"Over two days in July 2022, Michael Vallera and Lee Ranaldo improvised at 411 Kent in Williamsburg, Brooklyn, a cozy place that felt more like a living room than a concert hall or recording studio. The sweltering July heat cloaked the place in a layer of sweat and humidity. Nevertheless, they took it over to record material and to perform one evening, their fuzzy guitars slicing through the thick air with both the precision of a razor blade and the gentleness of a cloud. Early New York Silver recaptures the renegade spirit and excitement of those days. The album presents material culled from those improvisation sessions, which were made possible by New York-based musician David Watson, who at the time was curating the Shift series at 411 Kent. 'Shift was dedicated to pushing boundaries and blessed with a miraculous empty space. A large open space, not made for music but with one of those great serendipitous room sounds,' Watson said over email. To record the music, Ranaldo and Vallera spread out throughout the area, taking over its every crevice. 'I was able to give Lee and Michael day and night access, and they hunkered down using different rooms as chambers, cords and mics running to the far end of the building, taking advantage of the relaxed vibe Their contrasting, yet similar, approaches to music offered ample space for exploration.' 'I really appreciate the way Lee approaches improvising because he really dives in immediately,' Vallera said. 'I tend to be very measured when composing solo or in collaborations, so I enjoy following and reacting to the vocabulary Lee is exploring in real time.' Early New York Silver highlights that effortless flow. At 411 Kent, the two guitarists were in sync, lost in the world they had created together out of shared curiosity on their instruments. Their melodies tumbled and intertwined into masses that seemed to shapeshift and morph with every strum. There was no inertia -- only motion, forward. That was the beauty of the Shift series, and that is ultimately the beauty of Ranaldo and Vallera's practice: It is always traveling, always open, always changing. 140gm black vinyl LP in matte black printing on silver board."

"Mess Esque is an Australian duo who sound like they literally dreamed themselves into being, and might even still be in the dream that made them! Helen Franzmann (McKisko) and Mick Turner (Dirty Three, Tren Brothers) initially partnered on Mess Esque's shared inner plane circa 2020. Since then, they've taken their preferred path -- the one less traveled -- at an unhurried pace. Yet Jay Marie, Comfort Me is their third album in less than five years, and the new music feels a hemisphere away from their first efforts: a whole new atmospheric level above, with greater depths to descend into as well. Mess Esque first launched as a correspondence course. The two swapped tracks between Melbourne and Brisbane, experimentally pairing Mick's guitar, keys and loops with Helen's ruminative vocals. They released Dream #12 through Australian label Bedroom Suck in April 2021, with a self-titled album on Drag City following six months later. Then it was time to actualize in the same spaces for some touring: Australia, the US, UK, Europe, and New Zealand. Jay Marie, Comfort Me has an edge to it: that savage grace that comes from actually drawing breath and stepping up in the witness of others. The process of becoming, in all its aspects, has made Mess Esque's efforts ever more visceral and incisive, their music billowing up to the skies while drawing close to the bone in the same moment. Jay Marie, Comfort Me is co-produced by Helen and Mick themselves, along with Nick Huggins, who recorded the Dirty Three's acclaimed Love Changes Everything, Mick's Don't Tell the Driver, and McKisko's Southerly album. Along with Keeley Young and Kishore Ryan from the live band, the album features cellist Stephanie Arnold and a couple of Australia's living legends of percussion: Bree van Reyk and Mick's ol' Dirty Three partner in crime, Jim White. The title -- Jay Marie, Comfort Me -- is from a line in the song, 'That Chair.' That's Helen's sister in there, who died in her sleep unexpectedly. It feels right to have her name on the jacket. Jay Marie, Comfort Me reaches exciting new heights in the Mess Esque journey, propelling their uniquely twisted aural circus to a new level of dance-ability, exaltation and effect. Fitting the immediacy at their core with new dimensions, Mess Esque push themselves into more vivid states of being."

"For Translucence is the debut album from Whitney Johnson and Lia Kohl. Their dialogue, found initially in free improvisation on viola and cello, has evolved over time into (for the moment) this: a neophonic orchestral expression. A living, breathing meditation in which layers of acoustic strings, synthesizers, field recordings, radio and sine waves illuminate and change each other as they twine and grow. Lia and Whitney began playing together in 2018, exploring the space between Lia's cello and Whitney's viola, with their shared tuning one octave apart. There was an ease in weaving their instruments and voices, whether playing outside, with extended technique; or inside, playing melodic lines with rich tones. Several years passed before they considered recording, as the shared parts of their identities -- string players, composers, and sound artists based in Chicago; both interested in solo composition as well as improvisation and collaboration -- soaked the fertile ground. Then their individual concerns -- Lia, exploring the possibilities and dualities of mundane and profound sounds; Whitney (as Matchess and herself) presenting the listener with the effects of sound on bodies and minds -- were able to be more finely articulated and integrated in this finished work. Recording at Experimental Sound Studio, Whitney filled out the low end of her sound with sine waves, making binaural beats through function generators and her ARP Odyssey synthesizer. Lia added an AM/FM radio and her Teenage Engineering OP-1 synthesizer. Using the open strings on both viola and cello to create the drones and establish a baseline of gravity, they improvised, building up phases of spontaneity before giving careful consideration to what they'd assembled, editing it to arrive at a final mix. The resulting sound isn't electro-acoustic, exactly; more like electronics and acoustics together, with each layer transforming the one next to it. Within the double layers of their four strings and added instruments, a symmetry emerges that is the key to For Translucence. The songs are two improvisations superimposed over each other, the titles derived from the two fundamental frequencies in which they improvise. The binaural beats form a sculptural structure of drone over which further improvisations are made. This is where surprise and laughter come into the focus; like all of time put together, both inside and outside history, their past and future selves unfolding with a flowing energy of fresh discovery breathing through it."

"Includes Wire Tapper 67 CD. Raven Chacon: The Diné/Navajo composer foregrounds unheard and silenced voices in his radical works for ensembles, electronics and noise. By Esi Eshun; Ingrid Laubrock: The New York based reedist creates settings for koans and poems as part of a unique new compositional practice. By Stewart Smith; Bastard Assignments: The radical new music ensemble get lost in the woods with their satire of the English countryside. By Robert Barry; Infinity Knives: From Tom And Jerry to sociopolitics, rapper Tariq Ravelomanana keeps it unreal. By Lucy Thraves; Cleaners From Venus: Martin Newell's songcraft and wordplay across many DIY albums evidence a uniquely wired mind. By Mike Barnes; Lukas De Clerck: Brussels musician extends ancient pipe instruments into the present moment. By Antonio Poscic; Penelope Trappes: Australian artist voices griefs past and present. By Spenser Tomson; Ciaran Mackle: Sample manipulator twists folk song into cubist forms. By Daryl Worthington; Invisible Jukebox: Jeff Mills: Will Detroit techno's great conceptualist be a wizard IDing The Wire's mystery record selection? Tested by Chal Ravens; Unlimited Editions: Robert Ridley-Shackleton's Cardboard Club cutouts; The Inner Sleeve: Loraine James on Circa Survive's On Letting Go; Global Ear: Osaka's proto-industrialists revitalise the city's experimental music scene. By Jere Kilpinen; Epiphanies: Golem Mecanique rewinds to a treasured VHS tape of Pier Paolo Pasolini's Accattone; Against The Grain: Mosi Reeves takes on underground hiphop's gender imbalance."

It took a village to create Le Motel's Odd Numbers/Số Lẻ. Beneath its pulsing, shimmering tones, the record is alive with the sounds of everyday life -- purring mopeds, idle whistling, the din of kitchens and whisper of rain, voices joyful and contemplative, scenes of bustling cities and domestic intimacy. Le Motel -- who runs the Brussels-based record label Maloca -- gathered sounds, photographs, and videos while traveling in Vietnam in 2023. From Hanoi he ventured to Hmong communities in the mountains near the border with China, building out a network of contacts gathered from friends and friends of friends. But Odd Numbers/Số Lẻ -- which takes its title from traditional Vietnamese numerological beliefs and customs -- is wholly unlike the extractive product typical of exploitative modes of Western tourism; the album's final shape was deeply dependent upon the participation of the people the artist met in Vietnam. Back in Brussels after his travels, as Le Motel began working with his materials, he sent early drafts to his contacts, inviting their input. This back-and-forth eventually yielded a dynamic collective effort in which nine of the album's 15 tracks feature multiple composer credits. Among the album's diverse collaborators are Yvonne Quỳnh-Lan Dươn, an educator and ethnomusicologist; Chi Chi, the daughter of a Hmong shaman; and Phapxa Chan, who contributes three poems inspired by landscape and Le Motel's own music (and, in one case, psychedelics). The result is an album that is not about making sound, broadcasting it as a one-way communication, but instead about the empathic practice of listening -- about listening as an integral and even ethical part of musical creation, even (especially!) when that music is created on a computer, rather than conjured by a group of players sharing space in real time. It's an album that adopts many of the traditional trappings of ambient music while reminding us of the importance of intentional modes of creation. Brian Eno famously said that ambient music must be as ignorable as it is interesting, but Le Motel's Odd Numbers/Số Lẻ suggests, to the contrary, the richness of experience available to us should we make the effort to open our ears.

Laurin Rinder and W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius. During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others. Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fueled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs. As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: "we really had cots, beds and the whole thing, we were just pumpin' them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer 'What's the name of this group?'." Evidently, their prolific output was the result of a crazy cocaine-fueled production schedule: "The amount of coke we did, to do all this, you can't even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more." Looking at the frankly terrifying cover, you'd have never known! Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who Be With have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various artists. Dubbed "the secret father of French disco" this here groove-filled firecracker -- using his Who's Who moniker -- is for disco-funk, library music and cosmic beat lovers. The intense, evocative opener "Palace Palace" positively throbs with raw energy and sounds, honestly, like something off Daft Punk's Discovery. The title refers to the fashionable Parisian club Le Palace, essentially the Parisian Studio 54. The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, the deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skating dance mania of the day. The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beautiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its time. This might be the real lowkey sleeper gem on this record. Who's Who really is a fantastic late-'70s-early '80s roller disco-funk essential. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland.

In July 1983, the Hebrew Israelite vocalist and multi-instrumentalist Margeeah Aharon recorded her debut album Looking For Love with the Kingdom Sounds community band at P.C. Studios in Tel Aviv, Israel. Fittingly -- given the meaning of her Hebrew name, soothing, calm and tranquil -- it's a questing melange of devotional jazz, soul, funk and reggae. More than just that, Looking For Love is an album full of yearning and reflective songs of spirit, heart and inner solace. Margeeah was born and raised in the American capital of Washington D.C. She grew up in a Baptist family with Hebrew cultural underpinnings. She was accepted into the Howard University School of Fine Arts as a music major in classical voice and a minor in English. During her Howard years, Margeeah's musical and spiritual horizons began to evolve, by way of a love of Doug and Jean Carn, Keith Jarrett, Roberta Flack, and Donny Hathaway and stretch out towards the infinite. "Throughout my upbringing and training in classical music, my soul and spirit were on a journey," she explains. "I began to become aware of social dynamics, racism, injustice, homelessness, poverty and disparity. I started to study the isms -- Socialism, Communism, Buddhism. I was searching." Forty years after it was released as a private press LP, Looking For Love's central themes and music remain timeless and eternal.

Color vinyl. Originally released in 1982 on New Underground Records. Featuring Descendents, Minutemen, Anti, Saccharine Trust, Redd Cross, Civil Dismay, Ill Will, or Zurich 1916, China White, Mood Of Defiance, 100 Flowers, Urinals, and Plebs.

As a common ligature to the OG free jazz scene of '60s NYC, with formative binds to its European offshoots and the experimental avant garde, Joe McPhee is a true force of nature who has represented jazz at its freest over a remarkable lifetime. In duo with Swedish free jazz and noise standard bearer Mats Gustafson, he upends expectations with an astonishingly vivid and upfront example of his enduring contribution to freely improvised music. In 11 parts he variously reflects on everything from the neon sleaze and scuzz of NYC to contemporary US politicians and laugh out loud imitations of his previous sparring partners such as Peter Brötzmann, with a head-slapping immediacy that leaves you reeling, spellbound. McPhee's flow of rare, organic cadence, ranging from urgent to contemplative and dreamlike, is blessed with a unique turn-of-phrase that surely mirrors his decades of instrumental work. Gustafsson, meanwhile, dexterously takes up the mantle with a multi-instrumental spectrum of sounds, leaving McPhee unbound and able to float and sting on the mic. There's obvious wisdom in his perceptively penetrative observations, as derived from a rich cultural life well spent, but also a playful naivety and levity in his ability to veer from almost melodic speech to explosive aggression and a knowing, bathetic wit. It's perhaps hard to believe that McPhee only started incorporating and performing spoken word in his work in the past ten years, a half century since his declaration of "What Time Is It?" announced his arrival on a legendary debut Nation Time (1971), ushering in one of free jazz's most singular characters in the process. Oscillating between discordant reflections on life as a touring musician, set to Gustafsson's skronk and culminating in a snort-worthy imitation of Peter Brötzmann's gruff German accent, on "Short Pieces" or the glowering growl and noise exhortations of "Guitar," he evokes a more sweetly consonant calm in "When I Grow Up" and eerie threat of "The Dreams Book," and viscerality of "Disco Death," where Gustafson's tonal versatility comes into hugely mutable play, whilst McPhee's extraordinary, unaffected voice is a constant. It's perhaps McPhee's balance of cool measuredness and wellspring of barbed energies that allows listeners, at least, to get the most out of this one; not stifling with mannered or manicured enunciation that can trigger certain icks; keeping close to the nature of spoken word in a way that avoids cliche and becomes inherently critical of it within his purposeful, non-hesitant clarity and unflinching approach.

Red color vinyl version. "More Eaze and Claire Rousay's collaborations are effortlessly joyful; their music evoking the warmth and respect they have for each other. Their bond goes back to their youthful hometown of San Antonio, Texas where they played in country outfits and noise rock bands respectively. More Eaze (the moniker of violinist/multi-instrumentalist Mari Maurice) and Rousay have spent the past decade pushing boundaries, standing together at the vanguard of genre-shattering music that thrills and surprises with its vulnerability and creativity. no floor weds their prowess as sound designers and masterful skills as composers with their skills as acoustic instrumentalists. Eschewing the auto-tune inflected pop-psychedelia and found sounds of their previous collaborations, no floor is collage music as pastoral melancholia, a lush tour into their own version of Americana. On no floor the pair created their own elaborate sound world. 'It was a conscious choice to spend a lot of time making fucked up sounds and then figuring out how they could be beautiful in another context,' notes Maurice, 'With this record I had no idea what Claire would do on each track, and we were both trying to match each other's 'freak' in terms of sound design.' Rousay's ostinato guitar patterns and acoustic strums swim through tides of Maurice's pedal steel. Glitching electronics burble in dynamic fits as dramatic strings add waves of tension and release. No Floor's pieces are atmospheric, living biomes that breathe and grow with each passage, rewarding close listens with the revelation of its emotional core. The five tracks that make up No Floor were named for seminal bars in the pair's shared history, or as the duo humorously refer to them, 'Pillars of our debauchery.' No Floor is an introspective reflection on the emotional turmoil of youth as much as it is a celebration of a camaraderie forged in that turmoil. The album exemplifies the duo's shared skills in unearthing new and exciting sound arrangements, evoking the warmth and affection of their friendship and musical fearlessness."

"Pop at its most fragile, attenuated and surreal." -New York Times, Best of 2024

"The whole album flows like Brian Eno's Another Green World through the ears of a big Pedro the Lion fan." -Rolling Stone, Best of 2024

Pierre Bujeau is an expert at creating temporary escape zones -- musical structures to evade the everyday. Sometimes he works collectively as part of the mysterious French groups Omertà and Tanz Mein Herz. But it's when he's on his own, performing as Megabasse, that he offers the most complete break from reality. His kit is simple: a few bottles of cheap lager, twin Fender amps, and his double-necked guitar. An instrument like this normally signals maximum rockist excess -- think Jimmy Page, Geddy Lee, or that dude from the Eagles. In Pierre's hands, it becomes more like a zither or a dulcimer, producing soft chiming patterns that build against themselves until the sound of the room, passed back and forth between his two amps, starts to blur everything, and we are away in another world. Wait, though -- let down your yoga bun and don't light the palo santo yet. The new space he creates has nothing to do with smug wellness. It's a rough, do-it-yourself psychedelia, scuffed but hopeful. Not a perfect blank space to be your best self in, but instead a communal dreaming, an uncanny place where all are welcome. Until now, without catching him live, the Megabasse experience has been difficult to find: CD-Rs, short-run tapes, and one blink-and-you-missed-it LP. Thankfully, this record on Efficient Space, a reissue of some pieces that were previously only available on a small cassette edition, will put that right. Here are two long, intricate pieces, and something new -- a shorter track that hints at a move toward beautiful, burnt-out guitar soli. Unless you are very lucky, wise, or rich, life imposes its structures on you. Maybe a record of shimmering, tranced guitar is all you need to get out from underneath?

Glossy Mistakes presents Ecstasy Boys Selections, a carefully curated collection of three mesmerizing tracks from the pioneering Japanese electronic trio Ecstasy Boys. These tracks released originally between 1990 and 1994, curated by Glossy Mario, revisits the innovative sounds of the group that shaped underground Japanese club culture during the '90s. While their influence remained largely within Japan, their music resonates far beyond borders, standing as a testament to the creativity and innovation that defined an era of Japanese club culture. The Ecstasy Boys -- formed by Mitsuru Kotaki, Shiro Amamiya, and Tatsuro Amamiya -- were a driving force in the Japanese electronic music scene. Known for their eclectic productions and boundary-pushing performances, the trio captivated audiences and influenced a generation of local DJs, producers, and club-goers. Ecstasy Boys Selections pays homage to this vital chapter in Japanese dance music history, highlighting the trio's creativity. The compilation includes three tracks that exemplify their unique blend of Balearic, leftfield house, and progressive sounds. Remastered by Wouter Brandenburg in Amsterdam, Selections breathes new life into these timeless tracks while preserving their original character and depth. Licensed courtesy of Shiro Amamiya and Avex Inc. this release is an essential addition to the libraries of Balearic, house, and experimental music enthusiasts.

Pearl color vinyl version. Highly-anticipated 50th Anniversary Edition re-issue of Ash Ra Tempel's legendary fifth studio album Starring Rosi. Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience. The album has been recorded by Manuel Göttsching in its entirety, with additional help from producer Dieter Diercks, Harald Grosskopf, and of course Rosemarie "Rosi" Müller. Starring Rosi is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Starring Rosi stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music. This reissue of Starring Rosi has been introduced and overseen by Manuel Göttsching, and finalized by his family exactly to his standards, in which the meticulous approach to his work lives on. An updated 2024 recut carefully commissioned by Schnittselle in Berlin ensures the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. Comes with a replica of the original vinyl artwork including its original backside. Also includes a poster of the alternate backside, used later on the CD editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased original "The Fairy Dance" and "Schizo" composition sheets, handwritten by Manuel.

Double 10" version. Colin Newman and Malka Spigel's Immersion project sees the third volume of their Nanocluster collaboration series. The third album in the Nanocluster series is a mid-Atlantic melting pot of ideas that have created a brand-new third way. The album sees a collaboration between the European post-punk electronic discipline of Immersion meeting the American ambient country band SUSS and their big sky, new world, Americana cinematic soundscapes to create a perfect Nanocluster! It's a perfect combination that fits the Nanocluster vision. Immersion's open-minded approach sees their music spark new textures with the American band who were once described by UNCUT magazine as "Eno's Apollo Atmospheres crash-landed in America's Sonoran Desert," and by Pitchfork as "Neither rawboned nor ramshackle -- their elegantly composed brand of ambient country stands as tall and clean as a brand-new pair of cowboy boots." Suss are composed of veteran musicians Pat Irwin (the B-52s, Raybeats, 8 Eyed Spy), Bob Holmes (numun, Rubber Rodeo), and Jonathan Gregg (the Combine, the Linemen). SUSS combine pedal steel, national steel guitar, mandolin, harmonica, baritone guitar, and the harmonium, which they weave with synthesizers and loops to create their big, lonesome sound.

LP version. Third album from Sheffield folk artist blending traditional songs and original compositions to remarkable effect. 180gram heavyweight black vinyl with download code and gatefold sleeve. On his new album Wasteland, Jim Ghedi has created something huge. Intense, brooding, bold, at times apocalyptic, and remarkably vast. A profoundly bold sonic statement that is some of the most rich, far-reaching and ambitious work that Ghedi has created to date -- pushing the boundaries of what folk music can be. Recorded over two years at Tesla Studios in Sheffield, with David Glover engineering and producing, it also features a wide cast of musicians such as David Grubb (fiddle), Daniel Bridgwood-Hill (fiddle), Neal Heppleston (bass), Joe Danks (drums), Dean Honer from I Monster (synths), Cormac MacDiarmada from Lankum (vocals), Ruth Clinton from Landless (vocals), and Amelia Baker from Cinder Well (vocals). Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues. As with previous albums, such as 2018's A Hymn for Ancient Land and 2021's In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. Lead single "Wasteland" is a stunning piece of work that while rooted in an environment being corrupted and broken. The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

Reduced price, last copies! After two years of absence from Beat Records' catalog the label reveals a new edition of Fabio Frizzi's fans most beloved horror score, Zombi 2, with the American title of Zombie Flesh Eaters, a project Beat Records worked on for five years. Since ever paired with Un gatto nel cervello (1990), now finally alone in a version that is gifted with unreleased material which was recorded in a tape found in an old Ribot archive. One of the holy grails in Beat Records' catalog, since ever bitterly loved, because of its shortness: even if the older version featured a good portion of the score, it was largely incomplete. With the addition of the material transferred from this extra tape, and with the song "There's No Matter", which can be heard at the beginning of the movie, when the two protagonists investigate the sequestered ship, Beat Records can attest this is the definitive edition of this outstanding soundtrack which marks a significant style evolution of the maestro, aside the growth of his artistic relationship with Lucio Fulci. In this edition, Beat Records offer the score on CD in a deluxe hard paper box with the insane artwork by Graham Humphreys, both on the box and on the 40-page book; slim jewel case with a maxi inlay featuring the iconic photographic poster of the time and a crazy black-and-white artwork by Alexandros Pyromallis. Liner notes by Antonella Fulci, Fabio Frizzi, and Daniele De Gemini. Mastering by Enrico De Gemini. Includes LP; 180 gram vinyl in gatefold sleeve; includes printed inner sleeve; artwork printed in poster size; hand sculpted and painted 13cm resin bust of the iconic zombie of the gatefold cover.

On his Discrepant debut, memotone aka Bristolian Will Yates collects some unreleased recordings under a most aptly titled name -- Pruning -- following a healthy stream of releases for such esteemed labels as Black Acre, The Trilogy Tapes or Soda Gong. Considering the process of pruning as a practice of selective removal, the album takes its name at face value never falling into a mere collection of tossed off material or random B-side assemblage, making it a cohesive listen throughout its disparate timeframe and evasions. A statement about memotone's vision itself, Pruning veers closer to his Fourth World/ECM/Exotica meets Sci-fi transmutations in alignment with what would be expected from a memotone release on Discrepant. "Moss Zone" briefly sets the tone with a warm but queasy synth bedsheet that flows into the "Weird Figures" cyberjungle, all small twinkling percussions and rainforest pads slowly rising. "Riders" brings the synth-flute to an early Warp meets John Hassell's City: Works of Fiction scenario that pops up again in more disrupted form on "Wisdom [MOTHER]." "Not What I Thought's" skewed tropical guitar gets going on lo-fi percussion and dissonant synth chords while "Jim Starling and The Inverse Church" bring to mind Autoditacker era Mouse on Mars going jazz-fusion. "Beach Scene" is exactly it, as the sun sets into "Come In [Don't Mind the Ghost]" Summer night's stars with all the allure of Stereolab. Alluring, that's exactly it. Do come in. Artwork by Evan Crankshaw. Mastered by Rashad Becker.

2025 restock. Almost four decades since its domestic release, Karen Marks's 1981 single Cold Café has finally reaped it's deserved international credit to become one of Australia's most recognized minimal wave recordings. Efficient Space now showcases the Melbourne artist's brief but entire discography, including two previously unheard demos, all produced with experimental synthesist Ash Wednesday (The Metronomes, Modern Jazz, Thealonian Music). A rarity in the then male-dominated industry, Marks found her footing in music, first through rock journalism and then in band management. Formally of Adelaide, newly arrived synth-punks JAB (Johnny Crash, Ash Wednesday, Bodhan X) approached her for representation, subsequently contributing tracks to seminal 1978 snapshot Lethal Weapons and playing the Crystal Ballroom's opening night. Wednesday and Crash would soon dissolve JAB, enlisting Mark Ferry and Sean Kelly to create Models. Still under Mark's management, Models became one of the fastest rising new bands of the punk movement, playing to full houses of dedicated and frenzied fans everywhere. Sadly, internal frictions forced Wednesday and Marks to leave after two years, with Crash following three months later. Her creative relationship with Wednesday fortified with the co-production of his 1980 machine-pop prank "Love By Numbers", her swooning chorus uplifting his deadpan count to 100, before the two collaborated on Marks's own recording persona. Immortalized by the icy Oz wave of Cold Café, her Astor issued 7" also boasted the caffeinated flip "Won't Wear It For Long" -- a should be hit with guitar from future Icehouse member Robert Kretschmer. Fans know of one more recording -- "You Bring These Things", a forlorn arrangement of an otherwise unreleased Paul Kelly song, gifted to her by the revered wordsmith. The track only ever appeared on the Astor promotional LP Terra Australis (1981), sinfully alongside "Up There Cazaly" and Joe Dolce -- hard proof that the label grossly misunderstood her talent (Marks recalls their persistent requests to show midriff and cleavage). Locked in a dissatisfying label arrangement and at this stage unwilling to follow her peers to greener pastures overseas, she felt her only way out was to cease all further activities. At the 11th hour of preparing this retrospective, two tracks unexpectedly surfaced via two cassettes -- a paranoid demo version of her signature tune "Cold Café", and a long-lost fourth song "Problem Page". Both living room recordings follow Marks and Wednesday's ingenious framework of minimal lyrics, minimal chord progressions.

Double LP version. For the first time a full album with recordings based on Yoko Ono's 1964 collection of texts, event scores and drawings Grapefruit, a foundational cornerstone of what became known as conceptual art, and enveloping the orbits of Fluxus and experimental music. Performed by The Great Learning Orchestra which has during the 25 years of its existence worked with Gavin Bryars, Terry Riley, Pauline Oliveros, J.G. Thirlwell, Arnold Dreyblatt, and more. Originally self-published in 1964 in a limited edition of 500 copies under Yoko Ono's own imprint, Wunternaum Press, and later reprinted in expanded editions, the collection of over 230 texts, event scores and drawings that comprise Grapefruit has long been considered a foundational text in what became known as Conceptual Art, and envelops the orbit of Fluxus and experimental music. Though comparisons to John Cage may seem obvious, Ono's first attempts at textual composition actually pre-date her first encounter with the American composer by around a decade and have evolved free from Cage's influence. Another factor that sets these scores apart from associated forms of verbal notation from the same period is Ono's ambivalence towards the necessity, or even possibility, of their physical realization -- instead the idea being that the realization should take place in the mind of the reader. Hardly any performances have been recorded and released on disc -- so, 60 years after Grapefruit first appeared, Selected Recordings From Grapefruit is the very first full album of pieces selected from the many sections of the book. The sonic realizations presented here are of a number of different kinds, encompassing studio-based ensemble performances, but also location, environmental and field recordings (and at times combinations of these), as the scores themselves dictate, and for the most part recorded live and acoustically, such that the performances, actions, situations and environments that you hear are real. The accompanying 20-page booklet with rare performance photos and some original typewritten scores from Ono's personal archive also includes the text instructions for each piece - thus allowing the listener to make a connection between the imaginative engagement and creative activity executed by the performing members of The Great Learning Orchestra and the resulting recording. With 20 tracks and approximately 85 minutes duration, Selected Recordings From Grapefruit finally brings to ear some of the most important and influential 20th century avantgarde art.

Kasm returns for Part 3 of the 10" vinyl series. Skam Records present a Russell Haswell record. Russell Haswell is an artist, record producer, free improvisor, computer musician, noise aficionado and curator. Trained at Coventry School of Art, graduating in 1992, Russell's extraordinary conceptual oeuvre resists easy summarization, focused on the site-specific, performance and methodology of large-scale sound works, sometimes in surround sound. Russell has given solo audio presentations at major art and music festivals and events, in art galleries, concert halls, clubs, rock venues, and even squats in 30 countries, and counting. Most recently he has performed at Sonic Acts, Sonar, Pirelli Hangar Bicocca and Coventry Cathedral. As a curator, Russell has delivered projects for PS1/MoMa, All Tomorrows Parties, Aldeburgh Music, Thyssen-Bornemisza Art Contemporary, and Cafe Oto. He now lives and works in Glasgow. Recorded in real-time (ADDAC System, ALM/Busy Circuits, Cwejman, Epoch Modular, FANCYYYYY Synthesis, Flight of Harmony, Instruo).

Istanbul-based producers Grup Ses and Gökalp K present their collaborative album on SOUK Records, showcasing a distinctive fusion of musical styles such as hip hop, grime, dubstep, and jungle. Two years in the making, their self-titled album features contributions from Cologne-based multi-instrumentalist Elektro Hafız, Marseille-based DJ Syr from Scratch Bandits Duo and Ethnique Punch, a Turkish MC and producer now based in Bremen. Grup Ses project began in 2007, initially focusing on edits and breakcore mash-ups. By 2008, it evolved into a beat-making project incorporating elements of humor and local materials such as records, tapes, and radio broadcasts, which have become the signature Grup Ses sound. Grup Ses has previously collaborated with sub-labels of Discrepant, releasing two albums on SOUK and three mixtapes on Sucata Tapes. Gökalp K, the alias of composer and sound designer Gökalp Kanatsız, has been releasing music since 2011. Under this name, he has released two albums and performed as a DJ. Alongside his beat production, he also composes electro-acoustic music and collaborates with creative studios as a sound artist on various interdisciplinary projects. All tracks produced by Grup Ses and Gökalp K (Except 14 by Granul). Design and Artwork by Bora Baskan. Mastered by Kassian Troyer.

2025 repress; yellow vinyl. '70s disco music wasn't just Abba or the Studio 54. Just like punk or glam rock were doing at the same time, the "disco" phenomenon generated a plethora of obscure and bizarre studio projects which remained in the unknown, despite being often more inspired and creative than the few ones that reached stardom and sold millions of copies. 45 rpm singles that remained unsold, sitting in junkshops all over the world for decades, hide forgotten gems, revealing genius and avant-garde only guilty of not being at the right place at the right time. Be it Moroder-oriented proto synth-wave, groovy space-disco or acid Afro funk, the first volume of the Cosmic Discotheque series is all about rediscovering those forgotten treasures while setting your dancefloor on fire. Features The Mystic Moods, Life, Alan Bown, Red Parish Group, André Brasseur, Black Buster, Bil Tze, The People Next Door, Diabolic Man, Performance, Dance Machine, and Pharaoh. Edition of 500.

LP version. Pink color vinyl. Nottingham duo Rattle's third album Encircle sees the duo expand their unique experiments in rhythm, meter and tension. Rattle are Katharine Eira Brown and Theresa Wrigley, formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. Rattle have honed the four songs that make up Encircle by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. Encircle was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colorful artwork was created by Martha Glazzard, who was also responsible for Rattle's other mesmeric covers. With Encircle Rattle have grown again, the songs alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle's edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight. Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartet, and Codeine. Also available on CD (UTR 169CD) and black vinyl (UTR 169LP).

"Quietly dramatic and loudly intimate." --The Quietus

"Two drum sets. Two voices. One great idea." --MOJO

Clear color vinyl version. Vlek Records presents the release of Standing/Engraving, the latest LP from musician and video artist Jean D.L. This album features a blend of experimental folk guitar and field recordings, creating a distinctive soundscape. Each track combines guitar melodies with natural environmental sounds, producing a complex auditory experience. Standing/Engraving offers a meditative and immersive listening journey, evoking a range of emotions and memories. Jean D.L. has collaborated with the likes of Julia Kent, Lee Ranaldo (Sonic Youth), Margaret Hermant (Echo Collective), Mauro A. Pawlowski (Deus), Karen Willems, and more.

2025 repress; LP version. 350gsm sleeve with selected UV high gloss varnish. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond. WRWTFWW Records announce the reissue of Satoshi Ashikawa's Still Way (Wave Notation 2). Initially released in 1982 as part of the Wave Notation series (which includes Hiroshi Yoshimura's Music For Nine Postcards), Still Way is, without a doubt, a seminal Japanese environmental/ambient/minimalism album, often mentioned alongside Midori Takada's Through The Looking Glass (1983) (WRWTFWW 018LP, WRWTFWW 019CD/LP) and Hiroshi Yoshimura's Green (1986) as one of the genre's most important pieces. "Like the moment of stillness, after the wind passes through the garden, when the rain stops for a brief second..." Notably inspired by Erik Satie's Furniture Music and Brian Eno's ambient work, Satoshi Ashikawa aimed to compose music "intended to be listened to in a casual manner, as a musical landscape or a sound object -- not something that would stimulate listeners but music that should drift like smoke and become part of the environment." The result is simply phenomenal, subtle minimalism and emotional elegance exquisitely orchestrated by Satoshi Ishikawa and his team consisting of his wife Masami Ashikawa (on flute), Midori Takada (on vibraphone), Yuko Utsumi (on harp), Tomoko Sono (on piano), and Junko Arase (on vibraphone). In conjunction with Still Way, WRWTFWW Records is releasing Laistigh den Ghleo (WRWTFWW 039CD/LP), a companion album by Irish ambient/minimalist composer Gareth Quinn Redmond, inspired by Ashikawa's approach. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond.

2025 repress. WRWTFWW Records is announces the first-ever physical release of Louisiana-based composer and producer Jammin' Sam Miller's full HD re-creation/restoration of the beloved Super Metroid video game soundtrack. The limited biovinyl double LP is packed with 27 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well as an obi strip. Composed by Kenji Yamamoto and Minako Hamano, the soundtrack for 1994 SNES exploration/action-adventure/sci-fi/alien video game Super Metroid has always been a fan-favorite. A true masterclass in music storytelling, it beautifully evokes the epic and eerie adventure of the game's protagonist Samus Aran with superb use of atmospheric sounds, space-operatic arrangements, rumbling bass, oppressive techno-futurist moods, tribal drums, and airy synth themes, admirably balancing the ominous feel of a dark menace and contemplative, even soothing, ambient soundscapes. Jammin' Sam Miller assiduously recreated the soundtrack note by note, by finding the original equipment used to create it, translating the MIDI into a modern studio context, adding in keyboard samples, and re-mixing and re-mastering the whole score. He explains: "This was made possible by locating the original instrument samples from workstation keyboards and drum machines before they were put into the game and rebuilding the soundtrack from the ground up, applying some modern mixing techniques along the way to lift the veil of 16bit compression and create an updated listening experience." Super Metroid is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

Double LP version. During the 35 years of making music, Dave Lee has constantly been searching for new singers and writers to work with. A search that's ended up with many fantastic collaborations and releases with the likes of Thelma Houston, Taka Boom, Dianne Charlemagne, and Seal. More recently this quest led him to Maurissa Rose and the creation of their album London/Detroit. After hearing Maurissa's voice on a Theo Parrish record Dave reached out to her and after a few long phone conversations and MP3 swaps they both agreed a visit to London would be much more fun than trying to work together remotely. Maurissa made the journey from her home in Detroit to write and record an album with Dave at his studio in March 2022 -- as they both feel that creating music together in the same room is always better. The fruits of their labor yielded 11 brand new songs (and one cover) tapping into their collective love of soul, disco and R&B, with a sprinkle of soulful house. This album is a special one for Dave Lee as it's the first time in his career he's recorded an entire album with same singer on every track. Dave's expertly crafted music is backed up with a deeply passionate yet effortless delivery from the Detroiter, a marker of someone who has honed and perfected their art. When it comes to the music side of this LP, Dave Lee is once again proving he's still at the top of his game and shows no sign of relenting. Drawing from his encyclopedic knowledge of all things soul/funk/disco, we are treated to a range of styles, BPMs and influences from 95bpm street soul to more up-tempo disco and boogie flavors. Be it the rippling synth voyage opener of "You Decide," taking the Johnnie Taylor classic "What About My Love" into a modern boogie realm, upping the tempo on the soulful houser "I Feel the Sun" or bringing the tempo back down to the bassy acidic chug of "You're Giving Me Life." Mr. Lee is truly adept at creating a modern disco soul sound without the usage of samples. London and Detroit might be two very different cities on opposite sides of the Atlantic but this album is proof that creative synergy knows no distance.

Where to begin with a figure like Simon Fisher Turner? From teenage stage and screen star to illustrious recording artist for Creation and Mute and score composer of Caravaggio, Blue, and The Epic of Everest -- via a stint with The The and collaborations with Derek Jarman, David Lynch, and Tilda Swinton -- Turner embodies a distinctly British sensibility and boundless curiosity for sound. For A Colourful Storm, discovering Deux Filles, his mysterious project with Colin Lloyd-Tucker that has since been reissued by Dark Entries, was a significant moment in shaping their identity. In August 2023, A Colourful Storm presented Simon Fisher Turner and Time is Away at Spanners, London. Performed at the tail end of Blue Now, a series of events celebrating Derek Jarman's last feature film, Blue, the recording reveals a lifetime of significant events and influences. Terre Thaemlitz's remix of Turner's Shishapangma is reworked and appears on vinyl only. Jarman is privately recorded reading "White Lies," Bertrand Russell is sampled, and Turner records his brother practicing the Great Rissington organ for their father's funeral.

A massive speaker-smashing release, decades overdue. It's been bootlegged but finally Be With presents the first ever officially licensed reissue of this truly special Afro-disco-not-disco LP from 1979. A favorite of Harvey, Antal, Young Marco and every great DJ to ever play deep records ever, basically. Gem after gem of relentless, irresistibly funky gold, it's an incredibly revelatory album with endlessly complex drum patterns and basslines to dive into, throughout. Truly, this is uniquely FIRE music, unlike anything else you've ever heard, based on Gwo ka music from the gorgeous islands of Guadeloupe and Martinique. A thrilling synthesis of primal, hypnotic drums -- the most tribal of percussive elements high in the mix throughout - with the loping synth pyrotechnics of, amongst a whole host of other greats, Wally Badarou and bass power of disco funk don Sauveur Mallia (Arpadys, Spatial & Co.). Originally released on the seminal French label Barclay, you'd be hard pressed to even find an original copy in nice condition anywhere, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around. It's just the latest in a long line of Be With reissues where the music sounds like the drop-dead dazzling cover. This here is a true drum attack. Tumblack was a short-lived project, produced and arranged by electronic wizard Yves Hayat and it can certainly be regarded as one of the first examples of Zouk, mixing powerful disco-funk arrangements with Gwo ka, traditional music from Guadeloupe. Whilst the first side is credited to the exceptional Tumblack band, the flip is given over to Tumblack & Friends. They were the absolute cream of the French scene such as Sauveur Mallia, Wally Badarou, Marc Chantereau on percussion, Slim Pezin on guitar and Jean-Paul Batailley and Pierre Alain-Dahan handling drum duties. Tumblack really is a gorgeous late-'70s disco-not-disco essential. The audio for Tumblack has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The cover of Tumblack is so iconic and Be With sought special permission from original artist Hélène Majera to recreate this at Be With HQ. It absolutely zings off the print and serves as the perfect finishing touch to this long overdue re-issue.

For Incienso's first release of 2025, the label is excited to present Gnosis, the debut album from San Francisco-based musician Raven. Dripping in warped synthesizer tones and flickering drum patterns, Gnosis is a bold and new exploration into Raven's timeless and immersive world.

Double LP version. Since his early days at Chain Reaction, K. Soublis (Fluxion) has carved his own unique style, combining elements of dub, ambient, techno, score, textural, and even jazz elements, all glued together with his distinct production aesthetic. Haze is a broad selection of pieces that was recorded between 2023 and 2024. The music moves from more slow cyclic compositional pieces on "Life Motif," "Nexus," and "Desiderium," to ambient dub pieces, on "Magenta" and "Touch," on to more euphoric and uplifting ones on "Footsteps," "Berlin," and "What Tommorow Brings," reflecting on the artist's need to tell stories. As a whole Haze showcases the artist's versatility on moving and combining different genres with his own distinct crafted sound, bringing a bold, fresh, unique view, making the album an indulging and intriguing listening experience. Fluxion has managed to constantly add to his sound through the years always evolving and Haze is a testament of his restless nature and his need to move towards more uncharted territories without alienating the listener.

Brainchild of British-Egyptian historian Hannah Elsisi (NYU AD, Cambridge), Chromesthesia -- aptly named "the color of sound" -- tracks Afro-diasporic rhythms from the Whole Mangrove World. Featuring a veritable avengers team of everyone's favorite producer: Sho Madjozi, Asher Gamedze, Nick León, Deena Abdelwahed, Kelman Duran, GAIKA, Lord Tusk, Covco, Julmud, LYZZA, Maurice Louca, Baby Cocada, 3Phaz, LAFAWNDAH, Double Zuksh, Lamin Fofana, and DJ Babatr. In its first of more-to-come iterations, Chromesthesia launches its inaugural compilation mapping centuries of movement, resistance, and creolite as they have been inscribed in sound. From Rio to Cairo, Miami to Kampala -- Chromesthesia probes the audiopolitics of diaspora, tracking soundscapes of errantry and migration along 20 sites of what Elsisi calls The Whole Mangrove World. This compilation comes on transparent orange vinyl, adorned in a gatefold sleeve with printed inner featuring the original artwork Woven Chronicle.

"Spacing Out is an instrumental masterpiece only ever issued in Bermuda at the turn of 1970. A mix of the band's out-there original compositions and extravagant covers of The Meters, The Temptations, Aretha Franklin, and The Isley Brothers, it established this band as one of the greatest instrumental bands of any genre, and helped kickstart the retro-soul/funk scenes that birthed the likes of Daptone and Big Crown Records. It's certainly a lodestar for Now-Again Records. This reissue was done with the license and participation of the entire Invaders band, with their story told in great detail in an oversized booklet penned by Jefferson 'Chairman' Mao, complete with rare photos of this rarely seen ensemble. From the proverbial stank face-inducing opening bars of reverb-drenched drums and congas that announce Spacing Out, you're thrust into something visceral and fleeting: a pocket universe in which technical excess, chemistry between players, and the uninhibited energy of youth align in a kind of glorious imperfection. Spacing Out is one of the greatest instrumental albums of its or any period in that unmistakably raw -- as in honest -- way only a crew of largely self-taught young-uns could catch a groove."

Following up the 2022 Tamarindo release by his band Ottlix (with Ottber), Felix HK presents his first solo 12".