LP version. "Keen listeners who have dug below the surface of Oren Ambarchi's triple-digit discography know that alongside hypnotic minimalism, veins of irreverent and joyously wayward exploration run deep. Cooked is something of a landmark in Oren's work, bringing this gloriously cuckoo sensibility right into the heart of his most high-profile solo work. Carrying on the grand Ambarchi tradition of meticulously constructed all-star studio jams, Cooked brings together collaborators from Australia, Germany, Japan and Sweden for two side-long epics where the foot keeps tapping even as the mind boggles. Beginning with piano ripples from Eiko Ishibashi, after only a few seconds 'Hidden Tableau' takes an unexpected turn with the entrance of a groaning synthetic voice. The first half of the piece develops as an oddly moving concerto for this moaning and growling ghost in the machine and a delicate backdrop of piano, organ-like tones, and Oren's signature shimmering Leslie guitar. As the beautifully flexible swing of Joe Talia's drums enters, the harmonies fill out into woozy clouds and the synthetic voice seems to morph into something approaching a mutant trumpet. In a left turn that seems to come out of nowhere yet make an inexplicable kind of sense, the piece is then overtaken by patterns of intricate guitar and synthetic arpeggios. These might be Jim O'Rourke on synth, but who knows? Cooked is a long way from the spacious, light-dappled grooves of Ghosted, but Oren's Swedish bandmates play starring roles here, with Johan Berthling's double bass anchoring both sides, and drummer Andreas Werliin lending his delicate touch to the second piece, 'Sleight of Hand.' Beginning with glistening layers of electric 12-string guitar, 'Sleight of Hand' takes some key cues from electric Miles touchstones like 'Feio' or his epic take on David Crosby's 'Guinnevere,' with Berthling's sparse basslines punctuating an almost weightless cornucopia of shifting detail, glimmering with subtle contributions from Michiko Ogawa on sho and James Rushford on a panoply of acoustic keyboards. Suddenly, everything is overwhelmed by a knotty, hyper-complex 'solo' from Marcus Pal on digital synthesis, teleporting us to an alternate history where Allan Holdsworth traded the SynthAxe for Xenakis' UPIC. Building with additional drums and percussion from Will Guthrie to a peak of sizzling intensity, the music then goes sideways into a gently surreal coda, where some distinctly Zawinul-esque chords and Fredrik Rasten's guitar float over a sprightly rhythm box, the avian inventions of Swedish virtuoso whistler Isak Hedtjärn wafting atop the sunlit stew. It's certainly Cooked, but not overcooked."

2026 repress! "Arthur Russell's most extraordinary work, World of Echo is reissued in this remastered vinyl edition by Audika Records. 18 tracks are featured including drumless versions of his disco classics 'Let's Go Swimming,' 'Tree House,' and 'Wax The Van' along with four previously unreleased tracks. Originally released in 1986, World Of Echo is a deeply intimate and meditative work of awe-inspiring grace and remains a timeless work of sublime beauty. Arthur's aim was to achieve what he calls 'the most vivid rhythmic reality,' with just cello, voice, and echoes. Arthur achieved all of this and more on one of the most incredible albums you will ever hear."

"Bright Madness is the third album from the pinch-me-is-this-real improvising trio of Wendy Eisenberg, David Grubbs, and Bonner Kramer. Fresh off their 2025 Big Ears appearance, Squanderers slid on over to Kramer's adopted hometown of Asheville, North Carolina and laid down the glorious afternoon's worth of instant compositions that stands before you. It's the sound of Eisenberg, Grubbs, and Kramer doing their damnedest to dazzle one another. Bright Madness follows If a Body Meet a Body and Skantagio, two full-length Squanderers offerings on Kramer's Shimmy-Disc label. As Raphael Helfand concluded in his Pitchfork review of If a Body Meet a Body, 'What we're left with is not so much a pristine work of collective genius as a testament to the transcendence that can occur when a group of individual geniuses sit down together with no greater aim than melding their minds for a while. If only all our squanderings could be so fruitful.' Wendy Eisenberg is an improviser and songwriter who uses guitar, pedals, the tenor banjo, the computer, the synthesizer, and the voice. Their work spans genres, from jazz to noise to avant-rock to delicate songs; their performances span venues, from international festivals to intimate basements. Though often working solo as both a songwriter and improviser, they also perform in the rock band Editrix, and in endless other combinations of their heroes and peers including Bill Orcutt, Caroline Davis, Ryan Sawyer, and John Zorn. David Grubbs has released sixteen solo albums and was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait. He has performed with Tony Conrad, Pauline Oliveros, Luc Ferrari, Susan Howe, Will Oldham, the Red Krayola, and many others. Grubbs is the author of numerous books including Good Night The Pleasure Was Ours, The Voice in the Headphones, Now That The Audience Is Assembled, and Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. Bonner Kramer is a composer/musician/filmmaker and multi-instrumentalist who has worked with artists as diverse as John Zorn, Butthole Surfers, Bill Frisell, Ween, The Fugs, Thurston Moore, Penn Jillette, Allen Ginsberg, Jad Fair, and Laraaji, to name but a few. He is also a renowned record producer and the founder of the iconic NYC record label, ShimmyDisc. He rarely performs onstage, and Squanderers is his first long-term recording project to include live performances since 1999. He currently lives and works in the Appalachian temperate rainforest."

Originally self-produced in 150 copies (on by Le Kiosque d'Orphée in 1977), Mar-Vista's only album is one of France's most strange and radical records.. The story of Mar-Vista begins in northern France, in Lille, in the early 1970s, with the meeting of two music enthusiasts: Claude Cuvelier and Jean Skowron. They connected through Claude's brother. At that time, Jean was already standing out at blues concerts for his singular sonic approach: he placed microphones inside suitcases that he struck to produce raw, primitive sounds -- an experimental process that immediately impressed Claude. A shared vision quickly took shape: to create repetitive, atmospheric music, freed from traditional formats. In 1973, they gave birth to Mar-Vista, with the desire to compose long, immersive works, sometimes built around a single chord, in the spirit of Balinese music. The duo gradually equipped themselves: a Mini Korg in 1972, a Yamaha synthesizer, a Farfisa organ, and even a drum machine discovered by chance during a television appearance by Henri Salvador. The home studio became their creative sanctuary. Jean worked on a 4-track Teac tape recorder, Claude on a Philips model. Each freely composed their own side of the future album, while collaborating on each other's ideas. Side A, led by Jean, is more rooted in the progressive electronic music of the time, influenced by Heldon, Amon Düül, and Soft Machine. Side B, bearing more of Claude's imprint and his influences (Terry Riley, La Monte Young), is far more experimental and consists of a 22-minute trippy instrumental piece. Despite its confidential release at the time, the album is now considered one of the most remarkable works of the genre ever released in France. A second album project inspired by the universe of H. P. Lovecraft was in progress, but family responsibilities slowed this creative momentum. The second vinyl of this reissue is composed of unreleased tracks, featuring improvised pieces without synthesizers, recorded live in August 1973 on a hill near Valence, in the garden of friends (Hervé and Martine). Psychedelic electronic music, experimental, and acid folk -- a collector's grail for fans of Klaus Schulze, Terry Riley, Neu, Heldon, and Silver Apples. Includes a previously unreleased second record from 1973.

Susana Estrada was one of the muses and main figures from the period known as "Transition" in Spain. No other woman represented better than her the freedom and sexual revolution which the country experienced in the '70s after the end of the dictatorship. A truly erotic Goddess, Susana was a model, singer and actress and one of the first women to perform fully-naked plays in Spain. She appeared in numerous erotic magazines and movies and her famous sexual counselling column for Play-Lady magazine caused a big commotion at the time. She reached fame with her erotic musical plays like "Historias Del Strip-Tease," "Muñecas," or "Machos." As a singer, in 1980 Susana released her first 45 for the Belter label from Barcelona: "Machos"/"Acaríciame." Produced by Josep Lobell and Manuel Gas, it contained two sexy disco tracks which paved the way for her first LP, Amor y Libertad, released on the Belter sub-label Sauce in 1981. Produced by Cosmic Disco pioneer Josep Llobell, this is a real fest of '80s Italo Disco, Munich Sound, boogie, funk and modern soul. The fabulous, minimal production of Llobell collides with the sensual vocals and moanings of Susana, singing about sexual liberation and freedom. Of course, when the album was originally released, nobody understood it. Criminally underrated for many years, Amor y Libertad has now become a cult item in the international Cosmic Disco scene. But in 1980, a strange cassette by Susana called Machos was also released on the Belter label. It featured music and songs from the play of the same name. On this comp, you'll find the entire Amor y Libertad album except the two tracks which were not in a disco/funk vein, plus "Machos," "Acaríciame" from the first Belter 45 and two tracks from the Machos cassette: "Espacial" and "Hagamos el amor." Also includes a previously unreleased track courtesy of Susana: "Tócame," recorded in 2007, in a High Energy Euro Disco vein. Master tape sound. Includes insert with liner notes and rare photos.

"Stunning Japanese modal/spiritual jazz album by the incredible saxophonist Sinsuke Fujieda featuring Fumiko Takeshita on violin. Five splendid own compositions given the Superfly Records/Production Dessinee treatment on high-quality Japanese vinyl. A beautiful listen!"

"Grapefruit presents the first new album in 25 years from the legendary New Zealand singer-songwriter, Peter Jefferies. Known for his seminal post-punk bands Nocturnal Projections and This Kind of Punishment as well as his equally influential solo records such as The Last Great Challenge in a Dull World, Electricity, Elevator Madness, and Closed Circuit, Jefferies has been one of the towers of the New Zealand underground music community since the early 1980s. The Day They Let You Out Is The Day They Might Not Let You Come Back is a new masterpiece in an already staggering catalog. Only Peter Jefferies could take a quarter of a century off from songwriting and come back as if a moment hadn't passed. If anything, the world has given him even more to grapple with and his voice is as urgent and necessary as ever."

Formed in 1969 in Massachusetts under the name Mask, Pugsley Munion was born from the desire of three teenage musicians to leave behind the cover-band circuit and perform music of their own creation. Combining hard-rock with psychedelic and progressive influences, the trio quickly developed a powerful sound that caught the attention of the newly revived J&S Records. The band was invited to New York City to record at the legendary Bell Sound Studios, one of the city's first 8-track recording facilities. Forced to change their name, the group adopted the unforgettable name Pugsley Munion, a tongue-in-cheek creation. Originally conceived as an album titled Three in One, the sessions were recorded in just two days. The band expected to return to complete overdubs, remix tracks, and finish the project. Instead, J&S Records released the recordings in their rough, unfinished state, changed the album title to Just Like You, misplaced the original cover artwork, and issued the record without the band's approval. Despite these setbacks, the album received regional radio airplay and would eventually earn cult status among collectors of American heavy psychedelic rock. Newly 24-bit domain remastered sound. Includes original artwork in hard cardboard sleeve. Includes insert with liner notes and photos.

Furious, primitive psychedelic hard-rock from Idaho! Featuring the two versions of their monster Oceans Inside Me 45 from 1969 plus previously unreleased at the time recordings (1969-1971). Stone Garden emerged from Lewiston, Idaho, in the mid-1960s, when brothers Pat, Gary, and Neal Speer transformed childhood music lessons into one of the Pacific Northwest's most respected underground rock bands. Inspired by the British Invasion and the psychedelic explosion of the era, the group evolved from neighborhood garage rehearsals into a powerful live act known for its original songwriting, musicianship, and energetic performances. Originally performing as The Three Dimensions, then Knights of Sound, the band adopted the name Stone Garden in 1967 as the psychedelic movement swept America. The lineup soon expanded with bassist Dan Merrell and later featured accomplished musicians including John Purviance. Stone Garden quickly built a loyal following throughout the Pacific Northwest, performing extensively in Idaho, Washington, Oregon, Northern California, British Columbia, and Montana. The band blended psychedelia, hard-rock and blues, influenced by artists such as The Doors, Jimi Hendrix, and Cream. Their independently released single "Oceans" received regional radio airplay and helped establish Stone Garden as one of the Northwest's most promising young bands. Later sessions at Vancouver's Ripcord Studios further captured the band's creative evolution. Although Stone Garden disbanded in 1972 after relocating to Seattle, their recordings survived as sought-after collector's pieces, first issued by the legendary Rockadelic label and have since been rediscovered by fans of vintage hard-psychedelic and garage rock around the world. Remastered sound. Includes insert with liner notes and photos. RIYL: Black Sabbath, Blue Cheer, proto-doom, proto-metal.

2026 restock. "One album into their career in 1969, Mutantes showed few signs of musical burnout after turning in one of the oddest LPs released in the '60s. Similar to its predecessor, Mutantes relies on an atmosphere of experimentation and continual musical collisions, walking a fine line between innovation and pointless genre exercises. The lead track ('Dom Quixote') has the same focus on stylistic cut-and-paste as their debut LP's first track ('Panis et Circenses'). Among the band's musical contemporaries, Mutantes sounds similar only to songs like the Who's miniature suite 'A Quick One While He's Away' -- though done in three minutes instead of nine, and much more confusing given the language barrier. The album highlights ('Nao Va Se Perder por Ai') and ('Dois Mil e Um') come with what sounds like a typically twisted take on roots music (both Brazilian and American), complete with banjo, accordion, and twangy vocals. Though there are several other enjoyable tracks, including 'Magica' and a slap-happy stomp called 'Rita Lee', there's a palpable sense that the experimentation here isn't serving much more than its own ends. If the first album's relentless eclecticism did in fact occasionally result in dry passages, it's especially true here." --All Music

We Jazz Magazine, Issue 20 Fall 2026: Brilliant Corners for Thelonious Monk. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. Thelonious Monk by Francis Gooding, Mats Gustafsson, Fielding Hope, Patrick Preziosi, Andy Thomas, Arttu Tolonen, Bret Sjerven, Daniel Spicer, Wif Stenger, Miles Okazaki by Andrew Scott, Kiri Ra! by Wif Stenger, Jazz Is Dead By Tina Edwards, Dirar Kalash by Henry Boon, Dewey Redman on Impulse by Andy Beta, Water Damage by Matt Sonzala, Mikel Patrick Avery by Patrick Romanowski, The Torched Torch Singers by Alex Coles & more.

2026 restock; LP version. Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

LP version. "Dense Band returns in this newly remastered 40th Anniversary edition, celebrating one of David Moss's most groundbreaking recordings. Originally released in 1985, the album marked a defining moment in the career of the innovative vocalist, percussionist, composer, and performance artist, whose work has long occupied the intersection of improvisation, noise, experimental rock, and contemporary composition. After establishing himself within New York's Downtown music scene, Moss assembled the Dense Band to explore a new vision that fused adventurous experimentation with irresistible rhythmic drive. Produced by legendary guitarist and experimental pioneer Fred Frith, who also performs on the recording, Dense Band blends live electronics, inventive percussion, theatrical vocals, free improvisation, and tightly constructed songs into a sound unlike anything of its era. The album moves fluidly between groove, abstraction, and controlled chaos, demonstrating Moss's singular ability to unite complex musical ideas with infectious energy. Carefully remastered for this anniversary edition, Dense Band introduces a landmark experimental recording to a new generation while allowing longtime listeners to experience its remarkable detail, power, and originality with renewed clarity."

"The Dead Next Door Original Motion Picture Soundtrack presents the complete score from J.R. Bookwalter's landmark 1989 zombie epic, fully restored from the director's original source material and mastered specifically for vinyl. Bookwalter wrote, directed, and scored the ambitious independent horror film, which was famously financed by Sam Raimi, who served as executive producer under the pseudonym 'The Master Cylinder' using part of his Evil Dead II salary. Bruce Campbell also supervised post-production sound and provided the voices for two characters. Produced over nearly four years in Akron, Ohio on Super 8mm film, The Dead Next Door became a cult classic for its inventive gore effects, ambitious scope, and relentless zombie action. The score follows the film's journey as the elite Zombie Squad battles a deadly virus that reanimates corpses into flesh-hungry monsters while uncovering a sinister religious cult determined to replace humanity with the undead. From Washington, D.C. to rural Virginia and the suburbs of Akron, the music underscores the film's escalating tension, action, and horror through fifteen atmospheric compositions. This deluxe gatefold edition is pressed on 180-gram green and yellow translucent serum vinyl. Every track has been restored directly from Bookwalter's original recordings, making this the definitive vinyl presentation of one of independent horror cinema's most celebrated soundtracks."

"The Rock n' Roots of Motörhead is a compilation album that dives deep into the band's musical roots, featuring rare cover versions and guest appearances. This release perfectly captures Motörhead's early influences and collaborations. Although frequently categorized as a pioneer of the New Wave of British Heavy Metal, founder Lemmy always insisted their music was nothing but pure rock and roll. Featuring The Rocking Vickers, Hawkwind, Girlschool, Wendy O. Williams, Albert Järvinen & Lemmy."

LP version. Gold color vinyl. "A clerestory -- a bright or 'clear' level or 'story' -- is an upper section of wall, most often in a church punctuated by windows. It is a powerful image for grasping this luminous new music from Jules Reidy. Light casts shadows, of course, and logics of shadowing, mirroring, and distorted reflection -- of key importance for Reidy's work as a whole -- inform the sumptuous surfaces of Clerestory. 'Shadow Symmetric' is a string quartet commissioned and performed by the JACK Quartet as part of their JACK Studio program. Reidy's pairing with the quartet is felicitous: JACK are one of the preeminent new music ensembles working today, with a particular interest in just intonation, an important component of Reidy's music. It is primarily a music of harmony, but rhythmic organization is key to its effect: arranged as successive harmonic blocks that at times overlap, with staggered introductions of the quartet's four voices often serving to key the listener's attention into the blurring of the near-unison pitches, the music moves with the stateliness of an early Baroque chorale. Through it, there threads a melodic theme, passed between instruments and tuning systems, almost at the threshold of perception but with the same yearning quality familiar to listeners of Reidy's guitar works. 'Clerestory Windows' offers up a distorted mirror image of the string quartet, arranged as a series of episodes that each remake the material in their own way. It begins with an arrangement of the string quartet material for MIDI strings and voices, repositioning its rigorous harmonic exploration somewhere between the Lovely Music Ltd universe and a '90s RPG soundtrack. This episode derives from Reidy's installation Inside, Crystals and Circuitry, held in Stockholm in 2025, made up of multi-channel sound broadcast by transducers in suspended sheets of glass illuminated by spotlights, producing a mysterious effect where shadows appear more palpable than the sheets themselves. The piece moves into a lyrical 12-string acoustic guitar air performed at the installation opening, before the strings from the first side reappear, now frozen and stretched into slow-moving waves, with electric guitar tones rippling across. From this emerge flickering arpeggios, achieved by arranging the string quartet material for the RMI, an early digital synthesizer. Clerestory is a meditation on fundamental dynamics of human experience: orientation and disorientation, the hazy borders the hazy borders between the material and the spiritual, and the instability of identity."

"The second Milkshakes album to be released was Fourteen Rhythm & Beat Greats and highlights the group's penchant for rock 'n' roll from the '50s and '60s right through to punk rock. As stated in volume one of this series, Black Sails in The Moonlight is a direct reference to 'Red Sails In The Sunset,' a favorite tune of the lads off the Beatles At The Star Club L.P., which must be considered a key influence on the group. The Milkshakes IV -- The Men With The Golden Guitars Instrumentals had always played a key role in The Milkshakes' set, so for their fourth long player, inspired by the likes of Link Wray, the boys set out to compose their own collection of guitar-led wordless tunes. Long thought lost, the tapes of The Men With The Golden Guitars had to be specially baked to make them edible, sorry -- audible -- to the consumer. The Milkshakes In Germany, was released on the same day in 1984 on Berlin's Wall City Records. Ironically, the photograph for the cover of The Milkshakes In Germany was actually taken in Rochester, England. One afternoon, while sipping tea on the deck of Mickey's boat, he and Billy were distracted by an angry dot which appeared on the horizon. On the now famous and much copied L.P. cover of Nothing Can Stop These Men are the maturing Milkshakes on Rochester Bridge spanning the river Medway. They often liked to span rivers. Studying the cover, it becomes obvious to the viewer why our four handsomely debonair and chiseled heroes caused sensation and sparked pandemonium every time they visited the outskirts of Strood. Furthermore, listening to the songs, it becomes evident why knicker sales went through the roof in the Medway towns at the time this record was first released."

"50 years ago, The Heartbreakers arrived in London to join the Sex Pistols on the 'Anarchy' tour. They spent most of 1977 there, recording L.A.M.F. and cementing their status as elder statesmen of the punk movement. This last date of their European tour was to be their very last as a band -- until the reunions. Drummer Jerry Nolan had already jumped ship; his substitute is The Clash's Terry Chimes. The gig was filmed for a movie that was never to be -- this is the soundtrack recording. Limited edition of 600 worldwide in red vinyl."

"Tungu, whose real name is Sergiy Senchuk, is a sound artist, bassist and experimentalist who resides in Chernigiv, Ukraine. That's a city known, through recent events, for strong resolve. Tungu's music draws on this spirit. He's produced a series of wide-ranging recordings that draw collaborators from all over the world, for example Mia Zabelka, Charles K. Noyes, Al Margolis, Frank Gratkowski, or Maggie Nicols. Henry Kaiser is an American guitarist and composer, known as an idiosyncratic soloist, a sideman, an ethnomusicologist, and a film score composer. Recording and performing prolifically in many styles of music, Kaiser is a fixture in the San Francisco Bay Area music scene. He is considered a member of the 'second generation' of American free improvisers. Henry founded Metalanguage Records in 1977 and has collaborated with people like Fred Frith, John French, Wadada Leo Smith, or Elliott Sharp. In 2001 he spent over two months in Antarctica which led to collaborations with filmmaker Werner Herzog, for whose films he made underwater camera work but also soundtracks. The Unexplained is Tungu & Henry Kaiser's second collaborative album."

"James Grauerholz has long been known as 'The Burroughs Guy.' From 1974 until William S. Burroughs' passing in 1997, James has handled the business of William S. Burroughs Communications, acting as his manager, bibliographer, editor, literary executor and companion. What has been little-known up until now is that James has led a double life as an accomplished musician and songwriter with an extensive body of work stretching back from the late 1960s to the present. James set out to be a singer-songwriter before fate led to his calling with William S. Burroughs and despite the demands of his literary responsibilities, he continued to write music as a creative outlet. Over the years, James witnessed and has been a key figure in many extraordinary musical movements. He has been referred to as the 'Zelig of Punk Rock,' having been part of a small coterie who kick-started the CBGBs/Max's Kansas City scene in NYC. The Zelig comparison is dead accurate, but it goes far beyond punk rock. James was there for the Midwestern Country-Rock explosion of the early 1970s. He was there for the AOR singer-songwriter movement of the late 1970s, mixing his songs with Boz Skaggs in San Francisco. He was at the Hacienda in Manchester where Factory Records and New Order were birthed. He was around when New Wave and Hardcore were emerged AND he was an important piece of the puzzle in the evolution of underground music of the early 1990s. In Lawrence, KS, where James has lived since the early 1980s. James lent his opinions, his studio, his gear, his chops and his time unselfishly on innumerable occasions to help fledgling bands evolve. Through all of these eras, James' voice as a songwriter has held its own piece of Real Estate. Each of the twenty-one tracks represented on this double album bear a style that is distinctly his own, both lyrically and compositionally. It is worth adding that James is one hell of a guitar player too. 180gram double vinyl reissue."

2026 restock. "For our 50th label release, Permanent Records could not be MORE EXCITED to announce the 40th Anniversary reissue of Zipper's self-titled LP from 1975!!!! You all know Fred Cole from Dead Moon. And yes, Pierced Arrows too! But preceding both of his more 'famous' bands (and others like The Rats, etc, etc) was Zipper! Formed when Fred and Toody Cole returned to Portland, Oregon after homesteading in Alaska, Zipper was the beginning of both Whizeagle Records, their in-house label, and Fred's long illustrious DIY RnR career. Equal parts acid fried psych, raw blistering guitar fireworks, proto-punk pummel and bone crunchin' heavy rock machismo, Zipper was Fred's headfirst dive back into the rock world after his disillusionment with the 'garage scene' post Weeds / Lollipop Shoppe. No managers to tell him what songs to play or what 'sound' was in. No label to fight with. Just Fred Cole and a close knit group of fellow disenchanted rock n rollers (Lorry Erk, Jim Roos and Greg Shadoan), playing their in-the-red whiskey and cigarette fueled music as loud and furious as can be!!! So for those into scorching Acid Archives psych rock, Zipper is yer next fix! And for those those Fred and Toody Cole completists, this reissue is ESSENTIAL, as originals go for as much as $250!!!! For everyone else, if you like yer rock n roll, RAW, MEAN AND UNHINGED, just like it should be."

2026 restock. "First officially licensed release ever. 'So you're addicted to hard rock from 1972 and getting tired of LPs that don't take you for the full ride. You check out tons of 'em. Stonewall? Hmmm... only the most potent and rare stuff can get you off nowadays. Kicks intense enough to remind you why you got into it in the first place. Jams you can't wait to lay on your friends so uncontrollably alive you know it's gonna wipe 'em out. Yeah... you really need Stonewall. It's ritual time. Drop the needle into the groove. Side One. Stoned swaggering confidence, attitude and energy right out of the gate. Stonewall immediately take charge with 'Right On', an 'incite-the-audience, invoke-the-jams' renegade rocker akin to 'Are You Ready?' by Grand Funk or 'Combination of the Two' by Big Brother conceptually but taken way further. I can't say more without some sort of spoiler alert. To mess with your head, after a near cluster-fuck with the audience in the opening track comes 'Solitude'. No problem. 'Solitude, it do not bother me... drifting from mountains to the endless sea... oh, I'm flying by myself, I don't a-need nobody else'. After a savage encounter with 'Bloody Mary' the side ends with my favorite track. As soon as the guitar riff ignites 'Outer Spaced' you know you're gonna get crushed. The singer is taunting 'hey baby this ain't no come on to impress you" tossing purple planets and pure white galaxies into the mix and sneering like an outcast "I'm out in the wind and rain and snow, breaking may back!' Attitude. Climax. 'Outer space... God I'm out of my mind!' If that sounds like a rush, wait until you hear the music. It's a perfect storm. A perfect side. The band destroys, the arrangements are concise and the singer is a total trip. I hear people all over the world saying Stonewall is a 'Holy Grail'. I agree. 'Holy Grail' status for an LP requires the most extreme and exciting combination of quality and rarity. That's not all. It has to have mystery. It has to reek of humanity. There can be no other LP that beats it at its game. Top dog. It has to be a mindfuck capable of destroying anybody who hears it, including those who have previously only experienced the usual killer classics. Finding a copy must come as close to impossible as possible and remain that way even after everybody knows about it. As an original pressing, Stonewall fulfills all of the 'Holy Grail' requirements and I am jacked that a legitimate reissue finally happens some 30 odd years after it first blew me away! As far as I know, I was the first person to put an original copy up for sale on the collector scene. People were very secretive back then, so maybe a couple other copies were hidden out there in private collections. In the late '80s, I listed it in one of my 'Sound Effects' rare record catalogs for $60 mint condition after a cursory listen. Hmmm... cool hard rock, I thought, but I was mainly into weirdo records at the time. Like a numbskull, I initially failed to detect what was obviously one of the biggest monsters I ever held in my hands. A week or so later, a second listen utterly floored me. I got it. It got me. The heaviest collectors in the world at the time had a chance to grab it for $60, but no one did. Whew... close call. An unknown monster. The search was on. Find the band. Due to the Tiger Lily Morris Levy tax scam label vibes, I knew even if I found Stonewall, it was unlikely they had any LPs stashed in the attic. I knew that quite possibly (as time has shown), the band didn't even know the LP existed. I failed to find the band, so in desperation, I turned my attention to locating that mythical wall of Tiger Lily label LPs supposedly out somewhere in a rehouse on Long Island. People around here used to whisper in awed tones about that, but I think they were most likely whispering about somebody's hallucination. Long ago, my original copy landed in an underground hurricane-proof bunker on the coast of Texas. I sold it for $2000 when I needed some green. The guy who scored it clearly wanted to keep it very safe and that was huge money for even a 'Holy Grail' hard rock monster at the time. Recently an original copy hit $14,000, and it makes sense! Stuff this good is priceless so now that you can get this reissue into your life for cheap, don't be a numbskull... Do It!' --Paul Major"

"It starts over in Chicago. So, in 2018, when saxophonist and 'cultural organizer' Dave Rempis had the idea to assemble this quintet for a visit to the city by double bassist and 'cultural organizer' Luke Stewart was visiting town. Four pillars of Chicago's musical wisdom gathered around the D.C.-based double bassist. It was for the Exposure concert series at Elastic Arts, hence the name the five men chose for themselves when they extended the experiment and performed at another series, the Options Series, at the Experimental Sound Studio, before releasing their debut album on Astral Spirits. There are many concert series in Chicago, each building on the ideas of the last. But it doesn't stop there; there are also scenes from everyday life in Red Hook, Washington, London, Brussels, and Saalfelden on this second album, which was recorded in a studio this time. The quintet's improvisations are peppered with sounds from the world, field recordings that take the music beyond some of its usual haunts. 'This project explores the idea that music takes us on a journey around the world,' explains Luke Stewart, 'in communion with the Universe. We observe and gather experiences that translate into sound, in a spirit of universal connectivity.' Among the real conditions of improvisation are the place and its spirits. There is the idea, yet another idea, that creative music draws its strength each time from a place on Earth and from everything that converges there. And that, in return, it opens up a space, a door, an energetic corridor there, leading to other places, real or imaginary. This is also what the old blues songs meant when they spoke of coming back home and bringing back home which is what 'Foreign Landing' and its somnambulistic clarinets convey here. The end of a long quest, a home, a prism. For a place is a bond, it fulfills wishes, a place is a link between all manner of things, present and absent, a magnetic field."

2026 repress. Twofer reissue of the excellent Lee 'Scratch' Perry & The Upsetters LPs, Chapter 1 (1981) and Blackboard Jungle Dub (1981). Comes with large poster. Not an exact duplication of the original LPs. "The material is weirdly wonderful and represents some of Perry's earliest and most unrestrained efforts at dub madness. Issued on one disc, they ebb and flow seamlessly (set your CD player or playlist on 'shuffle' for proof), with tracks like 'Scratch The Dub Organizer' and 'Dub From Africa' especially delicious. This is a great way to dig deep into Perry's unique mindset without spending a ton of money." --John Dougan, AllMusic

The core of Gschlössl, Ullmann, and Leipnitz remains; Haves has become a constant as well. This time out they are joined by Messerschmidt and Hillbig. GULF of BERLIN is a sextet consisting of five musicians and a real-time sound designer, exploring the space between improvisation and composition. What initially appears to be spontaneous sonic creation gradually reveals itself as music that emerges in the moment while unfolding according to its own internal logic. Each individual acoustic voice is transformed through real-time electronic processing and fed back to the musicians as a reflection, so that the ensemble comes across as a polyphonic collective: each band member reacts to an altered version of themselves. The resulting soundscapes range from hovering ambient textures and eruptive noise formations to intricate rhythms reminiscent of progressive rock visionaries. Beneath the surface resonates the radical spirit of the AACM, while the spiritual intensity of Albert Ayler repeatedly comes to the fore. GoB conceives its music as a laboratory: precise, disciplined, and at the same time open to the unforeseen. From this productive tension emerges an energy that understands composition not as a fixed structure but as a living process. Here, music becomes a utopian space -- an open terrain where the collective invents new sonic forms and makes the future audible.

"Following the tragic death of band member Collin Walcott in 1984, who was killed in a road accident near Magdeburg, Germany whilst on tour, the surviving members -- Ralph Towner, Paul McCandless, and Glen Moore -- withdrew from the public eye. At first, music was the last thing on their minds. It was only after half a year that they came together again to give a memorial concert in New York for their late bandmate. Also taking part was Trilok Gurtu, who had travelled specially from Hamburg and of whom Walcott had once said that Trilok could stand in for him should he ever be unable to attend. The musical chemistry between the remaining trio and Gurtu clicked straight away, and so he was first invited on tour and later became a permanent member of the band. Trilok Gurtu had breathed new life into the remaining trio with his enthusiasm for playing; the joy of making music returned. In total, this line-up recorded three albums: Ecotopia (1987), 45th Parallel (1989) and finally Always, Never and Forever from 1991, which was released on Intuition Records. The album is one of the best the band has ever released, a dazzling display of dynamism and musical ideas. Musically, Oregon were at the height of their powers, even though Gurtu left the band again after this album. Whilst many jazz musicians in the 1970s were discovering the electric sound, Oregon, as pioneers of their time, created something entirely new: a unique fusion of jazz, world music, classical and improvised chamber music. Their distinctive style helped shape what came to be known as 'world jazz.' Always, Never and Forever is a prime example of this unique band's masterful style. The album, dedicated to the recently deceased guitarist Ralph Towner, is now being remastered and released in a slightly abridged form on 180-gram vinyl as part of the Intuition Master Series."

Further Explorations follows on from Gentle Fire's 3CD retrospective box set Explorations, released in 2020. These new archive recordings came to light in the process of unearthing the tapes for the 4CD box set by their fellow Stockhausen collaborators Intermodulation. The pieces used on this CD are taken from two sessions recorded for German radio in 1973 and 74, one for Sender Freies Berlin and the other for Hessischer Rundfunk in Frankfurt. These beautifully recorded and preserved pieces are finally rescued from the depths. Gentle Fire were a quintessentially British group and these recordings have about them a similar atmosphere to much of the music on Brian Eno's Obscure Records series and would not have been out of place on this predominantly Anglophilic label. Slow, eccentric and experimental are terms that come to mind. Of the five pieces they play on this CD three are devised by members of the group, and one piece each by the Berlin composer Erhard Grosskopf (a text-based piece with instruments, live electronics and tape) and "Edges" (a different version to the one on the 1974 LP by Gentle Fire), by the legendary Christian Wolff. Over 79 mins of music by a group that failed to get much attention in the history books. Comes in a 6-panel card cover with 8-page booklet. Hand numbered edition of 500.

"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."

Ouzo Bazooka enchant on Kapaim, drawing listeners through a maze of hypnotic, head snapping grooves, cosmic string bending, and swirling guitar explorations. As trailblazers of the new Middle Eastern psychedelia movement, the band fuse traditional folk sounds with gritty soul, funk, and rock. Their latest release is a testament to their boundary-pushing spirit, offering a soundscape that is both otherworldly and deeply rooted. Across five albums and a decade, Ouzo Bazooka have gained acclaim for their pioneering blend of Middle Eastern sounds, psych, and surf rock. The band has achieved international recognition for their music and performances, from the UK all the way to Japan. Kapaim (Hebrew for "palms") sees Kinrot refining the Ouzo Bazooka sound back into a largely solo endeavor. With more space to experiment, the mostly instrumental album is beautifully arranged and given room to breathe. The bass grooves, wonky synth motifs, head-nodding percussion, and soaring guitar solos create a hypnotic and uplifting experience. Opening the album, "Asia" begins with an almost pensive bassline that initiates a languid groove. As drums, guitars, and synths join, the melody feels both thoughtful and nostalgic yet hopeful. The consistent bassline conveys a sense of roots and continuity as the song evolves. The title track, "Kapaim," urges listeners to clap along to a groove as solid as steel, fusing the legendary New Orleans instrumental funk of The Meters with snake-charming synths and cosmic Anatolian guitar licks. An otherworldly intro gives way to a tight bass-and-funk groove reminiscent of Bob James' heavily sampled "Nautilus" on "Seed," before Kinrot makes a rare vocal appearance, imagining himself as a seed at the center of the universe. The album recalls the cinematic depth of David Axelrod but with a distinctive Middle Eastern/Mediterranean touch. Fans of Glass Beams, Derya Yıldırım, LA LOM, and hip-hop producer Oh No's sample-heavy tour of Turkish, Lebanese and Greek psych, Dr. No's Oxperiment, will find much to love. A testament to Kinrot's incredible talent -- not least his meticulous arranging, production skills, and ear for soul, funk, and psychedelic rock, as well as his ability to blend musical traditions across cultures and eras -- Kapaim carries a deep emotional resonance. It is Ouzo Bazooka's most personal and addictive album to date, radiating joy, creativity, and a spirit of boundless freedom.

"Horace Andy started his career when he was 16 years old with his first hit 'Black Man Country.' His music was produced by many, including Studio One, Clocktower Records, and many others. Songs that became some of his best hits were 'Skylarking,' 'You Are My Angel,' 'Love of a Woman' and many others. Now in 2026 here comes Horace Andy with great new songs such as 'Agony Shame' and 'Scandal Herb Stock' with his producer Nkrumah Jah Thomas, so once again let's enjoy this great new LP and dance till you drop. Because music is life." -- Alfred Newman

Picture disc version. Reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.

"If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers its title track -- a dub version of Jacob Miller's 'Baby I Love You So'-- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential." --Rick Anderson, All Music

Picture disc version. Originally issued in 1973, Blackboard Jungle Dub is considered a milestone in the history of dub. Tracks include "African Skank" -- based on Junior Byles' "A Place Called Africa" -- and "Dreamland Skank", "Moving Skank" and "Kaya Skank" which are dub versions of Wailers" "Dreamland", "Keep On Moving" and "Kaya".

2026 repress. Some of Barrington Levy's most significant (and enduring) recordings from Channel One Studio, mixed by Scientist. Originally released in 1982. "It's difficult to overstate the transformative effect that Barrington Levy's earliest recordings had on the sound of Jamaican music. In late 1979, Levy's spare, hauntingly arranged early singles such as 'Shine Eye Gal,' 'Collie Weed,' and 'Shaolin Temple' completely overtook Jamaican dancehalls and streetside sound clashes. . . . By the time Levy released Poorman Style in 1982, he was arguably Jamaica's preeminent vocalist. Poorman Style features a set of punishing rhythms from the crack studio outfit The Roots Radics, with production work from singer-turned-label owner Linval Thompson and former King Tubby protégé Scientist. The title track -- a crisply observed sufferers' tale full of tragic notes and indelible details from everyday life -- hits particularly hard." --iTunes

"Eskimo Folk Tales returns The Residents to the world of their landmark Eskimo project through six newly recorded pieces rooted in material first encountered during the album's original development. In the 1970s, the group's mentor, The Mysterious N. Senada, sent them a collection of handwritten Inuit folk tales with the suggestion that they be incorporated into the record, but the stories were ultimately set aside after the band had already assembled more than enough material of its own. Nearly five decades later, The Residents revived those tales for a forthcoming live interpretation of Eskimo, combining familiar elements from the original album with newly composed music. The result is not presented as a lost side of Eskimo, but as a modern exploration of ideas that might, in another version of events, have found a place within the original work. This studio recording preserves the new songs created for the performance and pairs them with read-along stories based on the texts transcribed by Senada. The project extends The Residents' long-standing interest in invented ethnography, theatrical narrative, and experimental sound while reconnecting with one of the most distinctive works in their catalog. Presented as a 10-inch release, Eskimo Folk Tales includes individual story texts and the bonus track 'The Arctic Fox.' The complete program features 'The Barren Woman and the Worm,' 'The Old Woman and the Skull,' 'A Tale of Two Tupilaqs,' 'The Fool Who Made Friends with a Stone,' 'The Skeleton at the Bottom of the Sea,' and 'The Arctic Fox.'"

2026 restock, on red vinyl. Fugazi's fourth album, originally released in 1995. Remastered with full color inner sleeve. "For all its eclecticism, Red Medicine is rock solid, held together with seductive hooks, hummable melodies and an overarching continuity that takes the listener from the familiar Fugazi sound of 'Do You Like Me' and the aptly titled 'Back to Base' to the mesmerizing psychedelia and spare dub of 'By You' and 'Version.' This is an album for all fans of inventive guitar rock -- whether Fugazi like it or not." -- Rolling Stone

"Some more new music made with a system of hand-drawn, modular passages rearranged in coherent and incoherent signatures. The tracks of At the First Clear Sound are stubbornly absent of improvisation, solos, virtuosity, and compositional form while being full of naïveté, a harsh smoothness, an agitated calm, and inharmonic harmonics. Dazzled by the automatic nature of this modular technique Leimer worked quickly, choosing to respect his mistakes and question his choices. 'As reliant as the music is on computers, samples, digital processing, and typing, this work is still rather imperfect, rather handmade. And, of course, my compulsion to work with infinitely pliant sound is now clearly bordering on mild psychosis.' Technically, there's never a final mix. K. Leimer founded Palace of Lights in 1979. Leimer's work has also been issued by Autumn, First Terrace, Les Giants, Invisible Inc., Origin Peoples, and RVNG. His early cassette work is included in the critically acclaimed VOD box set American Cassette Culture and is included in Cherry Red's Noise Floor series. Leimer has been actively producing music since the mid-1970s -- his current catalog includes solo albums, soundtracks, installations, and collaborative albums with Savant, Marc Barreca, Tyler Boley, and Three Point Circle."

A Note From mHz: "In 2020, I was invited by Nicolas Bernier to create a work centered on sine waves as part of his collaborative research-creation project at the University of Montreal. Thinking about such unique qualities of sine waves directed me to a somewhat similar phenomenon elsewhere: prime numbers. A prime number cannot be divided by any number other than 1 and itself. At the same time, any other number can be expressed as a product of a series of prime numbers. Defined based on this seemingly simple premise, prime numbers have been pivotal to many significant mathematical conjectures and theorems for centuries. Therefore, at their core, just like sine waves, prime numbers are the simplest, yet most elegant and foundational entities within their respective systems. Prime Frequencies explores the sonic qualities of different prime number categories through sinusoidal sound waves. The series is structured into 47 pieces created using a number of algorithmic and aleatoric compositional techniques developed in the programming language ChucK. Each piece presents a unique sonification of the prime number category it is titled after, with all frequency and time-domain values determined by primes within that category. The project is presented in two different formats: the album version and the code version. The album version comprises a one-off rendering of the code that has undergone basic audio processing and is intended for more conventional modes of distribution and listening. As the perceived loudness of incoming sound waves changes drastically according to their frequency, this version is meant to provide a more standard listening experience. The code version of the project (available as a bonus item with this release in both web-based and local formats) includes the complete code developed for the project without any further audio processing or modification. The web-based format can be run directly in a browser. Alternatively, using a set of basic instructions, the source code can be downloaded and compiled locally using any operating system's command line. In either format, the series can be experienced interactively: the listener can use keyboard shortcuts to navigate between different pieces or to view information about the specific prime number category that each composition is based on. The code version also includes a visual accompaniment displaying the numeric values of the prime numbers that represent the frequencies of the active sine waves throughout."

2026 repress. Following the success of Wewantsounds' Alice Clark RSD edition featuring an extra 20-page booklet, the label reissues the standard version of Alice Clark's highly sought-after soul jazz classic produced by Mainstream Records' Bob Shad in 1972. Featuring original artwork, remastered sound making this reissue is the first official reissue of Alice Clark's original album for decades, a long overdue release of one of the best Soul albums ever recorded. When it comes to legendary albums, very few can match the cult status achieved on the international jazz and funk scene, by Alice Clark's eponymous album, recorded for Mainstream Records in 1972. The record which went unnoticed when it first came out has become one of the most sought-after albums ever since it became cult on the London jazz and funk scene in the late '80s. It is now being acknowledged as one of the best soul albums of all-times. Recorded live over two days at the Record Plant studios in New York City, the album was produced by Bob Shad and arranged by jazz veteran Ernie Wilkins with a big band setting. The music is a superb mix of jazz and soul blessed by Clark's superb singing and including two all-time favorites, "Don't You Care" and "Never Did I Stop Loving You" plus a selection of heart-wrenching songs beautifully sung by Clark. Hailed as a soul masterpiece alongside Aretha Franklin or Roberta Flack's best albums, Alice Clark's LP took almost fifty years to achieve classic status and Alice Clark is now finally getting the recognition she deserves.

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.

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. 30th anniversary splatter color vinyl. "Originally released in 1996, Reject All American is Bikini Kill's second and final full-length. Out of print for seven years. Bikini Kill was a feminist punk band based in Olympia, WA and Washington, D.C., forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early '90s via their political lyrics, zines, and confrontational live performances."

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).

2026 repress; gatefold double LP version. "Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance. The sound palette of this work is wider, almost 'percussive' and tighter sounding than previous works. While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally--making music that is out of time, out of tune and out of phase. This follow-up to his Juno-awarded Ravedeath, 1972 album exchanges gristled distortion and cavernous sound in favour of a close, airy, more defined palette. At times it points to the theological aspirations of early minimalist music. But it is not 'fake church music' for a secular age, rather something like an attempt at the sound of frankincense in slow-motion, or of a pulsing, flickering fluorescence in the grotto. Some pieces go off the rails before forming into anything, others eschew crescendo compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard. These are mp3s that give confusing accounts either of sound's glowing physicality or of its prismatic evasiveness. It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression."

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.

"Ruby of Thanks is the songwriting and home-recording project of Hudson Valley musician Andy Weaver. A fourth-generation New Yorker, Weaver is also a house painter and drummer whose work has included Widowspeak, Castanets, Wildflower, and Andre Ethier. With Ruby of Thanks, he turns toward something quieter: intimate, handmade songs that find beauty in ordinary life. Before You Turn Into A Dog is the project's second full-length album. Split between solo recordings made at Weaver's home in Kingston -- where he played every instrument himself -- and collaborative sessions with friends in Cairo and Catskill, the record values process as much as polish. Several songs preserve their very first complete performances, documenting ideas as they emerge rather than after they've been refined. 'Hopefully it captures some spirit of creation,' Weaver says. 'The idea of songwriting as a way to process events and create peace at home by working with your hands, making things. Self-recording as a response to capitalism in art.' That philosophy gives Before You Turn Into A Dog its quiet gravity. These songs dwell in everyday rituals and fleeting moments of transcendence, moving through love, depression, work, and the search for peace with remarkable patience and generosity. Weaver's warm acoustic guitars, understated melodies, and homespun recordings never ask for attention -- they earn it through honesty, intimacy, and careful craft. There are echoes of artists like Little Wings, John Andrews, and the Yawns, and Hand Habits, but Ruby of Thanks resists easy comparison. Like the records that have long defined the Woodsist orbit, Before You Turn Into A Dog feels less like a statement than a place to inhabit: unhurried, deeply human, and quietly transformative."

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.

"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

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.

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.

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.

Limited 2026 restock. Past & Present present Girls In The Garage Volume 5, the fifth volume of a series of garage rock compilations focusing on female artists. Prior to Joan Jett, Patti Smith, Courtney Love and other era-defining women in rock, there were the girls in the garage. Like their male counterparts discovered, being in a band was not only cool and alluring, it was sexual and ultimately political without making a political statement. The garage band was a medium that enabled a voice to be heard, whether it be an adolescent fury of angst and frustration or plain old hormones. Girls In the Garage captures the raw essence of those juvenile dreams played out through guitars, drums, microphones and amplifiers. Prevailing gender roles would be tested, and rock 'n' roll became someone else's domain: the girls. Although it's been said that it was rare for a girl group to play on their own records in the mid-1960s, they were many exceptions. On both sides of the Atlantic, cynical and shrewd producers largely employed session musicians, afraid of any conceivable faults at the hands of such young and innocent hands, male and female. The ones who didn't were bold visionaries that believed not only in this new generation's ambitions, but their capabilities as well. As the female presence in rock n' roll gained traction through the appearance of figures such as The Vejtables' Jan Errico, The Honeycombs' Honey Lantree, and the fabulous Maureen Tucker (The Velvet Underground), so too did the rise of all-female bands. Liverpool's Liverbirds and Hull's Mandy and The Girlfriends gave weight to the idea that it was "normal" and paved the way for like-minded girls to pick up their guitars. Although the prevailing attitude among both major and independent record labels was never going to be inspiring or welcoming, times were changing and girls didn't just want to have fun. Emerging groups such as The Pleasure Seekers, White Boots, Ace Of Cups, Bittersweets, and The Luv'd Ones were playing rock n' roll on their own terms whilst breaking new ground, whether they were trying to or not. Features: The Majorettes, The Bermudas, The Occasionals, Bente Lind & the Lunicks, The Pussycats, Jeff/The Atlantics, The What Four, Linda Gayle, The Girls, Stacy's 5th Mavricks, Tammy & the Sounds, Beatlemaids, Angel & the Devines, The Electric Lollipop, Zuma. 180 gram, white vinyl; Includes full-color, four-page booklet; hand-numbered sleeves.

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.

2026 repress. All rhythm tracks by Bunny Lee at Studio One.

2026 repress. Reissue of Ital Dub, originally released in 1975. This is Augustus Pablo's first collaboration with King Tubby.

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."

"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."

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. 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; 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 restock; LP version. This is the third album by Einstürzende Neubauten, also known as Halber Mensch, originally released in 1985. The album opens with the startlingly oppressive, almost fully a cappella title track, with contrapuntal, atonal, en masse chanting. The album progresses to include quite a repertoire of electronically-generated sounds, finding the band developing their mishmash of industrial experimentation matched by terrifying clangs, stomps, and of course, the theatrical, poetic vocal delivery of Blixa Bargeld. An incredibly aggressive album, with insistent, pounding rhythms and razors on metal, and Bargeld's voice dominating your dreams for a month after listening.

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."

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.

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.

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."

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 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.

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."

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.

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

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 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

"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."