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FORCED EXPOSURE MAILORDER UPDATE
NEW RELEASES FOR THE WEEK OF 05/12/2025

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PRICE: $38.00

CAT #: 12XU 165LP

FILE UNDER: ROCK

"Water Damage is ten people from one town and one sound from twelve people. For Instruments, the plus two are guitarist David Grubbs and saxophonist Patrick Shiroishi, neither of whom blunt the angle or confound the aim. The tempo? Slow and low. Four tracks, averaging twenty minutes each, the pace never above a comfortable walk. The damage creeps, a forest becomes a mountain, and the faithful move forward. The album is named after Fugazi, in a manner, and 'Reel 25' takes after the Shocklee Brothers, in a cry. Stop asking the lord how many drummers this band has and ask him how much of your mind, babe. Some people say drone and same people say trance and some people say invocation through patterned unity. Some people just say rock and we let them set their clocks back. Lie down and let these holy treads flatten you. Just because Water Damage know what they are doing doesn't mean you have to. Fix your hearts or die!" -- Sasha Frere-Jones

 

PRICE: $26.00

CAT #: ACOLOUR 052LP

FILE UNDER: ELECTRONIC

Annie A, the one-off collaborative project between F?licia Atkinson, Time is Away, Christina Petrie, and Maxine Funke, arrives on A Colourful Storm with an inquisitive, exploratory composition evoking questions of inconstancy and reconciliation, vastness and finitude and the sometimes-cruel deception of human perception. It is a geographically diverse yet like-minded ensemble whose seeds were sown during an A Colourful Storm show in London, where time on stage was shared by Atkinson, Time is Away and Petrie. Atkinson had previously found solace in Time is Away's Ballads, Funke's Seance, and particularly the voice of poet Petrie, whose delivery drifts from a wide-eyed stream of consciousness to crystalline sensory expression. It is the perfect accompaniment to Atkinson's hushed tones, spoken sensitively like a mother to a resting child. Atkinson's evocative sonic landscapes are formed from keyboard, voice and organic materials collected from life on the dramatic coast of Normandy, as well as field recordings from places far and wide. She breathes life into liminal spaces, the sound of wind, whispers and the distant clatter of rocks conjuring visions of places both beautiful and eerily familiar. Time is Away delicately arranges the field of sounds, their weaving and layering likened to the assembly of an Anni Albers textile. The spirit of Albers guides the piece, Petrie's recounting of her loom and thread a symbol of her endurance, vitality and seeking wonder in intricacies. The piece also features an exclusive concluding track by Maxine Funke, whose meditation on vulnerability confronts and surrenders herself to the enchanting natural world.

 

PRICE: $23.50

CAT #: AUK 142EP

FILE UNDER: ROCK

This is a new limited edition 10" single from Brian Jonestown Massacre, the band's first new recordings for two years .Side A includes "Makes Me Great Again," a whimsical song rooted heavily in psychedelic folk rock -- the way Anton Newcombe does it best. Side B offers the up-tempo "Out Of Body," a joyous plunge into an experimental shoegaze ode to the '60s, with multiple experiments conducted on an array of instruments. The art work is a photo taken by the talented Francis Delacroix, part of a series of photos of Anton Newcombe taken by the artist.

 

PRICE: $37.50

CAT #: ASM 008LP

FILE UNDER: ELECTRONIC

Perila returns with a contemplative spiritual successor to her album 7.37/2.11, which was also released on Vaagner's sister label A Sunken Mall back in 2022. Featuring a collection of eight pieces produced between 2021 and 2023, the album carries a serene vulnerability that underpins each work, drawing the listener in while gently grounding them amidst a drifting, ephemeral motion of echoing voices, droning guitars and sonorous soundscapes. Like a whispered conversation in the quiet moments of the day. Perila has once again created a world unto itself, one that doesn't need to be understood but simply felt. If anything, it's an album that brings listeners back to the present, reminding them that the chaotic disarray of the world outside can be addressed and mitigated through their internal landscape. By embracing imperfection and forging new paths, The Air Outside Feels Crazy Right Now is a testament towards Perila's ability to turn fragility into a powerful form of strength.

 

PRICE: $29.50

CAT #: ZORN 107LP

FILE UNDER: JAZZ

Japanese free jazz legend Akira Sakata and Greek avant-garde guitarist Giotis Damianidis present Adyton, their first-ever duo recording. Having collaborated since 2018, the two musicians have developed an intuitive and electrifying musical dialogue, culminating in this live performance at Haekem, Brussels -- the final concert of a two-week tour with Entasis in September 2023. Sakata, who turned 80 on February 21st, 2024, delivers his signature fiery alto saxophone, evocative clarinet, expressive voice, and resonant bells, while Damianidis expands the sonic spectrum with textural guitar and effects, weaving a dynamic interplay between structure and chaos. Titled after the "Adyton" - the innermost, most sacred part of an ancient temple -- this album invites listeners into a raw, unfiltered space of musical exploration, where spontaneous energy and deep-rooted tradition converge. A testament to Sakata's lifelong commitment to improvisation and Damianidis' boundary-pushing approach to guitar, Adyton is a powerful, transcendental journey into the unknown. Edition of 200.

 

PRICE: $23.50

CAT #: ZORN 112CD

FILE UNDER: JAZZ

The debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, and William Parker formed by Parker to play concerts in conjunction with the Milford Graves Mind Body Deal exhibition at the Institute Of Contemporary Art Los Angeles and now a working group. Across two discs of long-form improvised sets recorded at 2220 Arts and Archives in LA and The Chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit and Ornette Coleman's Golden Circle Band (expanded upon in later eras by Sam Rivers' trio and Parker's collective trios with Charles Gayle/Graves and Peter Br?tzmann/Hamid Drake) into their own unique and scintillating realms of expression. As we tumble further into the throes of history's tides, people of hope and creativity rely on the works of our great artists to lift our spirits and focus our resolve. Ascension was recorded less than a year after the passage of the Civil Rights Act and four months after the assassination of Malcolm X. Journey in Satchidananda was recorded the month Reagan was re-elected governor of California. M'Boom made its debut recording weeks after the Watergate scandal broke and a couple months after the Wounded Knee occupation ended. The music of The Ancients builds on these great musical legacies. It resounds with the pride of survival and the joys of making and sharing music. It delivers to us hope and balm. Something real in you, real in history, and real in the music is shared, right on time. When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as Fred Anderson, Peter Br?tzmann, Charles Gayle, Kidd Jordan, and David S. Ware were at the height of their powers. Isaiah Collier's tenor playing in The Ancients is bracing testimony that the wellspring lives on. To hear the young Chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, and the intensity of his expression -- as well as a bold complement to his composition-based albums as a bandleader (including The Almighty, a New York Times' best albums of 2024 selection). I've admired drummer William Hooker since first encountering his music in a Hartford, CT, city park, early '90s (on a double bill with Jerry Gonz?lez and Fort Apache Band). From the man himself right off the bandstand I bought his even-then rare first recording, the 1976 self-released 2LP opus Is Eternal Life (reissued 2019 by Superior Viaduct). An imposing force on his instrument and an intrepid DIY cat, Hooker's been exuberantly swinging in-and-out of free time for 50+ years. Informed by the innovations of Sunny Murray and Tony Williams yet entirely himself, there is no other term for it than "pure Hooker." At age 78, with the Ancients and everywhere else, THE HOOK is in peak form. With a discography approaching 600 entries and 50+ years working across the musical maps, including in the history-defining bands of Don Cherry, Cecil Taylor, Bill Dixon, Peter Br?tzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership and a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as "the tone world," multi-instrumentalist, improviser and composer William Parker is a living hero of the grassroots and the Black Mystery Musics, not to mention one of the great bassists in the history of jazz. To quote George Clinton, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite. Free jazz is an enduring high art. Its greatest expressions belong to their particular moment in history, and live on to transcend and refract in amaranthine ways. Inside our present historical moment, we are fortunate to have the master musicians in the ancients bringing us their high-level creation. Live to 2-track concert recordings by Bryce Gonzales, Highland Dynamics. Mastered by Joe Lizzi, Queens, NY. Album and concerts co-produced with The Black Editions Group.

 

PRICE: $29.50

CAT #: AVM 078LP

FILE UNDER: ELECTRONIC

Re:Polyism is a track-by-track reinterpretation of Friedrich "Fritz" Br?ckner's 2022 debut solo album as Modus Pitch, Polyism (AVM 074LP, 2023), through artists affiliated with Altin Village & Mine and/or former collaborators of the prolific Leipzig-based musician and producer. Each track from Polyism has been remixed or reworked by different artists such as Modeselektor, Angel Bat Dawid, Maya Shenfield, or Mouse on Mars member and HJirok producer Andi Toma, but the album -- mastered by Tim Roth a.k.a. Sin Maldita and released as a strictly limited vinyl LP with reimagined artwork by Carmen Orschinski -- follows the original record's tracklist. This makes Re:Polyism a veritable musical prism, refracting the creativity inherent to Br?ckner's genre-transcending original works through other people's artistic lenses to create an even more colorful end result. First off are the Gebr?der Teichmann with their take on opener "Drive," carefully adding more depth and uncanny sounds to the jazzy, drum-focused piece. Unsurprisingly, Modeselektor go a lot further with their remix "Rainbow," turning the two-minute track into a dubstep-adjacent banger with infectious synth work that is twice as long and comes with a mind-melting breakdown. With their take on "Hilltop Jacuzzi," Peaking Lights turn the blissful original into a piece that calls to mind experiments at the intersection of dub, ambient, and industrial music in the mid-1990s. Cloud Management radically transform the eerie "Compound Eye Dialogue" into a rhythmically charged mid-tempo post-krautrock epic, while the Seekers International's "Jelly Roll Dub" of "Gel?e Royale" uses the original's lush textures to turn up the intensity even further. On the flipside, Andi Thoma gives the intricate synth pop/breakcore fusion of "Suspender" a similarly dubwise treatment before venturing into gqom territory. Maya Shenfeld then brings her trademark modular synth work to "Outer Veil," accentuating the focus on Hendrik Otremba's uncanny spoken word performance even further. This sets the mood perfectly for vocal experimentalist Agnese Menguzzato working her singular magic. Under her hands and with her voice, the multi-layered ambient soundscapes of "Lava Fans" become even larger-than-life-like than before. When Angel Bat Dawid takes the menacing drones of "Iridescent Path" as a template for a trap-inspired beat over which she lets loose on the clarinet, that serves as both the ultimate counterpoint and perfect coda to Re:Polyism. These nine reinterpretations of the highly diverse source material underline Br?ckner's singular approach to music-making while also emphasizing their makers' idiosyncratic talents.

 

PRICE: $61.50

CAT #: AOR 002ST-LP

FILE UNDER: JAZZ

180 Gram vinyl, hand numbered edition of 500, ultra gloss sleeve on 380 gsm card, black poly-lined inner, eight-page booklet printed on 330 gsm card. Neil Ardley'S Harmony Of The Spheres returns to vinyl for the first time in over 40 years. Analogue October Records presents the long-awaited licensed reissue of Harmony of the Spheres, Neil Ardley's cosmic jazz masterpiece, originally released in 1979 by Decca. This marks the first vinyl reissue of the album since its original release, offering fans a rare opportunity to experience this extraordinary record in its purest form. Recorded at the legendary Morgan Studios and produced by the esteemed Martin Levan, Harmony of the Spheres is another bold evolution in Ardley's ever-expanding musical journey. A unique blend of jazz, electronic synthesis, and progressive rock, the album explores the ancient Greek concept that planets create celestial harmonies as they move through space. Using precise astronomical calculations, Ardley transposed planetary orbits into a nine-note chord -- one that extends beyond the range of traditional acoustic instruments, making synthesizers the only means of fully realizing this cosmic sound. The album features an all-star lineup, including the visionary John Martyn on guitar, saxophonist Barbara Thompson, Tony Coe, Ian Carr, and keyboardist Geoff Castle, alongside the formidable rhythm section of Billy Kristian (bass), Richard Burgess (drums), and Trevor Tomkins (percussion). Following the reissue success of Journey to the Urge Within (1986) by Courtney Pine, Analogue October Records' founder Craig Crane embarked on a mission to restore Harmony of the Spheres to its full sonic glory. Working with Gearbox and using Decca's original 15ips 2-track stereo master tapes, this reissue is a true AAA release -- an all-analogue production with no digital step. The album was meticulously cut directly from the tapes and pressed to the highest standards at Optimal in Germany. Inside the deluxe package, fans will discover an eight-page booklet featuring an in-depth essay by Jazzwise magazine editor Mike Flynn, along with never-before-seen photos from the original recording sessions. This reissue is just the beginning -- Analogue October Records is committed to further explorations of Neil Ardley's work, alongside other deep cuts from the UK's vibrant 1970s jazz fusion and jazz-rock scene. Whether you're rediscovering Harmony of the Spheres or experiencing it for the first time, this release is a testament to the artistry and innovation of Neil Ardley.

 

PRICE: $35.50

CAT #: ANS 7000LP

FILE UNDER: ELECTRONIC

After a two-year hiatus following his critically acclaimed fifth album Orbs, Anthony Naples returns with his sixth album, Scanners, featuring ten new songs.

 

PRICE: $29.50

CAT #: ATA 040LP

FILE UNDER: WORLD

Every ATA project is marked by collaboration -- some over a few weeks and some over decades. When drummer Sam Hobbs and bassist Neil Innes decided to make The Return Of, by The Flying Hats, they were building on twenty years of playing together; Innes's years of nightclub residencies and love of Afro-American dance music, and Hobbs's intensive exploration of the links between American soul and R&B, Jamaican rocksteady and roots, and the music of the wider Caribbean from Cuba to Trinidad and Brazil. Organist Bob Birch (the original organ player for New Mastersounds) and guitarist Chris Dawkins (Nightmares On Wax, Jimi Tenor, David Holmes, Finlay Quaye) were the other crucial elements -- Birch started out as a jazz Hammond player in the bluesy McGriff/McDuff mould before discovering the more exotic colors of Art Neville and Jackie Mittoo, and Dawkins has been a session guitarist for the cream of British reggae and rock for a generation. The Return of the Flying Hats occupies a space somewhere between The Aggrovators and The Meters, under the influence of Lynn Taitt & the Jets, and Fatman Riddim Section. Tracks like "Grafter" and "Bust Up" conjure up the image of classic New Orleans funk recorded in Kingston, whilst "Tough Swagger" sounds like half of Bunny Lee's Aggrovators have dropped in at "Ultrasonic" to jam with Ziggy Modeliste. In other places the Jamaican sound predominates: "An Autumn Sun" is as sweet a dish of Kingston soul as you could wish for, "Strong Fish" an honest homage to Hot Milk-era Mittoo, whilst the introductory fanfares of opener "Night Bus" and "Power Cut" feel like they should be ushering in hot I Roy cuts. Meanwhile, "Iron Fist" mixes everything up together in a fresh brew of asymmetric drums, talking bass and free-flowing organ melodies: when Innes and Hobbs started jamming together they roughed out melodies to every groove, but Birch came in and ignored virtually every note, preferring instead to simply channel extempo lines that sound both original and traditional at once. It would be a mistake to call this group a new band, with all the communal miles they've travelled together: what this undoubtedly is though, is a fresh take on a couple of cherished genres (New Orleans R&B, Instrumental Rocksteady) that comes up with something more than the sum of its parts.

 

PRICE: $26.00

CAT #: AR 058LP

FILE UNDER: ELECTRONIC

"In May 2024, the Brazilian state of Rio Grande do Sul, where I was born and have lived all my life, faced the worst climate catastrophe in its history. After weeks of relentless, torrential rain, its rivers overflowed, flooding much of the region. Entire cities were submerged. More than 170 people lost their lives, and hundreds of thousands of animals perished. Amid this dystopian and desperate situation, Flux was composed and recorded in about a week. Initially, the album was created solely as an exercise to maintain my mental health. But when I finished it, I realized that it had become a kind of 'sound portrait' of this dark moment -- days filled with pain and suffering. Yet it was also a meditation on the ephemerality and fragility of life, and the struggle to survive."All music composed and performed by Carlos Ferreira using electric guitars, ppooll, sampling, piano, synthesizers and FX pedals. Cover layout and design by Sergio Vidal. Photos by Leo Caobelli.

 

PRICE: $50.00

CAT #: B 181LP

FILE UNDER: ROCK

Warehouse find, last copies. "Vocalist Damo Suzuki's departure from Can in 1973 had forced the band to re-evaluate their sound. Now with Michael Karoli and Irmin Schmidt sharing vocal duties, the band had also begun drawing on influences from disco and glam. While still remaining staunchly outside the mainstream, they undoubtedly became more accessible to a wider audience, and soon had a huge fan base in the UK. In fact, just a few months after playing the live show found on this double LP (recorded in Lyon in January of 1976), Can was even on Top of the Pops!" Double 140 gram clear vinyl with multicolored labels in a PVC sleeve."

 

PRICE: $28.00

CAT #: BTR 057SPL-LP

FILE UNDER: WORLD

Yellow/red splatter color vinyl version. Lost somewhere between the mysterious alleys of '70s Istanbul and the scorching sun and crystal blue sea of Jaffa, Tel Aviv, ?atellites self-titled debut album is set to be released on Batov Records. The ?atellites' sound shimmers between traditional Turkish folk and instrumentation, ethereal psychedelic guitar leads and groovy dancefloor baselines. The resulting concoction of songs draws on cross continental influence yet at its core is a desire to illuminate the vivid qualities of classic Turkish music, honoring the Anatolian folk and psych artists from this golden era of music. From the funky disco beat of Disko Arabesque to the celestial lead guitar in "Ya?mur Ya?ar Ta? ?st?ne", the band add fire and flair to time-honored pieces of Turkish music giving them new meanings. Covering important tracks such as female singer Kamuran Akkor's track "Olurmu Dersin", and musician and guitarist Zafer Dilek's "Yekte", the album covers an array of original pieces of different musical styles and sounds, that once have and continue to flow out of Turkey. The band boasts six members; Ariel Harrosh (bass), Lotan Yaish (drums), Yuli Shafriri (vocals), Tsuf Mishali (keys and synths), Tal Eyal (percussion), and Itamar Kluger (diwansaz, both electric and acoustic, electric baglama, Greek four double string bouzouki). They came together some years after band leader Itamar Kluger discovered the saz whilst traveling the Ka?kar mountains in Turkey's eastern region. The saz being a long necked, plucked stringed instrument native to the rural areas of the country, which remains an integral part of ?atellites' union, and plays predominance throughout the bands' album and music. In the same way the guitar was electrified in the 1930s, the electrification of the saz in the 1960s led to an explosion of rock music dredged in middle eastern influence, a musical genre fittingly called "Anatolian rock" and based on the principles of Anglo-American and psychedelic rock music, yet incorporating the style, rhythm, and scales of traditional Anatolian folk music. As such, throughout the creation of the album, the band conceived the idea of intertwining differing elements such as the groove of funk, the rhythm of disco, and reverb of psychedelic, with traditional Middle-Eastern rhythm and structure, opening up the wealth of Turkish music to the western world. For fans of: Derya Yildirim, Altin G?n, Liraz, Baba Zula, Yin Yin, Ayyuka, Bab L'bluz.

 

PRICE: $20.00

CAT #: BCD 17750CD

FILE UNDER: ROCK

"With Etta James, Bear Family Records finally dedicates itself to the most rocking recordings of one of the most important and successful Afro-American singers of her time! She was equally at home in R&B, jump, doo-wop, hard blues, languorous ballads and hot soul. Bill Dahl has written the detailed and exciting liner notes. The extensive booklet contains many photos and illustrations. Feisty from day one, Etta James amassed an incredible musical legacy by refusing to limit her vocal exploits to one genre. Jumping R&B, doo-woppish ballads, tough blues, smoldering torch ballads, sizzling soul -- Miss Peaches did it all during her primordial days in the studio. Etta James Rocks takes an in-depth gander at James' early years of rocking and rolling with 29 well-selected tracks from the Modern/Kent and Chess/Argo archives. Naturally, her 1955 debut R&B chart-topper 'The Wallflower' -- a sassy response to The Midnighters' 'Work With Me Annie' -- is here, along with the encore 'Hey! Henry,' her second Modern hit 'Good Rockin' Daddy,' and the New Orleans-cut scorcher 'Tough Lover,' complete with a two-chorus Lee Allen sax solo (her Crescent City remake of 'The Wallflower' is also aboard, retitled 'Dance With Me Henry'). When Etta shifted her recording home from Los Angeles to Chicago-based Chess at the dawn of the '60s, she engaged in more rocking alongside her smoldering balladry, often with a soul-steeped edge: 'Seven Day Fool,' the charming girl group-oriented 'Pushover,' and 'Next Door To The Blues' are splendid examples. Her snarling violin-enriched reprise of Willie Dixon's 'I Just Want To Make Love To You' reset the song's parameters (ditto her duet rendition of 'Spoonful' with her beau of the moment, Moonglows founder Harvey Fuqua). Add two selections from her seminal album Etta James Rocks The House, done in late '63 at Nashville's New Era Club, and you know beyond all doubt that Etta James Rocks!"

 

PRICE: $16.00

CAT #: BJR 112CD

FILE UNDER: ELECTRONIC

With Ylh Bye Bye, Swiss-Moroccan producer Sami Galbi delivers a raw and electrifying debut album after the success of his first single "Dakchi Hani / Rruina." Merging North African folk, cha?bi, and trap with forward-thinking electronic club music, his punk energy and DIY ethos stem from years immersed in Lausanne's underground squat scene, shaping a sound that's both deeply personal and politically charged. Driven by infectious North African melodic loops, heavy basslines, and percussive textures -- blending bendir drums, karkabas, and analog synths -- Ylh Bye Bye pulses with urgency. From high-energy dancefloor anthems to dreamy acid pop ballads, the album explores themes of migration, identity, and belonging. Galbi's Arabic vocals oscillate between auto-tuned harmonies and spoken word, capturing the tensions of diaspora life. Recorded between Switzerland and Morocco, the album's title -- meaning "Let's go" or "See you" in regional slang -- reflects the artist's nomadic journey, from a DIY studio in a van to a transformative creative residency in Casablanca. It's a work of constant movement, embodying both departure and return. Featuring FlexFab and INES.

 

PRICE: $26.00

CAT #: BJR 112LP

FILE UNDER: ELECTRONIC

LP version. With Ylh Bye Bye, Swiss-Moroccan producer Sami Galbi delivers a raw and electrifying debut album after the success of his first single "Dakchi Hani / Rruina." Merging North African folk, cha?bi, and trap with forward-thinking electronic club music, his punk energy and DIY ethos stem from years immersed in Lausanne's underground squat scene, shaping a sound that's both deeply personal and politically charged. Driven by infectious North African melodic loops, heavy basslines, and percussive textures -- blending bendir drums, karkabas, and analog synths -- Ylh Bye Bye pulses with urgency. From high-energy dancefloor anthems to dreamy acid pop ballads, the album explores themes of migration, identity, and belonging. Galbi's Arabic vocals oscillate between auto-tuned harmonies and spoken word, capturing the tensions of diaspora life. Recorded between Switzerland and Morocco, the album's title -- meaning "Let's go" or "See you" in regional slang -- reflects the artist's nomadic journey, from a DIY studio in a van to a transformative creative residency in Casablanca. It's a work of constant movement, embodying both departure and return. Featuring FlexFab and INES.

 

PRICE: $16.50

CAT #: BB 480CD

FILE UNDER: ELECTRONIC

Hamburg's kosmische custodians at Bureau B welcome legendary synth maestro Peter Baumann back into the studio for his first solo album since Machines Of Desire (BB 234CD, 2016). A defining force in the Berlin School of electronic music, both as a member of Tangerine Dream in their most essential era, and as a solo artist, Baumann has always bridged the cerebral and the cinematic. With Nightfall, he embarks on another sonic odyssey, crafting an atmospheric album steeped in mystery and evocative storytelling. "Baumann's artistic vision has long been shaped by his exploration of the human condition. From his pioneering work with Tangerine Dream to his influential New Age imprint, Private Music, and his philosophical pursuits through the Baumann Foundation, his creativity and curiosity remain undiminished. Nightfall is the latest chapter in his five-decade journey -- an deeply emotional album that embraces impermanence to transport the listener into a series of shapeshifting soundscapes? The misty melancholia of opener 'No One Knows' pairs hypnotic woodblock rhythms with desert guitars, while 'Lost In A Pale Blue Sky' floats through celestial choirs and rolling timpani, evoking dreamlike introspection. Elsewhere, 'On The Long Road' pulses with insect-like percussion and serrated synth tones, exuding a ritualistic energy. Tracks like 'A World Apart' and 'From A Far Land' build tension through cascading melodies and rhythmic precision, evoking distant horizons and uncharted territories. 'Sailing Past Midnight' melds bass mallets with feedback-laden synths, conjuring a sense of movement and urgency, while 'I'm Sitting Here, Just For A While' layers snaking saxophones and hand percussion into a mystical, arcane soundscape. The album closes with the title track, 'Nightfall,' a deeply atmospheric piece wrapped in choral textures and shadowy undertones? From the very beginnings of his career, Peter Baumann has infused his work with a sense of the beyond and Nightfall is no exception. Each track invites the listener to interpret, to feel, and to immerse themselves in its crepuscular beauty? With Nightfall, the composer has created a shimmering doorway, just waiting for you to step through." --Patrick Ryder

 

PRICE: $16.50

CAT #: BB 481CD

FILE UNDER: ELECTRONIC

With his first full-length album Ruinenkampf, released via Hamburg based label Bureau B, Das Kinn embarks on a musical tour de force through the ruins of time. An electronic armada and kickbox phonetics lead listeners through haunting soundscapes somewhere between DAF, Kosmische Kuriere, and Frankfurt Bahnhofsviertel. Beats on full blast. Bones rattle. Warm synthlines played by cold hands. A saxophone ponders the after. Hymns for the demolition. Sonic meditations on decay. Music for the solemn decline."Toben Piel likes to visit cemeteries. In those places of peace and idyll he finds the distance to contemplate transience and consider the hereafter as a concrete location. His debut album Ruinenkampf comes from the same mindset -- distancing himself just enough to get straight to the point with a running start. It certainly doesn't sound anything like peace and idyll. It has more to do with the cassette scene, the 1980s, with staccato vocals, and synths somewhere between DAF and Kosmische Kuriere. Underground aesthetics. Torrents of melody, sophistication, constantly oscillating between anthem and demolition. And the crass power of that voice! These are eight pieces of intensive listening, always right on the mark. So how does it work? How can anybody create something like that? Well, this man in his forties from Frankfurt, still young at heart and ever hungry, has substantial experience: first with Antitainment (2005-2010), then together with the magnificent Charlotte Simon in Les Trucs, through his cassette label MMODEMM, and also as a musician on various theatre stages. Yet with Das Kinn he feels that he has now finally created music with a true sense of self-liberation." --Hendrik Otremba

 

PRICE: $9.00

CAT #: DKR 193EP

FILE UNDER: WORLD

2025 repress. "At long last, our unofficial companion piece to 'Rocks & Mountains' sees the light of day. Another mystical dubplate tune by an unknown artist, 'Warrior' developed a reputation among the most dedicated students of dubplates. The mysterious artist credit comes from a master tape box labeled with several Sly & Robbie dubplate tunes, in fact the very same tape which yielded our 'Rocks & Mountains' master! However, part of the tape had been erased and re-used, so only a few seconds of the tune remained! It was heartbreaking, but enough to keep us hunting for the tune. It's now a few years after that near miss, and we finally secured a crisp master to bring this tune out. Hard, minimal, dubplate style roots from Sly & Robbie at Channel 1. Ciddy Bop, who are you?"

 

PRICE: $33.50

CAT #: DKR 286LP

FILE UNDER: WORLD

2025 repress. "This compilation is dedicated to the memory of the late great 'Prince' Philip Smart -- the first apprentice of King Tubby and the first engineer at Tubby's studio besides Tubby himself. Alongside Tubby, Philip was integral to the innovation that took place at Tubby's studio in the mid-1970s, where the mixing of new roots reggae revolutionized the sound of Jamaican music and created styles and techniques that are still being echoed today, nearly 50 years later. Though rarely credited on records in comparison to Tubby, Philip also mixed a lot of the paramount music produced by those close associates of Tubby's studio such as Bunny Lee, Yabby You, and Augustus Pablo. Philip was closely tied to Pablo due to their childhood friendship and was a partner in his stylistically significant early production works. In the early years of Tubby's studio, both men were making and cutting custom dubs there for their sound systems before starting to produce their own tunes from scratch, and Philip becoming the second chair engineer. Several of the songs on this compilation are a selection of the aforementioned work. All of the songs here are sourced from Philip's personal tape archive, and basically all of these mixes and versions have been scarcely if ever heard, and never released before. This double album comprises a rare and genuine glimpse into the dubplate workings of the inner circle of Tubby's studio in the mid-1970s, where the prime players and emerging giants of reggae music production and sound system versioned, remixed and voiced rhythms for custom and exclusive cuts. Some of the cuts heard here were formerly exclusive power plays on King Tubby's own legendary sound system, and unlike some previous issues of such material, these are genuine mixes done at the time. Some other tracks clearly exude the youthful enthusiasm of the participants. Rest in power Prince Philip Smart." --RB/DKR, Summer 2023

 

PRICE: $27.00

CAT #: CREP 116LP

FILE UNDER: ELECTRONIC

After a collage tape collab with Bardo Todol back in 2022 (Magnetic Road to Hell) Robert Millis finally gets his Discrepant debut proper, a much overdue entry in the label's wonderful catalogue of lost musical oddities. The not so self-explanatory title Interior Music explores Millis obsession with hidden sounds and its anomalies. A hermetic rearrangement of emptiness could be another more big-headed title. Millis says "The phrase interior music occurred to me a few years ago as a way to describe some recent work. It's about the resonances inside of hollow wooden chambers (and hollow heads) like gramophones and talking machines, music boxes, instruments, metal containers, and resonant rooms. It's about exploring tiny audio fragments -- single notes, vinyl and shellac surface noise, recording mishaps and anomalies -- and arranging them into something meaningful. It is about my own interior mishaps and anomalies and attempts to arrange THEM into something meaningful. It also references 'interior design' with the placement of sounds in specific locations, layers or in juxtapositions. Inspirations include Steve Roden's lowercase work, Toshiya Tsunoda's field recordings, Eliane Radique's slowly shifting ambiances, and the musique concrete of Pierre Schaeffer, as well as the dhrupad and kayal traditions of Indian classical music -- especially Kesarbai Kerkar and the Dagar family who have a sublime way of stretching out individual notes and exploring their endless permutations, combinations and connotations."

 

PRICE: $20.00

CAT #: DC 282LP

FILE UNDER: ROCK

2025 repress; LP version. "This is the first Six Organs of Admittance record to be recorded in a studio. No computers were harmed (or used) during the making of this record. Free-jazz sensation Chris Corsano contributes drums with the greatest sympathy. It's a fantastic new album, as just a fraction of a listen will reveal. The highly prolific Six Organs of Admittance returns with a sixth or seventh album, School of the Flower."

 

PRICE: $27.00

CAT #: DC 701LP

FILE UNDER: EXPERIMENTAL

2025 repress. "In 1987, Rafael Toral began making his own compositions and solo recordings. 30 years later, these recordings sound remarkably prescient and perfectly timeless -- almost fresher today than when they were first released. Rafael has spent the time since then developing his conceptions, with continued explorations in the many records that have followed. On the 30th anniversary of his start, we are reissuing Sound Mind Sound Body and Wave Field, his first two long out-of-print albums, on vinyl for the first time. Sound Mind Sound Body was partly inspired by exploring some of the working principles of Brian Eno and Robert Fripp, extrapolated by Rafael via a unique signal path leading out of his guitar. He paid notice to the massive impact of discreet gestures, creating slow-moving tones and spacious orchestral resonances, drifting and droning with glacial majesty, hardly recognizable as guitar much of the time. The first of these pieces were recorded in 1987, and in 1994, they were released on Portugal's AnAnAnA, with material evolved in the years between, producing a remarkable equilibrium over an hour's listening. Further evidence of the necessity for gradual development exists in subsequent reissues: for the 1998 Moikai reissue, AE 1 was recorded, and for this edition, AER 7 E was rerecorded and the material for AE 2 was recorded for the first time ever -- all from original processes as noted, and none of which will cause the listener to notice a change in the otherworldly atmosphere. Wave Field, released in 1995, was a departure from the first album into new composition methods involving the dirty textures of rock guitar, sounding in the open ears of many listeners (like Jim O'Rourke, who issued the disc in the US on dexter's cigar) as a synthesis of disparate elements -- a nexus where Alvin Lucier, Sonic Youth, My Bloody Valentine and Eno blend together. Here, the clangorous potential of the guitar was emphasized, giving a metallic edge to the two extended pieces and 'radio edit' coda. The jacket paid subtle tribute to My Bloody Valentine, which, along with the radio edit, suggested a harmony between musical directions as wildly disparate as minimalist experimental and rock. Today, such a paradoxical intent is more widely considered as a part of the artist's purview. This allows the sounds of Wave Field and Sound Mind Sound Body to sit perfectly among the forward-reaching music of today -- as it continues to evolve in our ears, moving ever towards the next conception of listening space."

 

PRICE: $30.50

CAT #: EMEGO 317LP

FILE UNDER: ELECTRONIC

Rivet's new album for Editions Mego is an uplifting and joyous affair coming in the wake of tragedy and disenchantment. It is yet another rebirth from an artist willing to take a step back and reprise the current situation he is in. Mika Hallb?ck has a long credible history in the Swedish underground. First recognized for his industrial techno works under the Grovskopa moniker he worked privately on more experimental works that eventually came out as On Feather and Wire, an album released on Editions Mego in 2020. After much acclaim for this bold new direction that blended electronic abstraction, pop and industrial forms into a heavy synthetic trip two tragedies struck. One was the passing of label boss Peter Rehberg and then the passing of his dog Lilo, who was as close as a companion one could have. Peck Glamour sees Rivet return to the reawakened Editions Mego with an album of optimism inspired by reconciliation with loss and further explorations of new mental/sonic realms. Hallb?ck defines his approach as not being married to any particular machine, instrument, process or genre. However, he holds a particular affinity to sampling, of which, he says, provides the dirt and grit amongst what would otherwise be pristine, generic machine music. Peck Glamour is an album full of tracks brimming with the excitement of exploration. It's the results of a mind informed by punk, industrial, techno, dancefloor, disappointment, trauma and rebirth. Here the synthetic and authentic is viewed simply as the same means of human rationale and expression. The entire trip of Peck Glamour is sewn up with "We left before we came" whereby extraneous recordings of double bass player Gregory Vartian-Foss (tuning/strumming/moving the bass) are superimposed with local field recordings to create a gorgeous bed of sounds acting as an exciting exit music to this sharp collection of cinematic ear excursions.

 

PRICE: $30.50

CAT #: EMEGO 318LP

FILE UNDER: ELECTRONIC

H?ma Utku returns to Editions Mego with her new album. The title Dracones makes reference to the mediaeval Latin term "Hic sunt dracones" (Here be dragons), marking the unexplored, dangerous places on world maps, expressing the fear of chaos, the unexpected and the unknown. This new work by the Istanbul sound artist is a sonic journal of an expedition into uncharted territory, one which occupies self and domesticity. Inspired by Utku's experience of matrescence, Dracones explores the themes of familial demonology, metamorphosis and homecoming as well as human relationship to the experience of love woven layers of euphoria, alienation and consumption. Musically, Dracones traverses a wide array of sonic tools whereby industrial sounds are imbedded with certain psychological angles; this is an album where, all matter meshes into a sly snapshot of the human experience with a tension and release exposure occurring frequently with dark corners opening up to bright layers of electronic experimentation. The haunting opening track "A World Between Worlds" tackles pregnancy, of which Utku was experiencing when making this record. This track features the "Lyraei," an electromagnetic string instrument and modern interpretation of the ancient lyre, that was built and played by Mihalis Shammas. Dracones is a deeply visual journey through inner and outer worlds, a space where symbolic evocation is supreme and passive listening is not an option. All tracks composed, performed and recorded by H?ma Utku. Mixed by Enyang Urbiks. Mastered by Heba Kadry. Cover artwork by Marco Ciceri. Design by Tina Frank.

 

PRICE: $15.50

CAT #: EFFICIENT 045EP

FILE UNDER: ROCK

Efficient Space charts Ghost Riders' North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte. In the late '60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighborhood friends, the trio hammered out raw rhythms, drawing in Brooklyn's wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making. Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7"s on his newly minted Roundtable Records. To maximize his chances of courting major labels, he strategically assigned each release a different artist name -- Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack. Dennis' emotional maturity and sheer talent bleed into the defining "Summer's Over," penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart -- the candied ballad "Running Thru My Mind" -- delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovin' Spoonful, and The Youngbloods. Roaring like the Spencer Davis Group, Pure Madness' organ-driven bruiser "Freedom Rides" screams of biker gangs, yet its true subject -- '60s civil rights activists the Freedom Riders -- looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus "Treat Me Like a Man" digs back into Edelson's catalogue, covering the Beatles-inflected Levittown group The Shandels. Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge -- a heartfelt homage to an unbreakable brotherhood.

 

PRICE: $14.50

CAT #: EPR 080CD

FILE UNDER: ROCK

Causa Sui return with the perfect companion to From The Source (EPR 076CD, 2024). Whereas that record was a tightly structured piece of work, that condensed many aspects of the band's sound into a concise 45-minute LP, In Flux presents the more loose and impulsive side of Causa Sui. After an introductory suite in classic Causa Sui territory, with deep fuzz riffs and syncopated grooves, things gradually become more outlandish. The band channels Hot Rats-style jazz fusion, the oceanic post-rock of late-period Talk Talk, and the impulsive, anarchic experimentalism of Can's Tago Mago into their own beatific brew. On "Spree," the band abandons guitar entirely, relying on a dual synthesizer on top of drums and bass instead, yet maintains that uniquely Sui-an vibe. The centerpiece in this set, "Astral Shores," unfolds over 16 minutes -- from gently hypnotic, ritualistic folk, through motoric psychedelia and back again. It's been many years since Causa Sui have sounded this unmoored on a studio record. In Flux is an essential chapter in the band's ever-changing oeuvre. Each track has a character all off its own, taking the listener somewhere different.

 

PRICE: $30.50

CAT #: EPR 080LP

FILE UNDER: ROCK

2x10" version. Causa Sui return with the perfect companion to From The Source (EPR 076CD, 2024). Whereas that record was a tightly structured piece of work, that condensed many aspects of the band's sound into a concise 45-minute LP, In Flux presents the more loose and impulsive side of Causa Sui. After an introductory suite in classic Causa Sui territory, with deep fuzz riffs and syncopated grooves, things gradually become more outlandish. The band channels Hot Rats-style jazz fusion, the oceanic post-rock of late-period Talk Talk, and the impulsive, anarchic experimentalism of Can's Tago Mago into their own beatific brew. On "Spree," the band abandons guitar entirely, relying on a dual synthesizer on top of drums and bass instead, yet maintains that uniquely Sui-an vibe. The centerpiece in this set, "Astral Shores," unfolds over 16 minutes -- from gently hypnotic, ritualistic folk, through motoric psychedelia and back again. It's been many years since Causa Sui have sounded this unmoored on a studio record. In Flux is an essential chapter in the band's ever-changing oeuvre. Each track has a character all off its own, taking the listener somewhere different.

 

PRICE: $28.00

CAT #: ENTRLP 001LP

FILE UNDER: SOUNDTRACK

The first release on Entire Records, in the shape of the soundtrack score to Academy-nominated 1976 documentary about the Bakhtiari tribe composed and performed by G.T. Moore and Shusha Guppy. Available on vinyl for the first time since its original release. Musically encompassing Persian-flavored and folk-tinged instrumentals and Farsi-language acapellas. G.T. Moore is a singer and songwriter whose career stretches back to the late '60s when he was a member of folk band Heron. In the mid-'70s he formed G.T. Moore and the Reggae Guitars. Later in his career, he would work with the likes of Lee Perry, Johnny Nash, and Poly Styrene. After 50 years in the music business, Gerald (G.T.) is still effortless bridging musical genres. Shusha Guppy, born in Tehran, was a talented writer, editor, songwriter, and singer. Between 1971 and 1995, she recorded over ten albums of both Persian and Western folk songs. She passed away in 2008.

 

PRICE: $28.50

CAT #: ENTRE 117EP

FILE UNDER: ELECTRONIC

Kaba & Hyas continue their musical exploration at the crossroads of rap and house by announcing their third opus Wooferz Only, a seven-track EP. The two comparses establish their club music more than ever, reviving sensations of hectic nights from Detroit to Manchester, and hammering home the markers of the style they've made their own. Like a block party MC, Kaba chants incisive, edgy lyrics, set to the energetic rhythms of Hyas, obviously at the center of the game. Solid on their feet, Kaba & Hyas have not hesitated to step out of their comfort zone, exploring new styles, collaborating with a jazz pianist on a couple of tracks, or hosting their first French featuring with thaHomey on the track "Magic Stick". After a spring/summer tour packed with dates including Nuits Sonores, Macki Music Festival and Ed Banger Party, the duo followed up their winter season with appearances at the MaMa Festival and the Transmusicales de Rennes.

 

PRICE: $35.50

CAT #: MTE 082LP

FILE UNDER: JAZZ

Restocked. Onilu is an all-percussionist trio utilizing the extensive family of drummed and tuned percussion instruments to deliver beautifully composed, arranged and executed small ensemble music. Nothing about this all-percussion band feels rarified, or missing anything musical. To the contrary, Onilu create a soundworld where nothing is missing, and everything is musical -- defying the stereotype of modern percussion ensembles as esoteric or academic pursuits, reaffirming the powerful social and sacred musics made in African diasporic communities and across cultures by drum and percussion groups since the beginning of human time. The members of Onilu are: Kevin Diehl, leader of the enduring Philadelphia-based Afro-Cuban Yoruba free-jazz ensemble Sonic Liberation Front; Chad Taylor, Artistic Director of Jazz Studies at the University of Pittsburgh and esteemed drummer of long standing in many scenes. Highlights of Taylor's recent history include his work with James Brandon Lewis, Jaimie Branch, Marc Ribot, Rob Mazurek, and with Joshua Abrams in the duo Mind Maintenance-. Taylor was part of the community of young Chicago-based musicians organized around Fred Anderson's Velvet Lounge in the 1990s that included Abrams, Nicole Mitchell, Jeff Parker, and Matana Roberts, among others; living legend Joe Chambers, who began his illustrious career as the drummer on now-canonical early Blue Note recordings by Andrew Hill, Bobby Hutcherson, Sam Rivers, Wayne Shorter, and Mccoy Tyner. A 1970 founding member of Max Roach's pathbreaking percussion ensemble M'Boom, Chambers continues to record percussion-centered music as a leader for Blue Note records. After nearly three decades working with such historic drummers as Denis Charles, Walter Perkins, Sunny Murray, Hamid Drake, Milford Graves, Susie Ibarra, Charles Bobo Shaw, and Han Bennink, it is Eremite Records' joy and honor to give the drummers not some, but ALL the spotlight. From Dana Hall's liner notes: "These three artists are master musicians and the music they present here is masterfully conceived. The drum, and its entire global family of membranophones, shakers, and idiophones, are conduits for their collective creative voice. In addition to drummers, they are also composers, and their works here represent a synthesis of ideas, concepts, and their individual dialectics on the language and syntax found in much of African and African Diasporic musics. A music that uses call and response. One that honors the past while looking forward to the future. A music that is principally concerned with feeling, mood, and storytelling. One that eschews frivolity and the baroque. A music that swings and grooves. I found myself dancing to this recording. Trust me, you, too, will find yourself rightfully and unapologetically dancing to this recording." First Eremite edition of 999 copies pressed on premium audiophile-quality 140-gram vinyl at Fidelity Record Pressing, from Kevin Gray/Cohearent audio lacquers. Recorded by Michael Richelle, Philadelphia. Mastered by Joe Lizzi, Queens, NY. Hand screen-printed insert by Alan Sherry, Siwa Studios, Northern New Mexico.

 

PRICE: $12.00

CAT #: ESPDISK 5106CD

FILE UNDER: JAZZ

This is the first to be released of a series of albums ESP started recording in 2023 combining artists who hadn't worked together before. In this case, saxophonist Larry Ochs teams up with the Flow Trio rhythm section of drummer Charles Downs and bassist Joe Morris. They meshed magnificently on their first encounter! Larry Ochs, co-founder in 1977 of ROVA Saxophone Quartet, was born in New York City but has long been based on the West Coast, specifically the Bay Area. He has also been a member of the Glenn Spearman Double Trio, Maybe Monday, the John Lindberg Ensemble, What We Live, The International Creative Music Orchestra, and Room, along with many other collaborations. ESP-Disk has previously released albums featuring Ochs by ROVA, Jones Jones, and his duo with Donald Robinson. 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 and Fay Victor's SoundNoiseFUNK -- and a guitar duo with Elliott Sharp. He's also the author of the crucial book Perpetual Frontier/The Properties of Free Music and on the New England Conservatory faculty. Charles Downs, the senior member of the trio, is also known to jazz aficionados as Rashid Bakr, the performing name he used while drumming in various Cecil Taylor groups and elsewhere. He's also been in groups including Ensemble Muntu, Other Dimensions in Music, Flow Trio, and What You May Call It, and has recorded with Billy Bang, Glenn Spearman, Jamie Saft, Ras Moshe Burnett, William Parker, Arthur Doyle, Sabir Mateen, Joe McPhee, and many more.

 

PRICE: $18.00

CAT #: XBITS 004EP

FILE UNDER: ELECTRONIC

A deeply grooving expedition of 20 minutes on Exhibition by Rico Puestel!

 

PRICE: $15.50

CAT #: XBITSH 001EP

FILE UNDER: ELECTRONIC

Rico Puestel on furtherly different yet unique paths with two murder house tracks!

 

PRICE: $37.50

CAT #: XBITSTEAL 001LP

FILE UNDER: ELECTRONIC

The long lost and forsaken Rico Puestel LP from 2021 finally released, peaking aesthetically! Includes parts 1 and 2 of the album key track "ADISTA."

 

PRICE: $25.50

CAT #: FTR 771LP

FILE UNDER: ROCK

Cardinal Fuzz (UK) and Feeding Tube Records (USA) are proud to announce the release of Nitro Cosmetic's self-titled LP. Nitro Cosmetic are Milo Smee and Demian Castellanos -- Milo is an electronic music producer for nearly 20 years, and the main drive behind several electronic dance music projects, and has released music as Kruton and Binary Chaffinch on Dissident, D.C Recordings, and I'm a Cliche. He is also one of the founders/brains behind the unique doom disco ensemble Chrome Hoof. Demian Castellanos is best known as the man behind The Oscillation as well as Autotelia and BOOZE (among many others) but it was in BOOZE that both Demian and Milo first wrote and played together. Across ten tracks Nitro Cosmetic concoct a heady mix of pulverizing Beefheart/Devo-esque jagged ferocity coupled with the driving heavy electronics that is alternately mammoth and meditative. The music rushes forth -- a punk noir dissonance that conjures up a collision of Siouxsie and the Banshees at their most uncompromising and then cross pollinated with the acid house scene of the late eighties. The rampaging opening track "Negative Inversion" has a Teutonic, mechanized, nihilistic charge that leads you into a sonic black hole, it is a brutal mix that is uncompromisingly harsh and metallic (think Chrome). Each track feels like a sonic rush layered with a wall of sound approach, combining kinetic and jagged grooves, flashing and chaotic as the psychedelic soundscapes of chaos that has been created lead you sinking into the furthest and darkest reaches of the human psyche. By the time "Pulsed Detonation" lands with its fusion of pulsating, repetitive oppressive beats landing like a jack hammer to the skull your third eye will be ready to pop out. Nitro Cosmetic is avant-garde and experimental -- not a single note, sample or headache-inducing drum hit is out of place, the amount of layers that unfold with each listen is incredible. So please tune in and turn onto Nitro Cosmetic.

 

PRICE: $21.50

CAT #: FM 12067EP

FILE UNDER: ELECTRONIC

AFIN returns to Frank Music with round three! Alexander Franz is back on the sampler, delivering another fierce pack of tracks for the dancefloor. First up is "Disko Inferno," a peak-time-power-disco-house (PTPDH) banger that lives up to its name, igniting the energy. Next, "The Beloved" brings a groovy vibe, perfect for those with dancing feet and open hearts. Rounding out the release is "Body Rock," a track that gets your body moving, featuring a special vocal announcement that adds extra flavor. Once again, Birbs and Planties delivers solid gold basslines, locking in the rhythm. Get ready for non-stop movement as AFIN delivers the goods.

 

PRICE: $28.50

CAT #: GODUNK 122LP

FILE UNDER: ROCK

Songs From The Harbour is the third studio album of original avant-rock and experimental ballads by the critically acclaimed World Sanguine Report (WSR). WSR's new iteration, created collaboratively by celebrated musicians Andrew Plummer, Matthew Bourne, Ruth Goller, and Will Glaser, marks a significant milestone for WSR, and is due for release via revered label, God Unknown Records. There's a quality about the album that echoes the likes of Tom Waits, Michael Gira, Nick Cave, and Captain Beefheart, hollerers and raspers, singing as if laid low by life, down and out. However, the sense of beat-up black and blues, of ramshackle rock, is deceptive. Songs From The Harbour was developed by vocalist/guitarist Andrew Plummer in close partnership with long-standing collaborators: versatile doyens of the jazz and Improv world, avant players par excellence, including Ruth Goller (bass, vocals), Matthew Bourne (harmonium), and Will Glaser (drums). On tracks like "She Is All," with its searing-hot guitars reminiscent of John Fahey's Red Cross, they cut across each other, deceptively roughshod, but with subtle interplay, crashing, burning, bending and colliding with exquisite, geometrical correctness.

 

PRICE: $28.50

CAT #: HG 2502LP

FILE UNDER: SOUNDTRACK

Reise der Schatten (Journey of Shadows) is the soundtrack to the eponymous debut feature-length animation film by Swiss artist Yves Netzhammer. Composed by Anthony Pateras and released as a standalone album through Hallow Ground, the 29 pieces are based on "weird folk melodies ornamented with electro-acoustic" to give the film a more fantastical, fairy-tale feeling, as the composer puts it. His extensive international recording sessions with a slew of guest musicians results in a record imbued with a sense of mystical surrealism, otherworldly and haunting. Pateras recorded with musicians such as guitarist Alexander Garsden, viola player Erkki Veltheim, clarinetist Aviva Endean, multi-instrumentalist Justin Marshall and Lizzy Welsh on the viola d'amore among other instruments. He recorded percussion and recorders with Rohan Rebeiro and Natasha Anderson in his hometown of Castlemaine, double bass with Benjamin Ward in Sydney, bass and flutes with Jon Heilbron and Rebecca Lane in Berlin, and electronics in Zu?ri ch with Netzhammer. Reise der Schatten was thus a literal journey, made with a big, international electro-acoustic ensemble. As a stand-alone album, Reise der Schatten opens up a space of its own. Its stylistic diversity makes it atmospherically and emotionally multi-faceted. As its composer notes, music for screen can be very virtuosic, sophisticated, and variegated! His own work is a testament to that claim.

 

PRICE: $33.00

CAT #: IDA 163CD

FILE UNDER: ROCK

"Matt Elliott, who had already made a name for himself in the indie electronic scene under The Third Eye Foundation moniker, ventured into folk territory in the early 2000s. Born in 2004, Drinking Songs is the Englishman's second album under his own name, following The Mess We Made, released in 2003 on Domino. What sets Matt Elliott apart is his ability to fuse different styles, blending chamber folk with Eastern European cabaret music, while simultaneously drawing on his electronic music background, particularly his mastery of sampling and effects, to serve the song. Several hundred concerts across Europe and seven albums later, Matt Elliott now presents Drinking Songs Live 20 Years On, revisiting this landmark album. Recorded at L'Autre Canal in Nancy, where the Englishman has been living for several years now, this album features previously unreleased trio versions. Anyone who has seen him perform solo or with this trio knows how much Matt Elliott has enjoyed drawing on the tracks of Drinking Songs, such as the emblematic and poignant 'The Kursk.' The presence of double bass, piano, and saxophone (which Matt Elliott seems to have fully embraced since his last album The End of Days) adds new dimensions and textures to the compositions. The trio's virtuosity and sensitivity enhance each note, each silence, bringing an even more intimate and compelling force to each track. This collaboration transcends the studio version, capturing the raw emotion of a Matt Elliott who, at 50, seems to be at the peak of his art. Drinking Songs Live 20 Years On is not just a celebration of two decades of internationally recognized work; it is above all an edifying work in exploration and reinterpretation. By breathing new life into his Drinking Songs twenty years later, Matt Elliott has given us a precious gift: the opportunity to listen to Drinking Songs again for the first time."

 

PRICE: $26.00

CAT #: INCIENSO 016LP

FILE UNDER: ELECTRONIC

Originally released in 2022. James K debuts on Incienso with sophomore album Random Girl. What's gathered at first is a heterogeneous mixture of intimacy and sore, collected between 2014-2018. As if in a cruel playground game, K breaks a tracklist full of complex soundscapes, voice manipulation, and dazzling shoegaze with a self-built noise box, stethoscope throat-voice and a cellphone recording from a fake tropical island on ecstasy. Consequently, Random Girl is a voice against infantilization of girlhood, a decisive refusal of integrity, fighting what can be understood as the death of expression. Take a sip of water before your memory error blinks. Dial to K. Listen to the disfragmented territory and the cast of it she's making. It might not be what you will have thought tomorrow. Featuring Stefan Maier and Drew McDowall.

 

PRICE: $13.00

CAT #: INT 34112CD

FILE UNDER: ROCK

"Terraplane -- the blues of the future, which gets by without the romance of the cotton field. Few musicians have presented as many different stylistic facets over the course of their careers as the New York guitarist, bassist, clarinetist, and composer Elliott Sharp. He was one of the protagonists of the legendary New York downtown avant-garde scene that produced such other original artists as John Lurie, Fred Frith, and John Zorn. When Terraplane's new album is placed in the context of the blues band Hazmat Modine, the bluegrass rebels O' Death, and the Gypsy punk guerrillas of Gogol Bordello, it is clear that Sharp is once again out in front of a new movement. New York felt into a kind of creative lethargy after 9/11, but now the first voices are emerging from hibernation. It is not the avant-garde that is re-forming but rather a scene that is formulating a new relationship to tradition from a wide variety of perspectives. It is not tradition in the sense of neoconservatism but rather a new rebelliousness that does not want to permit the cultural legacy of the diverse ethnic groups of the United States to be exploited by a one-sided abuse of power. It should come as no surprise that Forgery is unusually hard, direct, massive, and unfussy in comparison to its most recent albums. The grooves are more direct than ever; the singing blunt, the solos driving and aggressive. A punk album among blues disks but nevertheless, or precisely for that reason, an entirely authentic expression of urban blues. Once again Sharp has assembled a handful of masters in their respective fields, including the vocal secret weapon Eric Mingus, the poet Tracy Morris, trombonist Curtis Fowlkes; Dave Hofstra, one of the most experienced bassists from the Big Apple, who was a founding member of Terraplane and drummer Tony Lewis who frees the band of jazzy ballast."

 

PRICE: $15.00

CAT #: INT 36022CD

FILE UNDER: ELECTRONIC

"'Originally we wanted to call the project B.A.C.H.,' Peter Michael Hamel recalls, when, in 1970, they were looking for the most unusual name possible for an extremely unusual formation. 'Naturally we chose in it in part in allusion to the immortal baroque composer of that name, but above all the letters stood for 'Between All Chairs.' That's exactly how we thought of ourselves. But when we discovered that the idiom doesn't even exist in English, we dropped it.' What was left was the word 'between,' and the four original members of the group finally decided on that as the band's name. And even this slimmed version says a great deal about this project, which was both originary and original: 'We always felt our music was something 'in-between,' nothing comparable had existed previously,' Hamel is still convinced. 'Above all, our sound existed between the categories of serious and popular music. You could never pin us down to a particular category. That still pleases me today!' The 1970s live electronics began to conquer the world, but for that very reason Between essentially played 'unplugged,' playing chamber music on traditional instruments and in the resulting acoustic framework. By 1980 the group had spent ten years working intensely with the musical past of each individual; the pieces produced were extremely varied; Between had developed an iridescent combination of classical, avant-garde and pop music and medieval and Far Eastern music as well as popular ethnic music. They had gotten closer to the 'dream of the blue flower between the milestones along the path to a future world music.'"

 

PRICE: $29.50

CAT #: KEPLARREV 020LP

FILE UNDER: ELECTRONIC

The Fun Years, comprised of multi-instrumentalists Ben Recht and Isaac Sparks, have been making music together since the turn of the century, producing intriguing interrogations of ambient, drone, post-rock, and turntablism. Originally released in 2008 on the now-defunct Barge Recordings, baby it's cold inside is perhaps the high watermark of their discography. Equally concerned with microtonal nuance and harmonic intensity, it is both a product of its time and something well past it. The chief protagonist is surely the turntable, deployed to create woolly, evocative loops from unidentifiable source material that recall, at times, the work of Philip Jeck or Jan Jelinek -- churning, roiling, hissing, atrophied textures further articulated with nuanced processing and buoyed by baritone guitar drones and anti-riffing. The title of opener "my lowville" feels like a wink to the famed slowcore duo, with spare post-rock motifs hovering in a dusty ether, slowly consumed by distorted washes of rich, harmonic sound. One of the most satisfying aspects of the album is that despite the recumbent nature of most of their sound design choices and compositional proclivities, Recht and Sparks are loath to sit still. "auto show of the dead" is a serpentine piano/guitar exploration full of subtle detail, preceding the immaculately titled "fucking milwaukee's been hesher forever," in which the tactile delights of clicks and cuts are liberated from the laboratory and allowed to slum it in the world of tape gunk and '90s plate reverb. Later, "re: we're again buried under" presents an inky black ambience that feels truly expansive and almost overwhelming, and closer "The Surge is Working" tears apart an anthemic shoegaze dirge at the seams, leaving only billowing filtered noise and negative space in its wake. Presented here with a brilliant remaster by LUPO, baby it's cold inside should be considered alongside records like Belong's October Language and Polmo Polpo's Like Hearts Swelling -- an arresting early aughts ambient marvel that warrants ongoing investigation.

 

PRICE: $23.50

CAT #: KLN 026EP

FILE UNDER: ELECTRONIC

Labelboss Harald Bj?rk presents an energetic and trancy, yet deep and playful minimalistic techno 12" of swirling melodic soundscapes accompanied by raw beats and danceable grooves. A record consisting of four club tracks for different moods of the night. If you enjoyed Harald's track "Aluco" from the recent Dots & Pearls sampler out on Cocoon Recordings last spring, make some up front room in your bag for this special record.

 

PRICE: $16.00

CAT #: KRANK 217CD

FILE UNDER: ROCK

Repressed. "Not long after recording her tenth album Ruins, Liz Harris traveled to Wyoming to work on art and record music. She found herself drawn towards the pairing of skeletal piano phrasing with spare, rich bursts of vocal harmony. A series of stark songs emerged, minimal and vulnerable, woven with emotive silences. Inspired by 'the idea that something is missing or cold,' the pieces float and fade like vignettes, implying as much as they reveal. She describes them as 'small texts hanging in space,' impressions of mortality, melody, and the unseen -- fleeting beauty, interrupted. Grid Of Points stands as a concise and potently poetic addition to the Grouper catalog."

 

PRICE: $25.00

CAT #: LG 010LP

FILE UNDER: ROCK

"Not much has been written about the conceptual hardcore band inspired by and named after a 9th century antisocial loner monk-poet of China's Tang dynasty. Han-shan (the band) existed from 1991 to '93 in California. Their lyrics covered themes of solitude, mystery, poverty, and discord, directly inspired by the verses of the titular poet. Han-shan's music was psychopathic, with blood-curdling vocals, and messy but powerful, in the vein of Void, Siege or Septic Death. The band played to the absolute limits of their physical ability and then some, with a sound that complemented their West Coast contemporaries -- bands like Heroin, Mohinder, Second Story Window, Antioch Arrow and Angel Hair. Recorded in San Diego by Matt Anderson in late 1993 and originally released posthumously in early 1994 on the tiny Soledad record label, Hans-shan's eight song 7" EP came packaged in a manila envelope, each one hand-printed with a woodcut block and roller, with the art and insert referencing both the poet and Tang dynasty China. LG Records has carefully reproduced this cover art and returned to the original multitrack tape. Tim Green has remixed the recording at Louder Studios for a significantly more powerful, and yes, LOUDER, 12" 45rpm release. Members of Han-shan had previously been in Suckerpunch, Brain Tourniquet, End of the Line, and John Henry West; and went on to play in Behead The Prophet NLSL, Solid Gold, Drunk Horse, Astral, Tight Bro's from Way Back When, Sex/Vid, Very Paranoia, Low Plateau and Nudity. For fans of fast, out of control hardcore with a raw emotional edge. And saxophone."

 

PRICE: $32.00

CAT #: MUS 306LP

FILE UNDER: ROCK

NYC duo Straw Man Army return with their third LP, Earthworks, to complete a trilogy of records begun with 2020's Age of Exile, and 2022's SOS. Whereas Age of Exile dealt with the haunted landscapes of colonial history in the Americas, and SOS gave voice to a crisis of the present moment, like a prayer in bewildering times, 2024's Earthworks signals the band's attempt to close this trilogy by turning their gaze towards the future, where paradox, complexity and contradiction spiral in ascendance to an agonizing pitch. While continuing to develop their own style of anarcho-punk, Earthworks finds the band pulling once again from jazz and ambient influences, expanded Krautrock rhythms, and post-rock experiments, with a stronger emphasis on melodic vocals and varied song structures than on previous offerings. Taking cues from the wistful anti-war harmonies of The Byrds and the angry melodies of Zounds, tracks like "Turn the Wheel" and "Second Nature" mark new territory for a group whose messages and methods of experimentation have merged to form a singular sound equally at home on All the Madmen Records or in the spiritual legacy of ESP-Disk'. "Earthworks" is an album that holds and subverts many contradictions -- juggling the weight of melancholy, grief, guilt, impunity, and the yearning for clarity against the backdrop of boiling wrath; the wrath of nature, the occupied, the dispossessed, and of the mind against itself. To quote the track "Spiral" -- "Is this all that's left for us these days? / Apathy and rage?" -- Straw Man Army offers this record as a companion to our frustration, our sickness, our despair, and a lifeline for our fugitive attention in the struggle for peace. Gatefold sleeve with a double-sided A2 poster.

 

PRICE: $97.50

CAT #: LAPSUS 041LP

FILE UNDER: ELECTRONIC

Electronic music visionary Pye Corner Audio, a master of blending nostalgia with forward-thinking production, has carved out a unique niche in the electronic music landscape. Drawing inspiration from 1970s and '80s synthesizer music, Detroit techno, and cinematic soundtracks, his work often evokes a sense of eerie futurism. Lapsus Records presents Where Things Are Hollow: No Tomorrow, a comprehensive box set revisiting and expanding his acclaimed Where Things Are Hollow series. This release includes the first two volumes -- with Volume 2 featuring an unreleased track -- and two additional chapters that further enrich the series' narrative. Once again, Pye Corner Audio delivers innovative soundscapes, drawing inspiration from ambient techno, cinematic electronica, and experimental slow disco. The third installment unveils a constellation of entirely new tracks, weaving the ambient, synthwave, and retro-futuristic textures that define Jenkins' work. Meanwhile, Where Things Are Hollow 4 amplifies this narrative, incorporating reinterpretations by some of today's most visionary artists: Alessandro Cortini, Kaitlyn Aurelia Smith, Lord Of The Isles, and Surgeons Girl, alongside the popular 2020 John Talabot remix of "Resist." As with previous entries, the visual identity of Where Things Are Hollow: No Tomorrow is a striking collaboration between Basora Studio and renowned illustrator Alex Trochut, offering a visual counterpart to the series' otherworldly audio. With all tracks remastered for this release, Where Things Are Hollow: No Tomorrow is a testament to Jenkins' enduring influence and creative evolution, cementing Pye Corner Audio as a key figure in modern electronic music.

 

PRICE: $16.00

CAT #: LIB 2132CD

FILE UNDER: JAZZ

"British born jazz piano legend Marian McPartland was a trailblazer in the music business recording over 40 albums for various labels including Savoy, Capitol, Concord and her own independent imprint, Halcyon Records. She was the host of Piano Jazz on NPR from 1978-2001 showcasing countless luminaries including Elvis Costello, Linda Ronstadt, Stephen Sondheim, Tony Bennett, and countless others. She was awarded a lifetime achievement Grammy, designated a jazz master by the National Endowment for the Arts, appointed an officer to the Order of the British Empire (OBE) and an inductee into the National Radio Hall of Fame. This never-before-released performance was recorded at the Peninsula library in Lawrence on Long Island in New York on December 10, 1972, before a crowd of fans and students for a Sunday afternoon concert. The 18-track set features McPartland with Rusty Gilder on bass and Joe Corsello on drums playing various standards including 'Stella by Starlight,' 'A Night In Tunisia' and 'Satin Doll' along with songs of the moment like 'Fire & Rain,' 'Raindrops Keep Fallin on My Head' and 'The Summer of '42 Theme.' Features extensive liner notes from music historians Barry Singer and Paul de Barros with rare photos and memorabilia."

 

PRICE: $47.00

CAT #: LIB 2133LP

FILE UNDER: JAZZ

Double LP version. "British born jazz piano legend Marian McPartland was a trailblazer in the music business recording over 40 albums for various labels including Savoy, Capitol, Concord and her own independent imprint, Halcyon Records. She was the host of Piano Jazz on NPR from 1978-2001 showcasing countless luminaries including Elvis Costello, Linda Ronstadt, Stephen Sondheim, Tony Bennett, and countless others. She was awarded a lifetime achievement Grammy, designated a jazz master by the National Endowment for the Arts, appointed an officer to the Order of the British Empire (OBE) and an inductee into the National Radio Hall of Fame. This never-before-released performance was recorded at the Peninsula library in Lawrence on Long Island in New York on December 10, 1972, before a crowd of fans and students for a Sunday afternoon concert. The 18-track set features McPartland with Rusty Gilder on bass and Joe Corsello on drums playing various standards including 'Stella by Starlight,' 'A Night In Tunisia' and 'Satin Doll' along with songs of the moment like 'Fire & Rain,' 'Raindrops Keep Fallin on My Head' and 'The Summer of '42 Theme.' Features extensive liner notes from music historians Barry Singer and Paul de Barros with rare photos and memorabilia."

 

PRICE: $18.00

CAT #: LMS 5521973

FILE UNDER: ELECTRONIC

Pickled Eggs and Sherbet is the sole album by English electronic group All Seeing I -- the production trio of Dean Honer, Jason Buckle, and Richard Barrett (aka DJ Parrot). Part of the late nineties big beat/trip hop scene, it brought together many disparate threads of the Sheffield's music scene past (and then) present including contributions from the likes of cabaret crooner Tony Christie, Human League frontman Phil Oakey and Pulp's Jarvis Cocker. Lead single "The Beat Goes On" which had a huge viral moment on TikTok and social media in 2022, becoming one of the most widely used "Sounds" in recent years accruing 2.4 billion views and 162k creations. The follow up "Walk Like A Panther" peaked at #10 in the UK Singles Chart. Featuring vocals from Tony Christie, it became his first hit single in 25 years. Double CD is an expanded and remastered edition, including rare B-sides from lost CD singles, new mixes from DJ Parrot, and more. Also appearing for the very first time on vinyl as collector red and yellow double LP (LMS 5521974).

 

PRICE: $42.00

CAT #: LMS 5521974

FILE UNDER: ELECTRONIC

Double LP version. Pickled Eggs and Sherbet is the sole album by English electronic group All Seeing I -- the production trio of Dean Honer, Jason Buckle, and Richard Barrett (aka DJ Parrot). Part of the late nineties big beat/trip hop scene, it brought together many disparate threads of the Sheffield's music scene past (and then) present including contributions from the likes of cabaret crooner Tony Christie, Human League frontman Phil Oakey and Pulp's Jarvis Cocker. Lead single "The Beat Goes On" which had a huge viral moment on TikTok and social media in 2022, becoming one of the most widely used "Sounds" in recent years accruing 2.4 billion views and 162k creations. The follow up "Walk Like A Panther" peaked at #10 in the UK Singles Chart. Featuring vocals from Tony Christie, it became his first hit single in 25 years. Also appearing for the very first time on vinyl as collector red and yellow double LP (LMS 5521974).

 

PRICE: $21.00

CAT #: M 1225CD

FILE UNDER: JAZZ

"Friedrich Gulda (16 May 1930 -- 27 January 2000) was an Austrian pianist, composer and musical crossover artist. Coming from a classical background, he began playing the piano at the age of seven. At the age of 12, he began his musical education with Bruno Seidlhofer (piano) and Joseph Marx (music theory and composition) at the Vienna Academy of Music, now the University of Music and Performing Arts in Vienna. At the age of 16, he won the Geneva International Music Competition and quickly rose to international fame. Friedrich Gulda was known for his prodigious memory. It took him only a few minutes to memorize a piece of music and then play it from memory. He was one of the few musicians in the world who, in addition to his achievements as a classical pianist, was able to play and improvise on an equal level with the jazz greats of his time. He praised jazz as 'the truly progressive.' In 1956, he played for the first time at Birdland in New York, followed by performances with his friend Joe Zawinul. Gulda's improvisational encounters in the 1980s, including at the Munich Piano Summer with jazz colleague Chick Corea, are legendary. In the 1970s Friedrich Gulda found a congenial partner, not only for life, in the drummer and singer Ursula Anders. With her and an illustrious cast of fellow musicians (including Albert Mangelsdorff, John Surman, and Cecil Taylor), he recorded 'Nachricht Vom Lande' at Schloss Moosham in the Salzburg region (Austria) in the summer of 1976, which was released as a double LP on the Brain label in 1976. This was unusual for the label, which had made a name for itself with progressive rock and Krautrock releases. But Gulda always did what he wanted, an enfant terrible not only in music."

 

PRICE: $15.00

CAT #: MIG 1590CD

FILE UNDER: ELECTRONIC

"Re-issue of the classic Klaus Schulze album Body Love, original released in 1977. Klaus Schulze about the origins of Body Love: 'I received a call from a movie producer named Manfred Menz and I wound up becoming his principal composer for a period of time. Amongst others, I composed the Barracuda soundtrack for him. This led to a friendship which lasts till today. He called me and asked if I would compose the score to a porn movie. I said: 'Porn? Nah, I don't do that kind of thing.' As it turned out, the director of the movie, Lasse Braun, had already shot it and had used my albums Timewind [1975] and Moondawn [1976] as a kind of 'working soundtrack.' This was obvious because the couples in the film were moving in time to my grooves! They were almost done with the film, and they were now looking for the final music. First they tried it with normal pop music but that didn't work out. So Lasse said to Manfred 'Let's simply ask Schulze to compose a soundtrack that's similar to Moondawn! Besides, there wasn't too much dialogue in it so you could let the music run through it all the way. Therefore I didn't need to write two minutes here, three minutes there until the next piece of dialogue or sound effect occurred. I had the opportunity of delivering a genuine composition."

 

PRICE: $18.00

CAT #: MIG 173CD

FILE UNDER: ELECTRONIC

"Re-release of the successful and partly out-of-print series La Vie Electronique by Klaus Schulze. Between 1977 and 1983 Klaus Schulze recorded some of his more contemplative works. The albums Mirage, Dune, or Dig It show a significant change in his way of playing and composing. Finally, Schulze's renewal and expansion of his instrumentation also had an impact on the music and the possibilities of playing and recording it in an even more sophisticated way. The track 'Synthasy' from Dig It, for example, shows how far Schulze has come since Timewind or Moondawn. This eighth Volume of La Vie Electronique contains a selection of tracks that were created during these years outside of the official albums. A significant part of the 3CD set consists of concert recordings from the 1979 tour with guest vocalist Arthur Brown, recorded with a standard cassette recorder of the time -- in stereo. In addition to three tracks that had already been released in 1980, there are several other recordings from this tour in fall '79. For example, the concert on October 24th in the Audimax of the TU Brussels, which reveals the energy and passion of this unusual duo, for example 'Faster Than Lightning,' the second title of the concert evening. Before the break, Schulze is undoubtedly in a good mood during 'Dans un jardin,' creating a musical landscape, playing soulful solos on his Minimoog, then drumming on electronic 'bongos' to create a darker mood in the last part of the piece."

 

PRICE: $68.50

CAT #: MTY FEU

FILE UNDER: ELECTRONIC

Fifteen successful releases later, Anetha continues to fan the flames with MTY-FEU, an incandescent new compilation. Titled Ils S'Embras?rent, R?duits Ensemble, the release stands for fusion and oneness. Bursting from the depths of the earth, magma is devouring: melting hot techno, deep techno, fast techno, firestorms of trance, eruptions of hard groove, break, mental, smoldering experimental -- MTY-FEU is a lava flow of boiling, vital energy, unstoppable and full of blistering textures. The incredibly talented visual artist FEMUR crafted the artwork by creating an AI-generated meta-crackle of fire. Diplomatie Studio handled the design while mastering was entrusted to Sixbitdeep, except for Anetha's edit, where mix and mastering credits go to Le Dom. Featuring Anetha, Jardinage, Luke Hovey, OTON, Olympe 4000, EXOS, Pureblast, ValaV, Spiderwrap, 666uba & mamaflex, Dr Breinerr, VBK, Trillosta, SOLE DOSI, Vincent Cambier, Alpha Tracks, cunt remember, and Christian Coiffure.

 

PRICE: $32.00

CAT #: MG 140LP

FILE UNDER: ELECTRONIC

2025 repress; remastered self-titled Swiss Romande sought-after dark wave/post punk album from 1981. Includes 24"x24" poster and original insert with lyrics.

 

PRICE: $76.50

CAT #: METAPHON 017XLP

FILE UNDER: ELECTRONIC

4LP set in 1cm slipcase sleeve with 12-page booklet with photos and text by Robert Fesler and Baudouin Oosterlynck. Edition of 200 copies. An anthology of the intensely arresting work of Robert Fesler (1936-2023), revealing many of his compositions (1975-1987) created with his self-built synthesizers, with as pinnacle the "?P RPF78." All music composed and recorded by Robert Fesler at his home on rue Cour Boisacq in Bierges, Belgium. Except one, all tracks are previously unreleased. With profound simplicity and devotion, Fesler paints a hermetic inner world with strong emotions of confronting solitude, sensual alienation and traumatic angst. His music was as much a therapeutic treatment as an artistic expression. Fesler quotes, "Building my synthesizers and working with them enabled me to sublimate my anxieties." Most tracks were played and recorded real time, often with two synthesizers (the Synthese 756 and the ?P RPF78), capturing the heat of the moment in one take, without multitracking. The austere and reductionist approach reinforces the overall spirit of his work, resulting in an engaging, mysterious solitary journey. It's quite incredible how one person can put so much technical cerebral content in the development of a machine and use it in such an emotional way. The music of Robert Fesler might be considered as very Belgian. To situate it within a close entourage, one can say it has: The endurance of Baudouin Oosterlynck; the purity of Dominique Lawalree; the mysticism of Ars?ne Souffriau. Anthology produced by Timo van Luijk. Tape transfers by Timo van Luijk. Mastering by EARLabs.

 

PRICE: $31.50

CAT #: METAPHON 021LP

FILE UNDER: EXPERIMENTAL

First LP in the Signature Series, a small new series in the Metaphon catalog, documenting previously unreleased archive works of less known composers. Metaphon presents their "signature" in the most personal and elementary way. Raoul De Smet (1936), mainly known for his numerous instrumental and chamber music works, started composing in the early 1960s. Between 1974 and 1989 he also recorded several electro-acoustic compositions at the IPEM in Ghent, one of the more approachable crossroads for experimental music creation at the time. His work carries different moods and contrasts, a sort of expressive eclecticism where straight forward evolution often prevails over far-fetched intemperance. However, his work is far from obvious. The four distinctive tracks on this album portray a fresh and unpretentious enthusiasm of a composer discovering new electronic tools. Four previously unreleased electro-acoustic compositions recorded at the IPEM.

 

PRICE: $76.50

CAT #: METAPHON 022LP

FILE UNDER: ELECTRONIC

4LP set in 1cm slipcase sleeve with 16-page booklet with biography, interview, track info and photos. Metaphon presents this collection of 14 phenomenal electronic and electro-acoustic works by French composer Fernand Vandenbogaerde, realized between 1967 and 1984. After his science studies Fernand Vandenbogaerde (1946) studied at the Conservatoire de Roubaix and did various classes and courses with a.o. Jean-Etienne Marie, Olivier Messiaen, Pierre Schaeffer, Gy?rgy Ligeti, Karlheinz Stockhausen, and Bruno Maderna. He wrote analytical essays on mathematic music, in particular the work of Iannis Xenakis. Vandenbogaerde taught electro-acoustic music at various institutions and was director at the National School of Music and Dance in Blanc-Mesnil, near Paris. As a composer he wrote works for orchestra, instrumental and chamber ensembles, sometimes in hybrid form including tape and electro-acoustic configurations. He also recorded numerous tape compositions in Bourges, Paris, Ghent and at his home studio. His works have been presented worldwide on various leading festivals and events. The compositions included in this edition are primarily tape works, meticulously recorded and produced, radical and most of all timbre oriented which makes his compositions focus mainly on sound while other parameters hardly change. In Vandenbogaerde's own words: "What determines my pieces, at least all the ones in this collection, is that it's the material that dictates me, that will predetermine the form." This particular approach distinguishes him quite a bit from many of his contemporaries within the field of electro-acoustic music. Another interesting aspect in Vandenbogaerde's work is the integration of micro tonal scales (conceived by Mexican composer Julian Carrillo), on the compositions "Modifications III" and the intriguing trilogy "Drei Nachdenken ?ber Hymnen an die Nacht." All tracks are previously unreleased except the proto power electronics piece "Anschlag" which was self-released in 1971 on his own Point Radiant label, as a compilation LP which also included a track by Tristan Murail. Production by Timo van Luijk. Mastering by EARLabs. Graphic design by Meeuw.

 

PRICE: $33.00

CAT #: METAPHON 023LP

FILE UNDER: CLASSICAL

Composer Corneliu Cezar (1937-1997) was a distinctive personality within the Romanian post 1960 avantgarde: a visionary of music, a thinker and a prophet, a richly gifted artist also active with writing, poetry, painting and astrology. Cezar was an activist rediscovering the natural resonance of sound within a different historical context, and he embraced the recovery of authenticity as a reaction against the artificialized culture of serial doctrines. When, after 1975, the spectral music trend became official in Paris, with much fuss and remarkable support from musicologists, nobody knew that this trend had already been practiced by a small group of Romanian composers led by Corneliu Cezar for ten years. The four electro-acoustic pieces on this album (privately released on CD in Romania in 2000), recorded with little means between 1967 and 1975, display the incredibly strong ideas of a truly visionary artist. Everything Corneliu Cezar has done during his short earthly life bares the shade of authenticity.

 

PRICE: $30.50

CAT #: MSR 035LP

FILE UNDER: ROCK

Nocturnes 2 was created at the initiative of the label Midnight Special Records. The label invited artists to write music for a new planet, a new world, and then to come and record it in the studio. This album offers a journey across different celestial bodies, each designed by the selected artists who participated in this project. The album is also a tribute to Joe Meek's work I Hear a New Word, recognized for its innovative approach to production and its sound explorations. Featuring Charif Megarbane, Domenique Dumont, JB Dunckel, Cl?a Vincent, Via Mardot, Yvonne la nuit, Le Jardin, Aja, and Anee Molly.

 

PRICE: $23.00

CAT #: M14 LP

FILE UNDER: ELECTRONIC

2025 repress; LP version. "After a two-decade interlude, Jim O'Rourke's Moikai returns with Spectral Evolution, a major new work by Rafael Toral. Making his name in the mid-1990s with influential guitar drone platters like Sound Mind Sound Body and Wave Field, Toral has never been one to rest on his laurels repeating his past glories. Since 2017, Toral's work has been entering a new phase, often still centered around the arsenal of self-built instruments developed in the Space Program, but with a renewed interest in the long tones and almost static textures of his earlier work; he has also, after more than a decade, returned to the electric guitar. Spectral Evolution is undoubtedly Toral's most sophisticated work to date, bringing together seemingly incompatible threads from his entire career into a powerful new synthesis, both wildly experimental and emotionally affecting. Toral manages the almost miraculous feat of having his self-built electronic instruments (which in the past he had seen as 'inadequate to play any music based on the Western system') play in tune. In an unexpected sidestep away from any of his previous work, the chord changes that underpin many of the episodes on Spectral Evolution are derived from classic jazz harmony, including takes on the archetypal Gershwin 'Rhythm changes' and Ellington-Strayhorn's 'Take the ?A' Train,' albeit slowed to such an extent that each chord becomes a kind of environment in its own right. Threading together twelve distinct episodes into a flowing whole, Spectral Evolution alternates moments of airy instrumental interplay with dense sonic mass, breaking up the pieces based on chord changes with ambient 'Spaces.' At points reduced to almost a whisper, at other moments Toral's electronics wail, squelch, and squeak like David Tudor's live-electronic rainforest. Similarly, his use of the guitar encompasses an enormous dynamic and textural range, from chiming chords to expansive drones, from crystal clarity to fuzzy grit: on the beautiful 'Your Goodbye,' his filtered, distorted soloing recalls Loren Connors in its emotive depth and wandering melodic sensibility. The product of three years of experimentation and recording, and synthesizing the insights of more than thirty years of musical research, Spectral Evolution is the quintessential album of guitar music from Rafael Toral."

 

PRICE: $24.00

CAT #: MBTBX 040CD

FILE UNDER: ROCK

"Boasting four writers, singers and multi-instrumentalists who, between them, also handled production, engineering and arrangement duties, Fickle Pickle had the wit, cynicism, hooks, harmonies and technical dexterity to bridge the barren years between the demise of The Beatles and the eventual arrival in late 1972 of their kindred spirits 10cc. Fickle Pickle consisted of former members of the bands The Smoke (Cliff Wade, Geoff Gill), Orange Bicycle (Wil Malone) and Red Dirt (Steve Howden), who also worked as sound engineers and producers at North London's Morgan Studios. Danny Beckerman (Pussy/Fortes Mentum) helped out as a musician and songwriter in the band's early days. In August 1970, Fickle Pickle published a cover version of Paul McCartney's song 'Maybe I'm Amazed' as a single in the UK, the USA and the Netherlands, where it climbed to No. 36 in the Top 40 in the spring of 1971. In the autumn of 1971, 'California Calling,' written by Gill and Beckerman reached number 26. Due to this success in the Netherlands in 1972 released an album, Sinful Skinful. That album, plus singles, B-sides, previously unreleased tracks, outtakes, alternate versions and live material has been lovingly compiled into a 3CD set."

 

PRICE: $17.50

CAT #: MORR 201CD

FILE UNDER: ROCK

Carpet Of Fallen Leaves is an introduction to the folk-pop world of Eddie Marcon. It follows in the footsteps of other collections of Japanese artists on Morr Music, such as Yumbo, Andersens, and the Minna Miteru compilations. Carpet Of Fallen Leaves draws together songs from Eddie Marcon's twenty-two-year history, including fragile, yet rich in melody material, collected from a prodigious run of limited edition, self-released CD-Rs. Eddie Marcon is the project of Eddie Corman and Jules Marcon, who met through their involvement in Japan's underground music scene. Eddie was a member of noise-rock duo Coa, while both Eddie and Marcon were part of psych-rock collective LSD-March. Forming in 2001, Eddie Marcon's sound is markedly different from these groups, though they do, at times, share a sense of psychedelic dislocation, through the gentle, limpid pace of their songs. But with Eddie Marcon, melody and gentleness is at the music's core. They've long marked out their own, unique territory within a worldwide community of psych-folk and folk-pop artists; sharing their music through a subterranean network of colleagues and friends, they count groups like The Pastels and The Notwist as their fans, and Eddie has collaborated with the likes of Shintaro Sakamoto, and Aki Tsuyuko (in Tondekebana, and with Marcon and Ippei Matsui in the quartet Wasurerogusa). Eddie Marcon have also recently worked with drummer Ikuro Takahashi, who's played with groups such as Fushitsusha, Maher Shalal Hash Baz, and Nagisa Ni Te. Across the songs on Carpet Of Fallen Leaves, Eddie Marcon's songs are performed by Eddie on guitar, organ and vocals, and Marcon on bass; they're variously joined by Takahashi, Yojiro Tatekawa (drums), Tomoko Kageyama (vibraphone), Yasuhisa Mizutani (flute), Madoka Asakura (vocals), and Ztom Motoyama (pedal steel). The arrangements are pared back to best serve the core of each song, and the playing is gorgeous -- fluent but not showy; capable of great intricacy, but aware that simplicity is key to direct communication. Includes 28-page booklet and download code.

 

PRICE: $39.50

CAT #: MORR 201LP

FILE UNDER: ROCK

Double LP version. Gatefold sleeve; includes printed inner sleeve, 28-page booklet; edition of 700. Carpet Of Fallen Leaves is an introduction to the folk-pop world of Eddie Marcon. It follows in the footsteps of other collections of Japanese artists on Morr Music, such as Yumbo, Andersens, and the Minna Miteru compilations. Carpet Of Fallen Leaves draws together songs from Eddie Marcon's twenty-two-year history, including fragile, yet rich in melody material, collected from a prodigious run of limited edition, self-released CD-Rs. Eddie Marcon is the project of Eddie Corman and Jules Marcon, who met through their involvement in Japan's underground music scene. Eddie was a member of noise-rock duo Coa, while both Eddie and Marcon were part of psych-rock collective LSD-March. Forming in 2001, Eddie Marcon's sound is markedly different from these groups, though they do, at times, share a sense of psychedelic dislocation, through the gentle, limpid pace of their songs. But with Eddie Marcon, melody and gentleness is at the music's core. They've long marked out their own, unique territory within a worldwide community of psych-folk and folk-pop artists; sharing their music through a subterranean network of colleagues and friends, they count groups like The Pastels and The Notwist as their fans, and Eddie has collaborated with the likes of Shintaro Sakamoto, and Aki Tsuyuko (in Tondekebana, and with Marcon and Ippei Matsui in the quartet Wasurerogusa). Eddie Marcon have also recently worked with drummer Ikuro Takahashi, who's played with groups such as Fushitsusha, Maher Shalal Hash Baz, and Nagisa Ni Te. Across the songs on Carpet Of Fallen Leaves, Eddie Marcon's songs are performed by Eddie on guitar, organ and vocals, and Marcon on bass; they're variously joined by Takahashi, Yojiro Tatekawa (drums), Tomoko Kageyama (vibraphone), Yasuhisa Mizutani (flute), Madoka Asakura (vocals), and Ztom Motoyama (pedal steel). The arrangements are pared back to best serve the core of each song, and the playing is gorgeous -- fluent but not showy; capable of great intricacy, but aware that simplicity is key to direct communication. Includes download code.

 

PRICE: $36.00

CAT #: MOV 3893LP

FILE UNDER: JAZZ

"When considering the jazz vibraphone giants of the 20th century, seven stand out: Lionel Hampton, Red Norvo, Milt Jackson, Terry Gibbs, Cal Tjader, Gary Burton, and Bobby Hutcherson. Bobby Hutcherson (1941-2016), originally inspired by Milt Jackson, emerged from Los Angeles in the late 1950s. After a stint with the Billy Mitchell/Al Grey sextet in 1962, Hutcherson moved to New York, becoming the house vibraphonist for the Blue Note label. His foundation in hard bop did not limit him, as he also played in avant-garde sessions with artists like Eric Dolphy and Jackie McLean. On December 11, 1983, the 42-year-old Hutcherson performed seven standards with a stellar group. Pianist George Cables, consistently excellent throughout his career, had been working with Hutcherson since 1977. Bassist Herbie Lewis, a versatile musician, had collaborated with Hutcherson since 1966. Drummer Philly Joe Jones, known for his work with Miles Davis, also contributed to the session. The recording of the Four Seasons album features seven standards, starting with Thelonious Monk's 'I Mean You,' which showcases each musician. Hutcherson's solo on Cole Porter's 'All Of You' is particularly adventurous. 'Spring Is Here' receives a beautiful interpretation, and 'Star Eyes' is taken uptempo. Hutcherson's introduction on 'If I Were A Bell' is notable, as is Jones's solo. The session spotlights Cables on 'Summertime' and concludes with a vibrant version of 'Autumn Leaves.' Decades later, the music remains a timeless classic. Four Seasons is available on black vinyl, celebrates its 40th Anniversary, and includes an insert with newly written liner-notes by Scott Yanow."

 

PRICE: $28.50

CAT #: ODA 005LP

FILE UNDER: ELECTRONIC

Written, recorded and produced by Kirk Barley in Yorkshire in early 2024, Lux picks up where 2023 LP Marionette leaves off, conjuring a mystical, reflective space between formal minimalism and sonic imaginaries of northern landscapes. And yet, where Marionette relied at times on more recognizable field recordings, Lux leans into Barley's skill as an instrumentalist and sound designer, working from a palette of short samples and utilizing a variety of alternate tuning systems to build, layer and coax his compositions into being. Most evident on tracks "Vita," "Sprite" and "Descendent," these tunings create an otherworldly harmonic language that is easier to perceive than describe. Alongside more familiar instruments of guitar, bass, drums, organ and clarinet, here Barley draws on plastic saxophones and bells, and recordings of glass, wood and metal sound objects to provide the organic matter. Rather than directly representative of the natural world, Lux enters into a dialogue with it which, like the grasses and flowers of the album's cover, exists somewhere between reality and artifice. On album opener "Cache," Barley constructs his own sense of time from a recording of an umbrella crank, a sparse and spectral piece which hints at memories embedded in the track's title. Introspection blossoms into new life on "Vita," crumpling again into the percussive ambience of "Verre." A track that takes its harmonic lead from the clinks of glass, it features Barley's long-time collaborator Matt Davies on drums, whose nuanced, tonally sensitive playing gives "Verre" a fizzing, ice-like quality. There are several moments where Lux picks up on themes Barley explored under electronic moniker Church Andrews on recent works with Davies, stretching and distorting temporalities most explicitly on "Descendent," whose ritualistic air unfurls around a pattern in exponential decline. Embracing the surrealism Barley absorbed over years watching classic film noir and the works of David Lynch and Federico Fellini, Lux wends its way through the enchanted sound worlds of "Sprite" and "Balanced" before arriving at the album's title track. An expression of his recent experiments in live, prepared guitar, "Lux" brings the album back to earth, returning us to the room where the rain has stopped, the clouds have parted, and the soft warmth of the spring sun is pouring in through the open window.

 

PRICE: $29.50

CAT #: OF 004LP

FILE UNDER: ELECTRONIC

Chris Ryan Williams (trumpet and electronics) and Lester St. Louis (cello and electronics) work together as HxH (H by H). Their skills have seen them move smoothly across various situations, constantly carving out new terrain and working in new configurations of musicians at a rapid pace. While worth reading, their biographies capture only a part of their complex rhizome. The project is a direct response to all their activity with others and more importantly all their future leaning sonic desires. Their debut album Stark Phenomena is both their first studio recording and their first physical release. The album released by KMRU on his growing label OFNOT. It's an ideal introduction to their sound world and their approach. HxH describe their music as "electroacoustic," but until recently the presence of Black musicians in this field has been greatly overlooked and largely ignored, making this phrase only partially appropriate. What HxH do really is to always be unpredictable. Chris and Lester bring together techniques from across the sound spectrum of electronic music and also draw on their deep backgrounds in jazz, improvisation, classical and noise scenes to create a sound that is true to them. After all, these two have worked with the likes of Bennie Maupin and the music of Black Fluxus artist Ben Patterson. Their rhizome is deep. One of the ways that their unique approach manifests is in their merging of both acoustic instruments and electronic instruments in real time. This is something few have managed to do -- but their spontaneous leanings work in both complex and accessible ways because of their deep understanding of landscape crafting. Their approach makes it tempting to compare their music to Sun Ra jamming with Laurel Halo -- a comparison that would be only partly accurate. KMRU notes: "I think there is an in-between layer on this record. I was first caught by the 'Pyrex Vision' track which organically flows between monologue, subtle field recording, and instrumentation. It's such a beautiful track, evoking deep emotion through simplicity. Stark Phenomena effortlessly glides in between imaginative mosaics of sounds -- free yet complex -- unlocking memories within its layers."

 

PRICE: $29.50

CAT #: ROKU 036LP

FILE UNDER: WORLD

Solo Throat is the first solo LP from vocalist, composer and movement artist Elaine Mitchener. Drawing on the work of African-American and African-Caribbean poets Edward Kamau Brathwaite, Aim? C?saire, Una Marson, and N. H. Pritchard, these twelve new vocal compositions disrupt semantic sense, play with the margins of lyrical translation, and give rise to new voicings. Elaine Mitchener is a veteran of vocal expression in the global Black Avant Garde, traversing free improvisation, cross-disciplinary music theatre and contemporary composition with clarity and joy. Most recently, Mitchener has been improvising and composing with the written word as source material -- challenging classical ensembles with her piece, and commissioning composers Matana Roberts, Jason Yarde, and George Lewis to respond to the work of Sylvia Wynter. Her performance of Umbra poet N.H Pritchard's text "FR/OG" at OTO in 2021 was a revelation-- a solo vocal recasting of the powerful visual-material form that Pritchard uses to disrupt semantic "sense." Building on this performance, Solo Throat takes the work of Pritchard alongside poets Edward Kamau Brathwaite, Aim? C?saire, and Una Marson as its source material. Its compositions are a loose translation -- a carrying from text to voice which holds multiplicity and celebrates the transformative power of literary possibility. Surrendered to the spacing and repetition of consonants and vowels, Mitchener's exceptional phonetic freedom gives rise to a sensuous experience which intensifies the roles of rhythm, timbre and breath in expressing meaning. Solo Throat comes together as much through difference as similarity. Mitchener's own solo improvisations sit alongside the work of Brathwaite, C?saire, Marson, and Pritchard, forming a constellation of unlikely alignments which make no aesthetic conclusion. Instead, Solo Throat is a site of encounter, an irreducibly plural de-composition of words into a heterogeneous assemblage of sounds and impulses, emphasizing what Anthony Reed calls, "the play on and the surplus of margins of lyrical translation to resituate other pathways of expression." Just as the poets cited use white space to complicate our act of reading, so Mitchener utilizes silence and multiphonics to complicate the act of voicing.

 

PRICE: $27.00

CAT #: PE 042LP

FILE UNDER: ELECTRONIC

Edition of 200 transparent purple vinyl. Includes download code. On their debut album Seven Dances to Embrace the Hollow, Zurich-based artists Magda Drozd and Nicola Genovese, as Sopraterra, offer exactly what's announced: seven compositions which, as they unhurriedly flow into each other, mark potential entry points to discover what might be lying underneath. By choosing Sopraterra, which translates to "above the earth" in Italian, as their shared project's name, Drozd and Genovese indicate their own position in this archeological-looking endeavor, hinting at the potential for sonic explorations to produce deeply submerged discoveries. Sopraterra's object of inquiry isn't easily grasped, traversing histories and blending influences alike. In a time-line-bending manner, musical signifiers from the past, along with specific tonal scales lifted from baroque and medieval music, get digitally synthesized. As sonic matter, the result is distinctly of today: a collection of electro-acoustic compositions that remain experimental at their core, referencing genres like post-rock, shoegaze, or psychedelic, while evoking aural memories of ancient times. Seven Dances to Embrace the Hollow pulls backward and pushes forward alike. Without ever forcing a didactic listening experience, musical motifs and archetypes are thoroughly investigated. But there is no scientific ambition at play here. Rather, the harmonies of late medieval Ars Nova or the transcendent elegance of Baroque chamber music lend their emotional qualities to perceived ideas of old times. Oscillating between ambient and drone, the album's seven brooding compositions bring primal connections to a universally shared past to the surface. In its multi-directional positioning, Seven Dances to Embrace the Hollow makes the case for embracing the confusion of warped time and paying attention to all that's rather felt than seen. Jointly published by La Becque Editions, the label arm of high-profile artist residency program La Becque, and Pr?sens Editionen. Artwork by Nicola Genovese.

 

PRICE: $19.00

CAT #: PPCD 006CD

FILE UNDER: ELECTRONIC

My Life Preisner's Music is a live recording from a concert held in November 2024 in Bielsko-Bia?a, marking the occasion of Zbigniew Preisner receiving Honorary Citizenship of his hometown, Bielsko-Bia?a. The album includes iconic themes composed by Zbigniew Preisner among others from Three Colours, Decalogue, The Secret Garden, The DOUBLE LIFE OF Veronique, Damage, When A Man Loves A Woman, Eminent Domain, Aberdeen, Mouvements du desir, Lost and Love, and also "Lacrimosa" from Requiem for my Friend in an interpretation by Dominik Wania. A few words from Zbigniew Preisner: "For years, I've been thinking about reducing my orchestral themes to a single instrument. As a composer, I pay special attention to melody -- each of my compositions always has melodic themes. Ten years ago, I met Dominik Wania, now a jazz star and a brilliant pianist who records albums for ECM. I knew he was the perfect person to bring my idea to life. The concert you are about to listen to is the result of our collaboration, which has given me great satisfaction. Dominik Wania's interpretation went beyond my wildest expectations. I hope you will enjoy the album."

 

PRICE: $17.50

CAT #: PP 046EP

FILE UNDER: ELECTRONIC

Join the tribe. Help spreading the message of the Big Beat! Beat moves feet. Feet do dance. Dance brings joy. Joy is life. Life is special. Transmission activated!

 

PRICE: $14.50

CAT #: RCD 2237CD

FILE UNDER: JAZZ

Coming four years after the previous trio album Ding Dong. You're Dead, it?s the longest period ever between Hedvig albums. That, however, is no indication she?s been idle, quite the contrary, actually. There?s been five commissioned works, two of which have resulted in albums in her own name. 2023 saw the debut release from power-impro-trio Hedvig Mollestad Weejuns with St?le Storl?kken (keyboards) and Ole Mofjell (drums). The same year she was Artist In Residence at the Moldejazz festival, with vital guest appearances from the likes of Nels Cline, Trevor Dunn, and Colin Stetson. Hedvig also found time to write new music for a screening of the silent movie Limit? (Brazil 1931). After these busy years, she felt a strong urge to get back to the core, which has always been the trio that started it all back in 2011 with the powerful debut album Shoot!. Starting work on new music before last summer, she later in the year hooked up with Ellen on several occasions to collect loose ends and put it all together before drummer Ivar was brought into the fold to complete the process. There was plenty of excitement going into the studio, and with a lot of the music being quite complicated with lots of small variations and long structures, the studio sessions were extremely focused and concentrated. Hedvig stresses that the main objective of the trio is to always have fun whether in the studio or on stage, and to share that joy with the listener. Listening to Bees In The Bonnet, it shines through how much the trio had been missing making new music together, with glowing evidence of their skills both as writers and players. The daughter of a jazz musician, Hedvig soon lost herself in his record collection, studying classic works by Miles Davis, Charlie Parker, Joe Pass, and Jim Hall before discovering riff-raging titans like Led Zeppelin and Black Sabbath as well as Mahavishnu Orchestra in her early 20s. This would eventually lead to the formation of Hedvig Mollestad Trio after she received the "Jazz Talent Of The Year" award at Moldejazz in 2009. Their relentless recording and touring schedule (hundreds of concerts all over the world) have earned the guitarist a stream of accolades, including two Norwegian Grammies and DownBeat magazine naming her one of the 25 artists who "could shape jazz for decades" in 2020.

 

PRICE: $33.00

CAT #: RLP 3237CLEARLP

FILE UNDER: JAZZ

LP version. Clear vinyl version. Coming four years after the previous trio album Ding Dong. You're Dead, it?s the longest period ever between Hedvig albums. That, however, is no indication she?s been idle, quite the contrary, actually. There?s been five commissioned works, two of which have resulted in albums in her own name. 2023 saw the debut release from power-impro-trio Hedvig Mollestad Weejuns with St?le Storl?kken (keyboards) and Ole Mofjell (drums). The same year she was Artist In Residence at the Moldejazz festival, with vital guest appearances from the likes of Nels Cline, Trevor Dunn, and Colin Stetson. Hedvig also found time to write new music for a screening of the silent movie Limit? (Brazil 1931). After these busy years, she felt a strong urge to get back to the core, which has always been the trio that started it all back in 2011 with the powerful debut album Shoot!. Starting work on new music before last summer, she later in the year hooked up with Ellen on several occasions to collect loose ends and put it all together before drummer Ivar was brought into the fold to complete the process. There was plenty of excitement going into the studio, and with a lot of the music being quite complicated with lots of small variations and long structures, the studio sessions were extremely focused and concentrated. Hedvig stresses that the main objective of the trio is to always have fun whether in the studio or on stage, and to share that joy with the listener. Listening to Bees In The Bonnet, it shines through how much the trio had been missing making new music together, with glowing evidence of their skills both as writers and players. The daughter of a jazz musician, Hedvig soon lost herself in his record collection, studying classic works by Miles Davis, Charlie Parker, Joe Pass, and Jim Hall before discovering riff-raging titans like Led Zeppelin and Black Sabbath as well as Mahavishnu Orchestra in her early 20s. This would eventually lead to the formation of Hedvig Mollestad Trio after she received the "Jazz Talent Of The Year" award at Moldejazz in 2009. Their relentless recording and touring schedule (hundreds of concerts all over the world) have earned the guitarist a stream of accolades, including two Norwegian Grammies and DownBeat magazine naming her one of the 25 artists who "could shape jazz for decades" in 2020.

 

PRICE: $30.50

CAT #: RLP 3237LP

FILE UNDER: JAZZ

LP version. Coming four years after the previous trio album Ding Dong. You're Dead, it?s the longest period ever between Hedvig albums. That, however, is no indication she?s been idle, quite the contrary, actually. There?s been five commissioned works, two of which have resulted in albums in her own name. 2023 saw the debut release from power-impro-trio Hedvig Mollestad Weejuns with St?le Storl?kken (keyboards) and Ole Mofjell (drums). The same year she was Artist In Residence at the Moldejazz festival, with vital guest appearances from the likes of Nels Cline, Trevor Dunn, and Colin Stetson. Hedvig also found time to write new music for a screening of the silent movie Limit? (Brazil 1931). After these busy years, she felt a strong urge to get back to the core, which has always been the trio that started it all back in 2011 with the powerful debut album Shoot!. Starting work on new music before last summer, she later in the year hooked up with Ellen on several occasions to collect loose ends and put it all together before drummer Ivar was brought into the fold to complete the process. There was plenty of excitement going into the studio, and with a lot of the music being quite complicated with lots of small variations and long structures, the studio sessions were extremely focused and concentrated. Hedvig stresses that the main objective of the trio is to always have fun whether in the studio or on stage, and to share that joy with the listener. Listening to Bees In The Bonnet, it shines through how much the trio had been missing making new music together, with glowing evidence of their skills both as writers and players. The daughter of a jazz musician, Hedvig soon lost herself in his record collection, studying classic works by Miles Davis, Charlie Parker, Joe Pass, and Jim Hall before discovering riff-raging titans like Led Zeppelin and Black Sabbath as well as Mahavishnu Orchestra in her early 20s. This would eventually lead to the formation of Hedvig Mollestad Trio after she received the "Jazz Talent Of The Year" award at Moldejazz in 2009. Their relentless recording and touring schedule (hundreds of concerts all over the world) have earned the guitarist a stream of accolades, including two Norwegian Grammies and DownBeat magazine naming her one of the 25 artists who "could shape jazz for decades" in 2020.

 

PRICE: $17.50

CAT #: RBSTUDIO 001EP

FILE UNDER: ELECTRONIC

Running Back introduces RB Studio Sessions, a new sub-imprint of music envisioned, recorded and fully realized at Running Back's in-house studio. Built on the promise of unfettered creative freedom and aided by agreeable local autobahn connections in the Hesse region, the RB Studio Sessions project is christened with the work of Running Back's founder, chief dreamer, and Gesch?ftsf?hrer, Gerd Janson. For this debut edition, he is joined for a momentous jam by the new-school hero of the house, good friend and kindred spirit, Narciss. Just as Running Back's earliest releases dropped a stylus to preserve timeless ideals of club culture, the four tracks on No Maze Like Heaven further this continuum by turning back the sonic clock just a decade or so. Picture, if you will, a nascent Narciss, youthfully club hopping and deeply inspired by the selections of Gerd himself, alongside a selection of DJs coaxing the Panorama Bar blinds open with exquisite, mid-tempo precision. As such, new light immediately floods in for "Chicco's Chips," which captures many of those irresistible elements -- Italo-tinted synths, hooky vocals, and perfect percussion -- regenerated with the wide-eyed, high energy of Narciss's own solo productions. "Elka," meanwhile, is a richer, deeper dish, masterfully interlocking multiple heavenly melodies under layers of optimistic analogue fuzz. Narciss and Gerd then look to the Netherlands for further collaboration with one of electronic music's best-loved vocalists and another fine producer, Coloray, who fills "Look For You" with a yearning performance in the vulnerable, synth-pop tradition. Finally, "No Maze Like Heaven" builds on this mood and melody for a finale that hits the sweet spot between machine power and oh-so-human emotion. Featuring labyrinthian artwork from the mighty Gasius, via a sleeve that appears to blend M.C. Escher with MC Hammer, No Maze Like Heaven proves to be a divine foundation of RB Studio Sessions. For Narciss, "a memory they will cherish forever." For Gerd, a taxdeductible working lunch. For DJs and dancers? Four ebullient hits-in-waiting, sounding great and meaning more.

 

PRICE: $19.00

CAT #: KASM 004EP

FILE UNDER: ELECTRONIC

Kohei Matsunaga, a musician and illustrator born in Osaka in 1978, started drawing at an early age and went on to study architecture at university. He has been actively making music since 1992, with notable releases on labels such as Raster Noton, Wordsound, Mille Plateaux, PAN and Skam Records. Kohei has collaborated with many artists, including Mika Vainio, Sensational from the Jungle Brothers, Sean Booth from Autechre, Conrad Schnitzler, Merzbow, Asmus Tietchens and many more.

 

PRICE: $28.50

CAT #: SCR 389LP

FILE UNDER: ROCK

Legendary shoegaze band Chapterhouse share their first ever recordings on a new EP, White House Demos. The four tracks were laid down at The White House studio in Weston-super-Mare on January 15, 1989, when the band were only four gigs old. The tracks weren't included on 2023's career-spanning Chronology boxset because they had been forgotten about -- until the intervention of Slowdive guitarist Christian Savill. He and Patman worked together in an office in Reading as their respective bands were starting out and he says the demo remains "their best record." Of the four tracks that make up the EP, "Ecstasy" has appeared in various versions and permutations on Chapterhouse compilations over the years, but never in its full eight-minute glory; a much later version of "Guilt" was included on the band's 1991 debut album and shoegaze classic Whirlpool; a version of "Die Die Die" was also included with that album on a bonus 12", and remained part of the band's live set for a while. The stunning "See That Girl," however, has never been released before. With 36 years of distance, it sounds like something of a lost classic, and the White House Demos as a whole feel like a brief moment in time captured forever.

 

PRICE: $27.00

CAT #: SOUK 013LP

FILE UNDER: ELECTRONIC

Polonius AKA Egyptian-French artist Seif Gaber, whose works spans a decade of "science fiction archeomiragical time travel" explorations and is an important piece of the healthy electronic/far out mosaic in Milan. With a considerable number of releases under his name, both self-released and through such likeminded labels as Ikuisuus, Goaty Tapes or Sun Araw's Sun Ark, Polonius' grand vision encompasses a myriad of languages culled from kosmische travelings, exotica's dreamlands, soundtrack psychedelia, spiritual jazz escape routes and transmuted beat science to convey them into a sonic fiction where all these trails intertwine in a cosmological soundscape filled with wonder and speculation. Building on 2024's more beat-centric excursions of his self-titled vinyl debut on Stoned to Death, Polonius' first entry into the Discrepant extended family via Souk finds him dwelling deeper into rhythmic mystic extrapolations through a series of hallucinatory tracks. Conveying jungle's kinetic energy, dubwise meditations on bass weight, collapsing beats, globetrotting percussion accents and synth-driven night drives, You Didn't Hear It From Me finds Polonius with a strong sense of purpose and direction, reconvening bits and pieces from the netherworld into a more urban scenario, not quite any we can stand or dance on. Just dream of. All tracks written and produced by Polonius. Artwork by Giuseppe Salis. Layouts by Polonius. Master by Daniel Baes.

 

PRICE: $28.00

CAT #: SSR 120LP

FILE UNDER: ROCK

Since Parisian four piece Alvilda released the Negatif 7" on Alien Snatch, they have been playing gigs but there has been no sign of recorded material. Now they finally return with their debut album for Static Shock Records and without doubt it's a stonewall classic. Every minute, every inch and every song is lean, locked in and upbeat with a tight and bright production. If you love '60s girl pop but with a late '70s power pop edge or Indie pop that has been raised on a diet of tuneful punk rock, then Alvilda will be your new favorite band, just like Dolly Mixture were, just like Chin Chin were and just like Les Calamit?s were. The album is just under 30 minutes and it never lets up with quality and tunes that get stuck in your head. Not being able to speak a word of French is not a hindrance, as all the songs are instant and catchy. Alvilda are here to stay, and it's time already.

 

PRICE: $17.50

CAT #: STUDIOMST 002EP

FILE UNDER: ELECTRONIC

The second chapter on Studiomaster unveils five tracks that showcase the multifaceted dancefloor approach of Marco Passarani. Always aimed at movement yet rich in contrast, the journey begins with the raw, untamed energy of "Night Walker," flowing into the intimate, nocturnal vision of "The Empty Temple." The twisted, decadent pulse of "Rotten Disco" echoes with a nostalgic haze, leading seamlessly into the gritty, unsteady groove of "Dirty Hands" and "Cheater's Smile."

 

PRICE: $29.00

CAT #: SV 143LP

FILE UNDER: JAZZ

2025 repress. "'To understand the significance of the word 'featuring' on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used. The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution's continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold. It wasn't until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they'd recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors. We're lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.' --John Corbett (excerpt from the liner notes)"

 

PRICE: $12.50

CAT #: DHV 006CD

FILE UNDER: WORLD

A Uhuru-Tamoki-Wambesi-Dove production from Winston Francis.

 

PRICE: $12.00

CAT #: TGR 049CD

FILE UNDER: ROCK

Psychedelic music can be many things, but not many are quite like Fomies brand of the genre. This Swiss five piece throws some punk rock a la The Dead Milkmen into the mix and describes themselves as: "Great followers of the D.I.Y., FOMIES is a garage-fuzz band mainly inspired by obscure records badly recorded in weird places." For fans of: Oh Sees, Ty Segall, Harvey Rushmoore & The Octopus.

 

PRICE: $35.00

CAT #: TGR 049LP

FILE UNDER: ROCK

Double LP version. Psychedelic music can be many things, but not many are quite like Fomies brand of the genre. This Swiss five piece throws some punk rock a la The Dead Milkmen into the mix and describes themselves as: "Great followers of the D.I.Y., FOMIES is a garage-fuzz band mainly inspired by obscure records badly recorded in weird places." For fans of: Oh Sees, Ty Segall, Harvey Rushmoore & The Octopus.

 

PRICE: $37.50

CAT #: HC 005CD

FILE UNDER: EXPERIMENTAL

2025 restock, last copies, reduced pricing. Music for a tragedy/play, Penthesilea (tragedy in 24 scenes), by director Carlo Quartucci, playwright: Heinrich von Kleist. First performance at Teatro Olimpico, Rome, Italy, on November 8, 1986. This four-and-a-half-hour audio work heavily expands on the foundation laid out for Rosenfest in 1984 as featured on the double-LP release (HC 004LP). This lavish five-CD set presents the full backing tape prepared for the performances at Teatro Ol?mpico, Rome in 1986 as directed by Carlo Quartucci (the live recordings of the performances remain elusive to this day). The most ambitious project Henning undertook, the Penthesilea project is also one of the most successful as it explores the numerous experiments and techniques he had developed throughout his creative life culminating in this ambitious and significant work. Unheard until now and required listening now. The full narrative of Kleist's text unfolds as an audio excursion for the mind to wander. An audiobook presented as sound. The field recordings featured in Rosenfest recordings are featured alongside a wealth of new sonic environments. Horses trot, a boxing match is treated with electronics creating an otherworldly atmosphere. In the piece "XIII XIV" you encounter moments of Henning's early classical works only to subside in a valley of gentle machines clacking amongst a whispering ghost melody. Elsewhere a thumping proto-techno beat tramples on the once trampled snow we heard in the Rosenfest recordings, a rustic squeak acts as a horn solo, onwards, the wind gets fiercer, the narrative intensifies... Op. 176 Penthesilea is presented as a deluxe five-CD box set with 32-page, full color booklet featuring writings by Villy S?rensen, Mark Harwood, Werner Durand, and Henning Christiansen. The set is all housed in a sturdy slip case with original artwork (by Henning Christiansen, scores and performance photos. All material copyright The Henning Christiansen Archive with the exception of the watercolour paintings in HC5 copyright Edition Block.

 

PRICE: $20.00

CAT #: HC 007CD

FILE UNDER: EXPERIMENTAL

2025 restock, last copies, reduced pricing. The Henning Christiansen Archive present a collection of previously unreleased "classical works" by Henning Christiansen, a large part of his oeuvre which has remained out of sight, until now. This 2CD compilation encompasses a variety of stylistic approaches written in the years from 1963 to 1988."This collection gathers music by Christiansen targeted on (in one sense or another) the concert hall. All the recordings presented here are previously unreleased. The majority of publicly available Christiansen recordings have focused on music related to dramatic works, soundtrack works, music made for and within artist performance and tape music. This time, Christiansen as composer is truly at the forefront. His voice is always recognizable even as his expressive range is surprisingly broad; his approach ranges from the conventional to the radical. Any niggling concert-hall questions about craft are settled, yet at the same time he continues to question the role of form and genre in music." --from the liner notes written by Ben Harper.

 

PRICE: $17.50

CAT #: EDGE 029EP

FILE UNDER: ELECTRONIC

Imagine having a song go viral for 17 years -- without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song -- it's "The Most Mysterious Song on the Internet," a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released. The Story in Brief: Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was "Subways Of Your Mind" -- only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled "Like The Wind." Over time, the mystery deepened, and the song was given a nickname: "The Most Mysterious Song" -- or simply "TMMS." Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael H?drich after discovering a reference to his band FEX in an old newspaper article. H?drich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, "Subways Of Your Mind" was the title. A higher-quality version of the NDR radio recording was rediscovered in late December, 2024, remastered, and now sent for a second vinyl pressing: the "TMMS Version." This new vinyl 7" is backed with "Talking Hands," another great and unissued song that was found on the demo cassette.

 

PRICE: $11.00

CAT #: WIRE 496

FILE UNDER: Misc

"On The Cover: Cosey Fanni Tutti. There are few artists on the frontier between music and performance/body art as influential as Cosey Fanni Tutti. An early member of the COUM Transmissions collective, she would co-found the group's trailblazing offshoot Throbbing Gristle before she and Chris Carter launched their long-running duo Chris & Cosey (later Carter Tutti) after TG's first disbandment in 1981. Recent years have seen her withdraw from music to focus on writing, leading to the publication of books like Re-sisters and her autobiography Art, Sex, Music. By Claire Biddles."

 

PRICE: $25.00

CAT #: THRILL 623LP

FILE UNDER: ROCK

"BIG|BRAVE's preternatural instincts and depth of skill as musicians are on full display on their most naked and austere record to date, OST. The trio entered the studio with broader concepts and themes in mind, but no preconceived music. The overarching concept was to make a film score for a film that had yet to be created, to use minimal instrumentation, or more specifically not their standard band instruments, and to improvise within these parameters. 'Although this record could stand on its own, we envisioned it being paired with moving images, which introduced a fresh and exciting way of working,' notes guitarist Mathieu Ball. In addition to forgoing their usual instrumentation, they notably built their own. Ball created a stringed instrument using piano strings simply called 'The Instrument.' This instrument ended up becoming a central figure to the OST's sound. Guitarist/vocalist Robin Wattie adds: 'The strings Mathieu used for his instrument came from a discarded piano thatch that had been laying around in the hallway of my tattoo studio for ages.' The instrument's presence is felt throughout the record as a conductive element amplifying the album's earthly, grounded nature. OST was fully written and recorded in the studio. The band was free to enter the live room and record a take with whatever instrument was at hand. Once they had a good foundation for a song, Ball, Wattie, drummer Tasy Hudson and even engineer/producer Seth Manchester would each build on it, layering takes, from instrumental improvisations to abstract vocals, until they felt it was a completed piece. Wattie's voice seamlessly blends with the instrumental flourishes made from 'The Instrument,' a Wurlitzer, prepared piano, synths and a very limited amount of electric guitar. Additionally, there is a sprinkling of flute by Melissa Guion (MJ Guider). The performances of each player are tactile and ardent, even at their most subtle and effected. Following OST's completion, BIG|BRAVE contacted director/ visual artist Stacy Lee to visually score the record. Director Lee and BIG|BRAVE, having previously collaborated, had established an artistic understanding which allowed BIG|BRAVE to give Lee no instruction, no limitations: the creative process synthesized across film and music. Select screenings with live performances are in the works.""one of the most punishing and prolific bands in the contemporary avant-metal landscape" --Pitchfork

 

PRICE: $27.00

CAT #: THRILL 623X-LP

FILE UNDER: ROCK

Clear color vinyl version. "BIG|BRAVE's preternatural instincts and depth of skill as musicians are on full display on their most naked and austere record to date, OST. The trio entered the studio with broader concepts and themes in mind, but no preconceived music. The overarching concept was to make a film score for a film that had yet to be created, to use minimal instrumentation, or more specifically not their standard band instruments, and to improvise within these parameters. 'Although this record could stand on its own, we envisioned it being paired with moving images, which introduced a fresh and exciting way of working,' notes guitarist Mathieu Ball. In addition to forgoing their usual instrumentation, they notably built their own. Ball created a stringed instrument using piano strings simply called 'The Instrument.' This instrument ended up becoming a central figure to the OST's sound. Guitarist/vocalist Robin Wattie adds: 'The strings Mathieu used for his instrument came from a discarded piano thatch that had been laying around in the hallway of my tattoo studio for ages.' The instrument's presence is felt throughout the record as a conductive element amplifying the album's earthly, grounded nature. OST was fully written and recorded in the studio. The band was free to enter the live room and record a take with whatever instrument was at hand. Once they had a good foundation for a song, Ball, Wattie, drummer Tasy Hudson and even engineer/producer Seth Manchester would each build on it, layering takes, from instrumental improvisations to abstract vocals, until they felt it was a completed piece. Wattie's voice seamlessly blends with the instrumental flourishes made from 'The Instrument,' a Wurlitzer, prepared piano, synths and a very limited amount of electric guitar. Additionally, there is a sprinkling of flute by Melissa Guion (MJ Guider). The performances of each player are tactile and ardent, even at their most subtle and effected. Following OST's completion, BIG|BRAVE contacted director/ visual artist Stacy Lee to visually score the record. Director Lee and BIG|BRAVE, having previously collaborated, had established an artistic understanding which allowed BIG|BRAVE to give Lee no instruction, no limitations: the creative process synthesized across film and music. Select screenings with live performances are in the works.""one of the most punishing and prolific bands in the contemporary avant-metal landscape" --Pitchfork

 

PRICE: $14.50

CAT #: THRILL 628CD

FILE UNDER: ROCK

"Manchester's Gnod and New York's White Hills stand as titans of psychedelic and space rock. Together they bend the very notions of what rock can do, seemingly suspending our sense of time. Their alchemical chemistry and a fateful session at the Dropout Studio in Camberwell gave rise to the legendary, ongoing series of records under the moniker Drop Out. The records became an influential and sprawling series of extended pieces that remain touchstones of contemporary psychedelia. Having been called 'absolutely essential,' 'best I have heard -- ever,' 'A masterpiece,' the Drop Out series finally gets its definitive edition. Drop Out III is a wholly new iteration of Gnod and White Hills' collaboration, the 'director's cut,' if you will. Drop Out III is replete with sounds recorded in the 'Drop Out era' that have never been heard before. The album features a cornucopia of expanded versions of essential songs complete with new arrangements, mixes, and instrumentation. Classics like 'Run-A-Round' and the eponymous 'Drop Out' maintain their motorik drive and fizzing melodies with a new shine. The set also features a full LP of pieces never before included on vinyl, including the beautifully serene 'Air Streams' in its original droning arc. The album comes with a download of a full album's worth of bonus material, all crafted around the Drop Out era. White Hills' 'Decorating Time' showcases the depth of the band's subtlety, rich with minute turns and a twist of psychedelic ambience. 'Nothing NEU! Under the Sky' captures the invigorating pulse and dynamics of Gnod's live performances. Together, this expansive body of work epitomizes the sense of possibility each band exudes, and the potency of their expertly crafted brand of Transatlantic psychedelia. 15 years after the series began, Drop Out III is an essential album for lovers of contemporary psychedelic rock, a testament to the power of this collaboration.""Gnod have been one of the constants, part of our sonic firmament...one of our most cherished groups." --The Quietus"White Hills' nods to giants like Hawkwind, but their scope is wide and their execution is steely and precise" --Pitchfork

 

PRICE: $29.00

CAT #: THRILL 628LP

FILE UNDER: ROCK

LP version. "Manchester's Gnod and New York's White Hills stand as titans of psychedelic and space rock. Together they bend the very notions of what rock can do, seemingly suspending our sense of time. Their alchemical chemistry and a fateful session at the Dropout Studio in Camberwell gave rise to the legendary, ongoing series of records under the moniker Drop Out. The records became an influential and sprawling series of extended pieces that remain touchstones of contemporary psychedelia. Having been called 'absolutely essential,' 'best I have heard -- ever,' 'A masterpiece,' the Drop Out series finally gets its definitive edition. Drop Out III is a wholly new iteration of Gnod and White Hills' collaboration, the 'director's cut,' if you will. Drop Out III is replete with sounds recorded in the 'Drop Out era' that have never been heard before. The album features a cornucopia of expanded versions of essential songs complete with new arrangements, mixes, and instrumentation. Classics like 'Run-A-Round' and the eponymous 'Drop Out' maintain their motorik drive and fizzing melodies with a new shine. The set also features a full LP of pieces never before included on vinyl, including the beautifully serene 'Air Streams' in its original droning arc. The album comes with a download of a full album's worth of bonus material, all crafted around the Drop Out era. White Hills' 'Decorating Time' showcases the depth of the band's subtlety, rich with minute turns and a twist of psychedelic ambience. 'Nothing NEU! Under the Sky' captures the invigorating pulse and dynamics of Gnod's live performances. Together, this expansive body of work epitomizes the sense of possibility each band exudes, and the potency of their expertly crafted brand of Transatlantic psychedelia. 15 years after the series began, Drop Out III is an essential album for lovers of contemporary psychedelic rock, a testament to the power of this collaboration.""Gnod have been one of the constants, part of our sonic firmament...one of our most cherished groups." --The Quietus"White Hills' nods to giants like Hawkwind, but their scope is wide and their execution is steely and precise" --Pitchfork

 

PRICE: $14.50

CAT #: THRILL 629CD

FILE UNDER: ROCK

"What happens when you combine SUMAC, a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother, a poet and sound artist that has deconstructed hip hop to a point where it's less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power? The Film is an album that takes attributes of both artists' work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film's moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: 'The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won't understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.' The Film does have clear themes running throughout -- again Moor Mother expounds: 'the themes are universal in nature -- land -- displacement -- the climate -- human rights and freedoms -- war and peace -- the idea of running away from the many violent forces and horrific systems of man and empire.' Heavy, holy, hypnotizing -- beyond existence, beyond the fettered constraints of normality, past the false notions of the indoctrinated disguised as the organic, planets form; the detritus of cosmic stuff merges into galaxies, into something that can sound like it's populated by suns. The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother. The Film was recorded at Studio Litho in Seattle with Scott Evans. The album includes appearances by guest vocalists Kyle Kidd, Sovie, and Candice Hoyes.""like self-perpetuating obstacle courses in hell. Ricocheting between formidable doom and barbed improvisation, Sumac sound preternaturally belligerent." --Pitchfork, 8.4 Best New Music"her music sustains a constant, complementary tension between the hushed, folkloric mantras and defiant Afrofuturist litanies she shares, her sound drawing freely from noise, jazz, blues and beats while respecting the practice of each mode." --The Guardian

 

PRICE: $29.00

CAT #: THRILL 629LP

FILE UNDER: ROCK

Double LP version. "What happens when you combine SUMAC, a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother, a poet and sound artist that has deconstructed hip hop to a point where it's less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power? The Film is an album that takes attributes of both artists' work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film's moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: 'The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won't understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.' The Film does have clear themes running throughout -- again Moor Mother expounds: 'the themes are universal in nature -- land -- displacement -- the climate -- human rights and freedoms -- war and peace -- the idea of running away from the many violent forces and horrific systems of man and empire.' Heavy, holy, hypnotizing -- beyond existence, beyond the fettered constraints of normality, past the false notions of the indoctrinated disguised as the organic, planets form; the detritus of cosmic stuff merges into galaxies, into something that can sound like it's populated by suns. The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother. The Film was recorded at Studio Litho in Seattle with Scott Evans. The album includes appearances by guest vocalists Kyle Kidd, Sovie, and Candice Hoyes.""like self-perpetuating obstacle courses in hell. Ricocheting between formidable doom and barbed improvisation, Sumac sound preternaturally belligerent." --Pitchfork, 8.4 Best New Music"her music sustains a constant, complementary tension between the hushed, folkloric mantras and defiant Afrofuturist litanies she shares, her sound drawing freely from noise, jazz, blues and beats while respecting the practice of each mode." --The Guardian

 

PRICE: $32.00

CAT #: THRILL 629X-LP

FILE UNDER: ROCK

Double LP version. Pink color vinyl. "What happens when you combine SUMAC, a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother, a poet and sound artist that has deconstructed hip hop to a point where it's less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power? The Film is an album that takes attributes of both artists' work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film's moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: 'The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won't understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.' The Film does have clear themes running throughout -- again Moor Mother expounds: 'the themes are universal in nature -- land -- displacement -- the climate -- human rights and freedoms -- war and peace -- the idea of running away from the many violent forces and horrific systems of man and empire.' Heavy, holy, hypnotizing -- beyond existence, beyond the fettered constraints of normality, past the false notions of the indoctrinated disguised as the organic, planets form; the detritus of cosmic stuff merges into galaxies, into something that can sound like it's populated by suns. The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother. The Film was recorded at Studio Litho in Seattle with Scott Evans. The album includes appearances by guest vocalists Kyle Kidd, Sovie, and Candice Hoyes.""like self-perpetuating obstacle courses in hell. Ricocheting between formidable doom and barbed improvisation, Sumac sound preternaturally belligerent." --Pitchfork, 8.4 Best New Music"her music sustains a constant, complementary tension between the hushed, folkloric mantras and defiant Afrofuturist litanies she shares, her sound drawing freely from noise, jazz, blues and beats while respecting the practice of each mode." --The Guardian

 

PRICE: $17.50

CAT #: TB 017X-EP

FILE UNDER: ELECTRONIC

Straight out of the South London cesspit comes Slick N Bobby. Chestrattling live dub nuisance meets soundsystem-adjacent sonics for your brain and bosom. Debut, double-sided single "Belly Dub/OSOTB" features two jabs of low-end badness available on limited, heavyweight 7" vinyl and best experienced on speakers that can carry the rumble. A Boy In Da Corner-esque sino-grime creeper on the A and dubby, flowing deepness on the flip.

 

PRICE: $28.50

CAT #: UR 153LP

FILE UNDER: ELECTRONIC

Tuning the Wind was created in 2022 as an installation piece. Since then, it has been adapted into multichannel, 4DSOUND, and stereo installations, as well as performed live on numerous occasions around the world. The piece has a duration of 36 minutes and 15 seconds. For the vinyl pressing, it has been divided into two parts. Composer Aim?e Portioli, known professionally as Grand River, recorded various types of wind and then reworked them through layering and pitch adjustment to create a musical piece where the wind itself becomes a prepared instrument. At times, the sound of the wind is tuned to the 440 Hz reference, while at other times, the instruments are tuned to the sound of the wind. In Tuning the Wind, nature and music merge seamlessly. Synthesizers and wind recordings become indistinguishable, blending natural sounds with human-made instruments. The boundary between a gust of wind and an instrument-generated sound fades away. Human artistry and nature's symphony merge to become one. Wind is air in motion. It makes no sound until it encounters an object. The sounds it produces depend on the strength of the wind and the shape and material of the object it touches. When the wind blows, trees sway, buildings rattle, materials move, and sound waves are generated. Some believe that temperature changes create layers of air, and that the friction between them forms a unique sound -- perhaps the true voice of the wind, which birds may be the only creatures capable of recognizing. Sometimes the wind howls; at other times, it sings or whistles, shifting from a gentle murmur to an angry roar. The wind's range of frequencies, tones, and timbres is vast and varied. Tuning the Wind is a piece about the wind, made with the wind -- an abstract expression of our ongoing conversation with nature.

 

PRICE: $28.50

CAT #: UR 154LP

FILE UNDER: ELECTRONIC

Nicol?s Melmann (born in Buenos Aires and now based in Barcelona) explores sound's social and poetic dimensions through transdisciplinary projects. Drawing inspiration from Erik Satie's concept of "furniture music," Melmann's compositions transform the listening experience into havens of calm and contemplation. M?sica Aperta is a fusion of acoustic and electronic sounds, rich in beautiful harmonies, where carefully soft elements interplay with delicate raspiness. Made up of three parts, the music unfolds slowly, immersing the listener in time. M?sica Aperta resonates with echoes of Satie, the meditative minimalism of Arvo P?rt, the roughness of Phill Niblock, and the nostalgic reflections of Richard Skelton. Another way of listening to M?sica Aperta is through its digital encore -- an extension of the album experience that brings the concept of open music to life -- "a work that remains unfinished and open to transformation." The website features a reactive audiovisual interface where images dynamically respond to the music's behavior, translating electroacoustic frequencies into real-time cinematic landscapes. The album blends instrumental and electronic textures while allowing listeners to interact with different layers through a virtual mixer, enabling them to create unique sound combinations and personal sonic experiences. All songs written and performed by Nicol?s Melmann in Ch?teau ?ph?m?re. Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Artwork by Daniel Castrej?n.

 

PRICE: $27.00

CAT #: WAT 003LP

FILE UNDER: ROCK

William Tyler is a Nashville guitarist and composer. He spent years woodshedding and touring with Nashville groups like Lambchop and Silver Jews before breaking away to focus on his own version of instrumental guitar music. In the summer of 2022, he was fortunate to have an artist residency at Epicenter in Green River, Utah, a tiny high desert town three hours from anything. One of the other non-profit friends of Epicenter was The Tank in Rangely, Colorado. The Tank itself is a giant and tall disused water tower from the high days of train travel and used to store water to cool train engines and such. Empty for decades, it is now an internationally recognized destination for sound art and almost unparalleled echo/acoustics. William Tyler decided to book recording time there and chose to re-interpret all of the songs of his 2019 album Goes West in a sparse yet cavernous solo acoustic setting: "Something about the frailty and space I wanted the songs to imply was lost in the over-production of the studio record, This felt like a reclamation of the songs and also a symbolic tribute to the stunning, haunted and vast possibilities of the American West, especially at the twilight of American Empire."

 

PRICE: $28.00

CAT #: WJLP 078LP

FILE UNDER: JAZZ

Helsinki tenor saxophonist Jussi Kannaste's debut album as a band leader has been a long time coming. A top musician in the local scene revered by his contemporaries and sought after as a band member, Kannaste now presents his new work Out Of Self and Into Others on We Jazz Records. His quartet, Kannaste4, brings together Finnish musicians Tomi Nikku (of Bowman Trio) and Joonas Riippa, plus Berlin-based Swedish bassist Petter Eldh (of Koma Saxo/Post Koma and Y-OTIS), and features an all original program penned by Kannaste. His music is highly personal contemporary jazz leaning into modes of avantgarde expression. At times quiet as a whisper, at times fiery and swinging, Out Of Self and Into Others is a product of a deep marinade, a debut album that feels like much more than "just" that. This album, full of compositional innovation that feels at the same time natural and unique, peels back and adds layers from the first moments on. "No Name," a hauntingly beautiful quiet time ballad is a captivating listen, its sparsity lending the track remarkable quiet intensity. "It's All Good," another key piece, is offered here as two versions bookending the LP edition's side B. The lax vibe of the piece delivers its message that feels soothing yet almost radical in its momentary acceptance of it all. Jussi Kannaste (born 1976) is a saxophonist and educator based in Helsinki. Prior to launching Kannaste4, he has been a key part of the scene for 20+ years, performing in highly acclaimed bands such as Antti L?tj?nen Quintet East, 3TM, Jaska Lukkarinen Trio, Ricky-Tick Big Band, and many more. As the head of the department of Jazz at Sibelius Academy, Kannaste is also a key figure in internationally admired Finnish jazz education system.

 

PRICE: $15.00

CAT #: WH 381CD

FILE UNDER: JAZZ

"From Daggerboard and Erik Jekabson come The Axes. A series of four concerts each given on the day of their event. On June 21 2024 at The Hillside Club in Berkeley the first concert was performed and this recording is that performance and the rehearsal for it. The pieces were written for the celebratory nature of the summer solstice. Eight original works that begin with minimalist themes then develop in wondrous directions as life itself does. The orchestra for this performance is comprised of many artists in their own right. Conducted by esteemed conductor and violist Charith Premawardhana with Mads Tolling on lead violin, Ben Davis on cello, Paul Hanson on bassoon, Dan Feiszli on bass, Jon Arkin on drums, Harvey Wainapel on sax, Jeff Cressman on trombone, and Erik Jekabson on Trumpet."

 

PRICE: $59.00

CAT #: WRWTFWW 049LP

FILE UNDER: SOUNDTRACK

Ultra limited edition on white vinyl. Consists of four different artworks (BUY, OBEY, WATCH TV, SLEEP) -- no repress! Please mind that you will receive a random selection of the artworks. A specific selection cannot be guaranteed. Full soundtrack of John Carpenter's cult sci-fi/action/horror cult film They Live (1988) in never released on vinyl before expanded edition from legendary composer Alan Howarth. Blues riffs surf on ambient synth, saxophone and harmonica mingle with sparse alien electronics and abstract soundscapes -- Alan Howarth's score perfectly matches the eerie paranoid urban Western meets corporate sci-fi vibe of John Carpenter's iconic movie. This version, officially licensed from Alan Howarth, includes all 29 tracks from the soundtrack -- the true complete music scores of They Live!

 

PRICE: $19.00

CAT #: ZISSOU 015EP

FILE UNDER: ELECTRONIC

With the Do For You EP, Fossar embarks on a deeply personal yet universal journey that's as adventurous as our label's name -- Zissou. Known for his beautifully textured releases on Fuck Reality and Feuilleton, Fossar delivers a five-track exploration into the highs and lows of forging your own path. Each track reflects a different shade of the journey -- passion, doubt, euphoria, and self-discovery, all woven together through Fossar's signature warm basslines, hypnotic melodies, and crisp, driving rhythms. More than just an EP, Do For You is a soundtrack for the summer, a call to take charge, and a reminder that the true adventure lies within. The path isn't always clear, but the music is here to guide you. Featuring Nils N?rnberg.