sleeve. An expanded edition of one of Nurse With Wound's most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic lounge bizarre when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the "silver collection" at Rotorelief Records. Nurse with Wound's album Huffin' Rag Blues is unique in NWW's discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock n' roll abandon. This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film. It's brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin' Rag Blues incorporates more familiar musical elements -- including instruments (played live, even), rhythm and vocals -- than almost any other Nurse With Wound album to date. The album's main concern is, as always, to create environments for lucid dreaming rather than to create music as such.

Fully licensed, all tracks remastered! In 1982, at just 18 years old, Barrington Levy already held a solid reputation as a singer. Lantern Records appreciates his early work so much that it is a pleasure to reissue Poor Man Style, just as it was originally released by Trojan Records in 1982. The album features the golden era's finest musicians, the Roots Radics, in fine form and produced by Linval Thompson. Recorded at Channel One, the album features expert in-house mixing by Scientist. This is yet another essential Barrington Levy release from Lantern Records, you simply cannot miss these hot Jamaican sounds.

Fully licensed, all tracks remastered! Reissued here on vinyl for the first time this Cornell Campbell album was arranged and produced between 1981 and 1983 by Tappa Zukie at Dynamic Sound and King Tubby's in Jamaica. With, as engineers, Scientist and King Jammy, the legendary duo Sly & Robbie and Vin Gordon and Deadly Headly (horns). Front cover by the esteemed illustrator Limonious. Press Along Natty is a mature and varied album that showcases Cornell Campbell's vocal versatility and his ability to blend emotion and spirituality in an elegant and authentically Jamaican dancehall style.

New studio album Backside by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa '80s, also released on CD in 2024. Cover art by Babs Santini. The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask's debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he'd unearthed from "Bladder Flask", an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask's sense of the absurd in this new opus "Backside". Black vinyl.

"As the closest release style-wise to classic old NWW in decades, the album's opening track 'Backside' could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It's quite an intense listen, but totally enjoyable. 'Chernobyl Picnic' feels more like Cooloorta-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted 'Soliloquy For Lilith.' An excellent release, especially for jaded old NWW fans who want more in the style of 'the good old days'" --Alan Freeman.

LP version. "East Two comprises previously unreleased tracks from one of Sun Ra's most productive periods: 1972-73. Those two hectic years saw Sun Ra recording numerous albums, staging concerts, teaching at Berkeley, acting in and composing the score for a full-length movie, embarking on a multi-album (though ill-fated) major label deal, and touring the U.S. and Europe. The title track, 'East Two,' is one of two pieces on this album originating at a two-day October 1972 session at Chicago's Streeterville Studios. It's an ominous, sprawling processional, and the only known recording of this moody work. Arkestra baritone saxophonist Pat Patrick played electric bass on this session, which also featured Ra's typically idiosyncratic synth, along with fine solos from Kwame Hadi (trumpet) and Arkestra mainstay John Gilmore (tenor sax). The other track is an alternate version of 'Rocket #9' where Ra's voice is scarcely heard in the ensemble vocals in favor of the Space Ethnic Voices. Additional material is taken from 1973 Variety Studios sessions in NYC including 'In Tomorrow's Realm,' where veteran Arkestra bassist Ronnie Boykins provided the anchor with his bass line forming its vital rhythmic framework. This would be the final year Boykins worked regularly with Ra and this track is a fitting tribute to his role in the band, demonstrating how essential he was to Sun Ra's sound."

11 piano miniatures. Each a meditation on loss. Limited to 100 LPs.

"There are fewer great guitar trio records than you'd suspect. Guitar duo sessions are far more abundant, and these three players have all done their share of those. But the dynamics of a trio are more-fickle. And when creating collaborative non-hierarchical music, maintaining a balance between three distinct voices is not easy. It requires rapt attention, a fearless approach to entering the unknown, and very good ears to do it successfully. Clearly, Connors, Vallera, and Sharp display mastery of all of these conditions and then some. Recorded live at P.I.T. (Property Is Theft) in Brooklyn, When the Moon Is New documents the first meeting for the trio. Loren and Elliott, two of the best-known experimenting guitarists on the planet, have a long-shared history, dating back to the days of the legendary Chapel Arts Center in New Haven. Elliott appeared there regularly and often did some jamming with Loren on those occasions. Michael Vallera is from a different generation and came of age in a world where players like Loren, Ellliot, Keith Rowe and Derek Bailey had already blown apart any and all notions of the guitar's limitations. His work explores textures, colors and possibilities born from the knowledge that there are no limits to the guitar's sonic possibilities. Together, the three create a beautifully layered universe of sound, as wide open and cosmic as recent images from the Webb Space Telescope. Occasionally I think I can ID some complex pluckery as Sharp's, some blues-canted shimmer as Connor's or some mutli-valent sound sheet as Vallera's, but in truth, this is an excellent example of 'fourth mind' creation in the Burroughsian sense. The individual parts played by each of artists combine themselves into something much larger than three commingled streams. There's a gigantic heft to the collective sound that will bowl you over in the best possible way. A truly magnificent record, When the Moon Is New, is an immersive and joyful example of experimental music at its most inviting and evocative. If it doesn't thrill you, I don't know what would." --Byron Coley, 2026

The Durutti Column's Vini Reilly album is available again to everyone. Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order). Many new champions cite the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis). Includes booklet.

Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases. The track "Dadaˣ", goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title. The track "Futurismo", begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over-modulated electronic hum and rambling piano. Black vinyl.

Few artists have expanded the possibilities of the voice as radically and masterfully as Berlin based voice artist, composer and improvisor Ute Wassermann. For her, the voice is an ecosystem: a living field of relationships between body, object, space, and the listener's ear. Her music moves between the transcendental and the quotidian at once -- breath as ritual, sound as touch, acoustic experience as something simultaneously otherworldly and utterly present. Dissolving the perceived boundaries between mind and body, she offers instead a full-bodied immersion in ever-changing stillness, an idiosyncratic engagement with sound that is all-at-once fierce, tender, and free. On her new album chimeric, Wassermann extends her voice with a wide array of implements; breath-driven drums, hydrophones used as throat microphones, bird whistles, jaw harps, brass megaphones. These objects don't just function as embellishments or demonstrations, but rather, as companions -- materials with which she communicates and is herself transformed. The result is a music in which the lines between self, object, and environment are constantly blurred, erased and redrawn. Across six pieces, Wassermann's voice moves with uncanny immediacy: lips smacked, gurgles roared, harmonic tails snapping through space. Recorded with a striking spatial presence -- using stereo microphone placement that allows sound to shift with the smallest movement -- the listener is placed almost between the ears of the performer, inside the throat's resonant chambers as it flickers from whisper to warning, from animal cry to sculptural multiphonic bloom. What emerges is not theatrical representation but embodiment: a confrontational tenderness, a call to arms meant for hugging. Steam valves and pistons of breath cycle into quick rhythmic stabs; ritual supplants noise, noise tilts into song. Wassermann reverses the trained control of the voice to discover empowerment in growls, screams, baby-animal whines, and undersea calls. These are song forms not as fixed structures, but as living organisms -- colorful tendrils of sound, improvisation as feedback between inner listening and the outside world. In the album's final movements, her voice becomes something both larger than a person and tinier: an army of intimacies, gnawing at the root, feeding. chimeric is an album teeming with vivid colors and transcendental beauty that reveals the voice as a truly limitless instrument.Deluxe LP housed pressed at Optimal, Germany housed in die-cut neon spot-color sleeve with spot UV gloss with two full color inserts and printed inner sleeve.

Red color vinyl. After falling out with Sir Coxsone, the legendary head of the Kingston label Studio One, Lee Perry first founded his own band and then, in 1973, set up his own studio in his backyard. What was born out of necessity developed into a unique success story. With both the Upsetters and the Black Ark, Perry made music history -- most notably with the 1976 release of the album Super Ape, on which he made the genre of dub bubble and boil from the mixing desk in previously unheard ways. For Perry, the studio is like a living organism. Whether he truly experiences it that way or simply lets too much ganja go up in smoke, for Perry the equipment is organic, empathetic, and intelligent. The catch is that the results sound exactly like that as well. Long before sampling was invented, he layered tracks of deep basslines, echoes, and reverb with various self-recorded sound sequences -- often played in reverse -- on top of, into, and beneath each other. In other words, Perry was the first producer who made the music instead of the band. Among other things, this earned him the title "Salvador Dali of Dub."

2026 repress. Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in1979 in Placentia, a small town close to Fullerton and Anaheim, by front man Mike Palm on guitar and lead vocals, Steve Soto on bass, and Scott Miller on drums. That early line-up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile, James Levesque had replaced Steve Soto (Adolescents) and the new line-up released their own self-produced and self-released 7" EP in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP, Living In Darkness, co-produced by Fields and former Simpletones guitarist, Jay Lansford. The album was recorded at Brian Elliot's store front studio in North Hollywood (a few years before Elliot struck gold writing Madonna's "Papa Don't Preach"). A milestone in California punk rock history. Includes five bonus tracks. Black vinyl.

2026 repress. Originally released in 1999. Double 12" vinyl edition in gatefold sleeve. Includes CD. The CD included in the LP features the 16 tracks in the same order. 1999: after the global supremacy of Oasis and Blur, the world is looking for some musical freshness. Some artists such as Daft Punk and Air have already contributed to globally popularize what the English called the "French Touch", a new term that refers to a large musical French movement. 1999, the first album by Cassius, is one of the key pieces of this growing genre, and demonstrates once again the variety of the trend. Indeed, after have cooperated for a long time with MC Solaar, one of France's '90s best rappers, the hip-hop influence of both Cassius members had to have an impact on their personal concept, and it seduced a lot of listeners hungry for new musical flavors: more than 250,000 units sold worldwide and numerous unconditional fans.

2026 repress. Twenty-one fully restored tracks from Kourosh's original master tapes Subtitled: Pre-Revolution Psychedelic Rock From Iran: 1973-1979. "The only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh's recordings were thought lost after Islamic fundamentalists took control of Iran. They weren't: Kourosh had protected them -- along with key ephemera from the '70s. Their collection here bolstered by Kourosh's first person recollections of Iran's '70s rock scene and its death after the Revolution, tells the story of an immensely talented artist's desire to persevere in the face of terrible adversity. Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran's musical landscape in the late '60s and early '70s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them." No longer comes in gatefold sleeve, no booklet or DL card.

Gold Panda returns with Ton Up, a brilliantly stubborn new album for Studio Barnhus: eight rough-hewn dance tracks and two cozy little service-station interludes, all crafted with the robust determination of a producer who knows that 140 bpm is not so much a tempo as a way of life. Made with Derwin Dicker's unmistakable sampler-bashing touch, the tracks on Ton Up carry the raw knock of old-school hip-hop instrumentals, pushed through pumping house-music machinery and ready to cause absolute trouble on any half-decent sound system. Here you'll find zero of that dreaded, over-explained "maturity" usually demanded of beloved electronic artists several albums deep into the game. Instead, Gold Panda just sounds as happily locked in as ever, carelessly chasing the physical joys of pressure, swing and repetition. Ton Up is functional, funny and oddly tender club music, arriving just when the world needed it the most.

2026 repress; double LP version. Includes insert. Born Bad Records present the second volume Chebran, a series focusing on French boogie. The French in the '80s were not faint-hearted: as some threw themselves heart and soul into music or business, others wouldn't mind going bottomless to get themselves noticed. While Bernard Tapie soon realized his own fortune was rather to be found in business, many music-loving dreamers already imagined themselves in the sun, in an enchanting world made of funky rhythms and synthesizers. While the French National Front was growing in the shadow of François Mitterrand, these guys mixed New York-style funk with electronic, Eastern, or African sounds. With their genre-crossing arrangements and often chanted lyrics, they brought honor to the "SOS Racisme" generation, unconsciously outlining the nascent French contemporary urban culture. The French, while admiring Grace Jones' "savage beauty" in Jean-Paul Goude's advertisements, were enjoying their freshly-gained fifth week of paid vacation, tanning on the beaches of Maghreb. Following The Clash's example, punks and rockers converted to reggae, and the new independent radios opened up their programming to "world music". At the other end of the pyramid, the successive waves of immigration enriched France in a much better way. With the rise of "Youth and Culture Centers", the practice of musical instruments became affordable for those of humble background, allowing for new bands to appear. Caught between the spirit of Gallic bawdiness and their own community hopes, the musicians from this singular scene probably didn't succeed in life the way Bernard Tapie meant it. But their explorations left no room for doubt: by facilitating the rise of a new hybrid culture about to give birth, among others, to French hip-hop, those little-known artists indeed were off on an adventure, quite simply. Since the '60s, numerous venues destined for the North-African community had appeared all over France. In those bars and nightclubs, Eastern 45s were broadcast as well as local productions combining Raï, Frenchy funk, or proto-hip-hop. Thanks to the cassette tape medium, new songs kept circulating between Paris, Lille, Strasbourg, Marseilles, and many other urban areas -- mainly among the working class. The artists appearing on these compilations progressively shaped a new style, blending sounds from their original cultures and from their adopted country. Features Phil Barney, JM Black, Ettika, Sammy Massamba, Shams Dinn, Alfio Scandurra, Philippe Chany, Nordine Staiffi, Brigitte Et Michot, Alec Mansion, Marie Jose Fa, Hamidou, Ganawa, Creole Star, Manu, Ethnie, and Joel Ferrati.

2026 repress; originally released in 1966. Featured artists: Albert Ayler (tenor sax), Ed Blackwell (trumpet), Don Cherry (trumpet, cornet), Sunny Murray (drums), Gary Peacock (bass), Roswell Rudd (trombone), John Tchicai (saxophone, alto sax). Michael Snow is a Canadian national treasure, a true Renaissance man. He assembled a stellar group to improvise a sound track for his art film, titled Walking Woman, featuring a silhouette that is rumored to have been inspired by Carla Bley. Digitally remastered. Manufactured in the USA by the original label. New digipak format. "This is a very interesting set, music that was freely improvised and used as the soundtrack for the 34-minute short film New York Eye and Ear Control. Tenor saxophonist Albert Ayler leads the all-star sextet (which also includes trumpeter Don Cherry, altoist John Tchicai, trombonist Roswell Rudd, bassist Gary Peacock and drummer Sunny Murray) on two lengthy jams. The music is fiery but with enough colorful moments to hold one's interest throughout." --Scott Yanow, AllMusic

Gadea's original soundtrack to In the Beginning, the new animated short film by director Ala Nunu, unfolds across three surreal, yet surprisingly real, stories about people and the world around them: a lunar probe's tardigrade cargo, 16th-century myths surrounding birds of paradise, and Hong Kong's pandemic-driven hamster cull. The film is a tonally absurd documentary-fiction essay on anthropocentrism and the human need to control narratives. This is Gadea's first musical accompaniment for animation. Collaborating with Marina Herlop on vocals, Gadea's sonic palette sits somewhere between field-recording minimalism, chamber electroacoustics, and the more fragile end of speculative composition.

Pianist Elias Stemeseder and bass player Thomas Morgan debut on Squama with Io Pur Respiro. Recorded live at Sala Vanni in Florence, the album shows a duo at the height of their craft with an unmistakable instinct for melody and balance. Io Pur Respiro ("Yet I breathe") is the title of an early 17th century madrigal by Italian renaissance composer Carlo Gesualdo that's also the harmonic basis for the album's opening track "Madrigal, Variation, Courante." With two standards from the 1930s ("Love Came/I Have The Room Above Her") and two original compositions by Stemeseder there's 400 years of melodic evolution enshrined in this record. Yet, the music sounds neither new, nor old giving the album a profound sense of timelessness that's owed to the eternal force of melody and harmony.

"Multi-national trio Riviera Gaz (Gustavo Riviera of Forgotten Boys, Paulo Kishimoto of Pitty, Forgotten Boys, and Steve Shelley of Sonic Youth) have pieced together a psychedelic collective consciousness where fuzzy riffs, glam rock energy, fearless studio experimentation, and Can-inspired grooves all melt together to form new unstable elements. The group's second album Catacroma elevates their sound even further, intentionally avoiding sterile digital recording crutches and instead using extensive editing and mixing to shape the songs into sprawling cosmic experiences. The album is a hall of fun house mirrors where killer songs break apart and come back together organically, never taking expected turns and always ending up somewhere even more interesting than where they began."