Featuring contributions from Jordan Tice (of Hawktail), Jay Bellerose, Harrison Whitford, Rayna Gellert, Dylan Day, Mark Goldenberg, Rich Hinman, and Robert Bowlin, this album, a self-titled affair, finds Cameron Knowler at an exciting crossroads between American tradition and forward looking guitar soli -- toeing the line between personal regionalism and the universality of landscape memory. Knowler draws on the history and geography of his birthplace of Yuma, Arizona -- a border town known for its lettuce production and defunct territorial prison. In line with the regional ethos of the composer Frantz Casseus and the minimalism of Bruce Langhorne, this instrumental guitar record launches into a world of desert sun, propane tanks, dark jail cells, and the verdant Colorado. Knowler ferries listeners across a sensitively crafted world with deft, understated playing, pushing the current of instrumental acoustic music forward through lush original compositions, while keeping an eye on tradition with his singular arrangements of old-time fiddle tunes. With what many describe as the closest thing to the right hand of Norman Blake, Knowler's delivery also nods to the work of creative outsiders Terry Allen and David Rawlings. With this work, Knowler sonically illuminates untold stories of the Sonoran, lending a voice to the pictorial canon made famous by Dorothea Lange and western films such as 3:10 to Yuma. There is a sense of interiority to the record as well, Knowler says, noting that he "grew up isolated, unschooled in a desert with very little contact with children my own age." He only returned to his hometown recently to revisit places held in memory, and this album stands as a direct result of unpacking those landscapes coded with personal darkness. By creating an outward-facing work of art, Knowler strives to "make sandcastles out of grief" and emblazon the diorama of his youth. Here, the world receives a sound poem, a memory palace that stands as a document of both personal grief and acceptance of the many dimensions of a place.

The Rising Wave marks the debut collaboration between singer-songwriter Marlene Ribeiro (of psychedelic band GNOD) and electronic producer Shackleton under the name Light Space Modulator. Ribeiro's ethereal voice -- part singing, part incantation -- feels both distant and intimate, humming just behind the horizon. Her experimental soundscapes flow like a streamlined river, intertwining seamlessly with Shackleton's deep, textural production and intricate percussion. Shackleton's percussive production ebbs and swells, conjuring a hypnotic, tripped-out atmosphere. At The Rising Wave's core lies a sense of intention, a cleansing ritual designed to shift perception and inspire transformation.

Double LP version. Far Out Recordings presents a landmark discovery in Brazilian jazz: the long lost album by drumming pioneer Edison Machado. Recorded in New York City in early 1978 but never released, Edison Machado & Boa Nova captures a pivotal figure in Brazilian music history at the height of his artistic powers. After facing persecution under Brazil's military dictatorship and being forced to sell his drum kit in 1976, Machado found renewed creative purpose in New York with the Boa Nova ensemble. The resulting album captures the essence of his genius -- sophisticated yet wild, controlled yet daring, leading an ensemble of some of the best jazz, samba and bossa nova players of the day. At just fifteen years old, Machado revolutionized Brazilian music through an accident that would change everything -- when his snare drum broke during a performance, he began playing samba rhythms on the cymbal. This innovation, known as "samba no prato" (samba on the cymbals), brought new layers of dynamism to samba and proved instrumental in the development of bossa nova alongside contemporaries like Antonio Carlos Jobim and João Gilberto. A complex and passionate figure, Machado was notorious for his militant perfectionism and "attacking" style of drumming. Having spent some years of his youth in the Brazilian army, musicians often remarked that he played as if he were at war. But his innovative style, while exhibiting complete control and sophistication, somehow so often danced right on the edge of chaos and wild abandon. After making his name in Rio's legendary Beco das Garrafas (Bottles Alley) in the 1950s and early '60s, Machado went on to form Bossa Três -- the world's first instrumental bossa nova group. His influence spread internationally through collaborations with Stan Getz, Sergio Mendes, Antônio Carlos Jobim, Milton Nascimento, and Chet Baker, while his 1964 album Edison Machado É Samba Novo stands as a masterpiece of Brazilian jazz. At 80 minutes in length, Edison Machado & Boa Nova, the lost 1978 New York sessions, is a singular achievement in Brazilian jazz. The format itself is a rarity in the canon. It's packed full of exceptional technical precision and creative vitality, with sophisticated arrangements and masterful improvisation from its exceptional sextet of Brazilian and US musicians: Paulinho Trompete (flugelhorn/trumpet), Ion Muniz (tenor saxophone), Steve Sacks (baritone saxophone), Mozar Terra (piano), and Ricardo dos Santos (double bass). The album features unheard compositions by Brazilian masters Dom Salvador, Guilherme Vergueiro, and Aloisio Aguiar, amidst the plethora of captivating original material by the members of the Boa Nova ensemble.

On Katelyn Clark and Mitch Renaud's Ouroboros astronomical and astrological phenomena, concepts and symbols such as the Great Year or the Eternal Return serve as the starting points for sonic explorations and experimentations. Focusing on a uniquely tempered range of frequencies, from low-end drone rumbles to airy pipe swirls, the duo develops a minimalist and highly evocative sonic universe on their debut album for Hallow Ground. Working as composers, improvisers and curators in Canada's vibrant experimental and early music scenes, Clark and Renaud began developing Ouroboros through extensive improvisation with a reduced setup. Clark, who has worked extensively with historical keyboards since her studies in Amsterdam and Siena, played a small pipe organ modelled after a 14th-century instrument while Renaud brought a modular synthesizer and his interest in feedback systems to the collaboration. Later, the duo further refined their artistic dialog and the sonic interactions of the two instruments through the shared space of a two-day recording session in Vancouver. Subtle crackling, acoustic beating and other (psycho-)acoustic effects in five pieces document this encounter, giving the music a profound physicality while hinting at the bodily presence of the two collaborators. Just as the cyclicality of natural phenomena or the repetition of planetary movements is both a scientific fact and of the cultural imaginary, the sound worlds of Ouroboros are fundamentally rooted in time and space while transgressing the idea of a "here and now" through their conceptual links to geological and planetary time. The interplay of portative organ and modular synthesizer, which merge fluidly and in ever-changing ways, leads to a kind of circularity, a timelessness, a no-time. At the same time, the movements and subtle changes undermine the idea of repetition in the negative sense. After all, the Eternal Return, as Gilles Deleuze writes in regard to Nietzsche, is not the return of the same but a repetition of repetition. The only constant is change, the production of new intensities, of new forms of life -- and of new frequencies.

Night Keeper is a collaborative album by New York City-based artist Aaron Landsman and former Swans guitarist Norman Westberg that is based on the former's eponymous play. Westberg recorded it together with performer Jehan O. Young for the Swiss Hallow Ground label, with Landsman serving as the record's producer. The original piece was first performed in the Spring of 2023 at The Chocolate Factory Theater in Queens and filled the stark industrial space with spoken text, choreography, projections, and music in dim light and, occasionally, complete darkness. Westberg and Young afterwards brought it to the studio to record it as a two-part album in whose course his textural sounds, based on loops and samples, set the stage for her soothing, sonorous vocal performance. Night Keeper is a performance inspired by sleeplessness and the wanderings of the human mind at night -- about time and memory. Westberg and Young elegantly capture its essence in these roughly 44 minutes with a somnambulic album, letting sound and meaning flow into each other. The initial spark for Night Keeper was a run of almost sleepless nights in different neighborhoods of a city that is perpetually insomniac. Instead of trying to force himself to go back to sleep by any means necessary, Landsman started writing down his thoughts. Accordingly, the texts that Young reads on the record form a diverse collection of specific moments, imagining different speakers and evoking different situations. Westberg complements, accentuates, and juxtaposes these with different means. Ominous drones, soaring melodies, rhythmic bass sounds. Landsman makes it clear that Night Keeper was intended as an invitation to "stay up, look out the window, let what's happening outside spark reveries or predictions« or even take it on a stroll through the neighborhood" at night, of course. Much like the original piece, this album is then one dedicated to wandering around, both mentally and physically.

Purple Trap, the powerful trio of Keiji Haino (voice, guitar), Bill Laswell on bass, and Rashied Ali (drums), recorded live on stage at The Stone. Recorded in December 2005, this furious live album by what can easily be called a super group remained unreleased till in 2023 Bill Laswell made it accessible in a rough-mixed digital version for his bandcamp subscribers program exclusively. For this vinyl version, the music has been newly mixed by Dirk Dresselhaus (SchneiderTM) and mastered/cut by Ruy Mariné at Dubplates & Mastering Berlin. Purple Trap reunited for this one-off gig as part of a five-day Haino-festival at John Zorn's venue, The Stone, seven years after its only album had been recorded (released on Tzadik in 1999). The six untitled tracks deliver what can be expected from such musical masters: Rashied Ali, iconic free jazz drummer who played with John and Alice Coltrane, Pharoah Sanders, Sonny Rollins, James Blood Ulmer, and countless more, is all drums, from quiet tiny sounds to high-energy rhythm patterns. Keiji Haino, one of the most prolific artists of the Japanese experimental/noise scene for almost 50 years now, switches between truculent guitar splatters and full-on psychedelic outbursts. Bill Laswell, who as producer and musician created a massive body of work in fields as diverse as ambient, world music, funk, jazz (and often hybrids of these), has proven his mastery in improvisation in projects like Massacre, Painkiller or (early) Material and provides the low-end grounding with his signature bass sound, or adds effect-laden ornaments to the whole. An overdue addition to a very small body of work by a clearly under-documented supergroup!

"On the cover: aya: New album hexed! explores sobriety and neurodiversity through radical tunings and transformed instruments. By Chal Ravens. Inside: Satch Hoyt: The one-time Burnt Sugar member's Un-Muting project opens museum archives of stolen instruments. By Francis Gooding; Ailie Ormston: The Glasgow composer moves away from the conservatoire to conduct the sounds of the city. By Abi Bliss; Joke Lanz: At 60 years old the Swiss improvisor still takes a punk approach to the turntable. By Daniel Spicer; Bios Contrast: Kolkata musician Nilotpal Das cooks up the concept of brahmancore. By Misha Farrant; Laura Cocks: Chamber music is the site of connection for the flautist. By Stewart Smith; MIC: Grime provides the setting for sci-fi storytelling in the hands of the London MC. By Lucy Thraves: John King: The composer playing the blues for Palestine's lost communities. By Kurt Gottschalk; Trân Uy Đúc: The Vietnamese multidisciplinary artist curates the self-scape. By Daryl Worthington; Invisible Jukebox: Alvin Curran: Will the Musica Elettronica Viva member read maritime rites over The Wire's mystery record selection? Tested by Julian Cowley; Global Ear: Experiments and activism in Danish capital Copenhagen. By Josh Feola; Unlimited Editions: Meticulous design and sonics dovetail in New York new music label Greyfade. By Philip Watson; The Inner Sleeve: Seymour Wright on Anne Gillis's Lxgrin; Against The Grain: VAN magazine Editor Hugh Morris can't stand that jazzy sensation; Epiphanies: Surgeon gets all cut up by William S Burroughs and Brion Gysin. Plus 40 pages of reviews including Gryphon Rue: State of nature. By Abi Bliss; Ed Kuepper & Jim White/Kim Salmon & Masami Kawaguchi: Pacific old masters. By Byron Coley; Strata-East reissues: Black unity. By Daniel Spicer; Music under Stalin: Utopian dreams and nightmares in the USSR. By Andy Hamilton; Borealis: Nordic operations. By Robert Barry; 160 Unity: Footwork on the floor. By Joseph Francis; and much, much more."

For their second album The Foel Tower, Quade holed up in an old stone barn in the cradle of a Welsh mountain valley. The valley was a stark and windswept backdrop with little daylight, as the band would huddle around crackling fires each evening. It was an environment that would shape the band -- a Bristol four piece made up of Barney Matthews, Leo Fini, Matt Griffiths, and Tom Connolly -- and the record they have made. It's an album that is as dreamy as it is melancholic, and as quiet and tender as it is forceful and potent -- gliding across genres like winds blowing over those wide-spanning Welsh hills -- to arrive at something the band half-jokingly, yet somewhat accurately, describe as "doomer sad boy, ambientdub, folk, experimental post-rock." In many ways, the making of this record goes way deeper than the simple writing, construction and recording of music. It is a profoundly deep and meaningful experience. It is a deep, dense record that is stuffed with musical, cinematic and literary influences -- from Ursula La Guin and Cormac MacCarthy through to RS Thomas and Yeats -- but despite the heavy, introspective and anxious nature of some of the material, it is also a record that is remarkably deft, agile and considered. Made with producer Jack Ogborne and mixer Larry 'Bruce' McCarthy, there is a pleasing duality to the final sound of the record. The album title also pays homage to the place that shaped it so greatly. Within this remote Welsh valley stands the Foel Tower, a stone structure filled with valves and cylinders that can raise and lower the level of the reservoir to draw off water. What makes The Foel Tower such an incredible record is that it feels born of a time, place and situation that only existed in that very moment. It's a snapshot of those ten days spent in rural Wales and all the feelings and anxieties the band were experiencing at that specific time, magically caught on tape.

Violeta García is a cellist, composer and curator from Buenos Aires, Argentina, based in Bern, Switzerland. Working across a broad spectrum of artforms including improvisation, contemporary classical and electronic music, she now presents her new album IN/OUT via Bongo Joe. After dedicating years to the study of classical and popular music on the violoncello, and later delving into contemporary composition and improvisation, Garcia came to the realization that her unique musical voice yearned to transcend specific genres, and she has embarked on extensive tours throughout Europe and around the globe, showcasing her work as a soloist, collaborator and with her experimental rock project, Blanco Teta. In 2015, she co-founded Latin America digital label TVL-REC, dedicated to the production of experimental and improvised music. For IN/OUT, Garcia worked with expanded cello techniques, recorded in a cave in Geneva, Switzerland, which once housed the city's water reservoir. Employing the resonance of the natural acoustics of the site as a sound body, Garcia fuses improvisation, composition and new sounds, actively engaging in experimentation with extended techniques and prepared instrument, whilst exploring dynamic, rhythmic, and original melodic combinations.

Long and intermittent running duo of Discrepant head honcho Gonçalo F Cardoso and Angela Valid's Alex Jones, with sometime collaborator Phil Laney aka Kenny Hosepipe joining in somewhere along the way, Hair & Treasure crossover from Sucata Tapes to Discrepant wax via Disc Rot. Described by the duo, in their cryptic and scatological fashion, as "a fetid spread from the buttery catacombs of Hair & Treasure," one can only speculate on the mindset, if not for the scenario, for these file swap recording sessions. As if decaying throughout this back and forth process, the synthscapes, field recordings, voices from who knows where, and subliminal pulses assembled in these 11 pieces all coalesce into this out-there murk where invocations of "a" real are mangled into unhinged, squinting eyes moments of near-consciousness. Compared to previous Hair & Treasure ventures like Two Fucking Tapes or Forked Piss Blues, Disc Rot forgoes side-long tapestries by focusing on shorter and clearer transmissions from the netherworld. Still, the feeling of pieces of discarded hardware and sound hubris lying around and turned music of the duo remains unscathed, filtered through a newfound precision. After the opening feverish threat of "Warm Night," the suspended synth pads and working machinery of "Byzantine Turd Skirt" actually comes as a relief, pulling away (a bit) of the dread to resurface with the Texas Chainsaw Massacre OST ambience of "Amateur Depravity" and 2004-ish Midwest noise stylings of "Busy Hubby's Flight to Gstaad" and "Tit Ale." "Roads Gonad Today" and "Just Jerkers" are not that far removed from a lower fidelity take on Black Dice circa "Creature Comforts," while "Professional Babies" goes back a couple of years to their collabs with Wolf Eyes, but mostly, all of this sounds like nothing but Hair & Treasure themselves.

LP version. In 1968, Weird Herald released a now sought-after promo only 45 with the songs "Saratoga James"/'Just Yesterday." That 45 was part of a full album that was never released. Music ranges from haunting, beautiful folk-rock with spacey acoustic guitar playing and delicate vocal harmonies, cool laid-back country-folk, to energetic hard-rockers à la early Moby Grape or Jefferson Airplane with stunning electric leads. Not forgetting "Where I'm Bound" which has a cool Notorious Byrd Brothers feel. Hailing from Los Gatos in California, Weird Herald featured two accomplished guitar players who are local legends in the San Jose / Santa Cruz area, Billy Dean Andrus and Paul Ziegler. Their roots can be traced to the early San Jose folk / coffeehouse scene. Jorma Kaukonen (Jefferson Airplane/Hot Tuna) was a close friend and used to jam with them. Billy Dean Andrus was Skip Spence's best friend since high school and they both used to perform as a folk duo in the early days. A fantastic rhythm section, Cecil Bollinger on bass and Pat McIntire on drums rounded the band. Sadly, in 1970 Billy Dean Andrus died of a drug overdose in the Santa Cruz Mountains. He was immortalized on the songs "Ode for Billy Dean" written by Jorma Kaukonen for Hot Tuna and "Chicago" by the Doobie Brothers. Paul Ziegler ended up joining up Hot Tuna in the early '70s. He passed away in 2000. Problems with the management/producers led to the planned album being shelved and, according to legend, the master tapes destroyed. Luckily, reel-to-reel copies have remained with the Andrus family for half over a century, unheard until now. Includes eight-page insert with detailed liner notes by Cam Cobb (authors of Weighted Down: The Complicated Life Of Skip Spence) with input from the Andrus family and the surviving Weird Herald members and rare photos. Comes with download card with 11 previously unreleased bonus tracks, including basement demos from 1967 by the first line-up of the band. RIYL: Moby Grape, Jefferson Airplane, The Byrds, Milk Carton Kids, Buffalo Springfield, Maitreya Kali, Everly Brothers, Psychedelic Rock, Folk-Rock, Loner Folk.

Opening Night is a collection of instrumental music composed for the opening gala of the New Theater Hollywood by Danish composers MK Velsorf and Aase Nielsen. A cycle of minimal pieces for e-guitar, e-piano and backing tracks, the music was performed and recorded live from the stage balcony during the dress rehearsal, arrival of the guests and between speeches throughout the night. The music is patient, minimal and groovy -- consisting of sparse guitar vamps, drum and synth loops, it establishes a mood, or a tone: one of sun-soaked dreams, ecological dread and never-ending anticipation. Opening Night evokes the environmental furniture music of Erik Satie, as well as the melancholic instrumentals of Arthur Russell, the procedural TV score of Mike Post, and the sleazy atmospheres of certain Michael Mann films. Designed to weave in and out of the listener's consciousness, Opening Night is light in feel yet with a deep pull, breezily conjuring feelings of banality, pleasurable dissociation, and eerie repetition. The listener is invited to get in the car and stay for a while. The New Theater Hollywood is a performance space run by artists Calla Henkel and Max Pitegoff, housed in the historic 49-seat 2nd Stage Theater in Hollywood's largely defunct Theater Row, conceived as a space to develop and stage original theatrical productions in the crosswinds of performance, literature, contemporary art, film and television.

2025 restock. Trost Records presents the latest release in its ongoing cooperation with Berlin's legendary FMP label, with the long overdue reissue of two classic live albums by the singular alto saxophonist Noah Howard, a key figure in New York's free jazz revolution during the 1960s. Berlin Concert was recorded live in the titular city in January of 1975 with a quartet featuring pianist Takashi Kako, bassist Kent Carter, drummer Oliver Johnson, and percussionist Lamont Hampton. It was released on the SAJ sub label in 1977. It deftly captures the full diapason of Howard's fiery art. Fueled by the propulsive swing of the great Oliver Johnson, bassist Kent Carter -- both Americans who spent many years living and working in Europe, including long stints with Steve Lacy -- and percussionist Lamont Hampton, Berlin Concert nonchalantly toggles between modal workouts, where Japanese pianist Takashi Kako invokes the ironclad drive of McCoy Tyner, and the needling fury of "New York Subway," summoning the all-out fury of the '60s New Thing. This album reinforces the scalding passion of Howard's playing, while simultaneously highlighting a stylistic depth and lyrical grace that's often overlooked in his music. Howard, who suffered a fatal cerebral hemorrhage in 2010, at age 67, has been duly celebrated for his work in the 1960s, but the return of this gem makes it plain he had plenty more to say. Recorded live by Jost Gebers on January 30th and 31st,1975 at the Quartier Latin in Berlin. Cover design by Wolf Walt. Photograph by Roberto Masotti. Produced by Jost Gebers. Originally released and published on FMP in 1977.

Corbett vs. Dempsey presents Jaap Blonk's Ursonate, featuring the complete text-sound work by artist Kurt Schwitters. Blonk first recorded the canonical Dada poetry piece in 1986, released as an LP on BVHAAST, Willem Breuker's label. He has returned to the work multiple times over the ensuing decades, and this incredible new recording shows his deepening understanding of the pioneering work. Blonk writes in the liner notes: "Kurt Schwitters (1887-1948) wrote his Ursonate or Sonate in Urlauten ('Primordial Sonata' or 'Sonata in Primordial Sounds') over ten years, from 1922 to 1932. During that period Schwitters tried out many preliminary parts in public poetry readings. It became a 30-page work in invented words, which he later considered one of his two masterpieces (the other being the Merzbau in his house in Hannover, destroyed in 1944). The Ursonate has a structure similar to that of a classical sonata or symphony. It consists of four movements: 'Erster Teil' ('first part'), 'Largo,' 'Scherzo,' and 'Presto.' After a short introduction, the first movement opens with an exposition of its four main themes (subjects), each of which is subsequently 'developed' (development in the sense it is used in classical sonata form), leading to a coda. It is note- worthy that the theme exposition returns as a reprise before each new development but the last one. Both the Largo and the Scherzo have a centered (A-B-A) construction in which the middle part contrasts with the two identical outer parts. The Presto has a strict rhythm broken only by a few interjections from the first movement and the Scherzo. Like the first movement, it follows the sonata form: exposition (repeated immediately in this case), development, and recapitulation. Next is the Kadenz, leaving the reciter free to choose between the written version and his own. However, in his written instructions for future performers of the piece, Schwitters says that he wrote his cadenza only for those among them who 'had no imagination.' In my performances of the Ursonate, I always create an improvised cadenza on the basis of the sonata's thematic material. Only on the recordings I have issued, for reasons of completeness, a recording of the written cadenza is included as a separate track." --Jaap Blonk, December 2024

Super-rare library recorded in 1980 by the powerful duo of percussionist Daniel Humair, one of the most avant-garde in the Swiss jazz evolution experiment, and the familiar and talented cellist Jean-Charles Capon (ex-Baroque Jazz Trio), who is associated with Jef Gilson and Henri Texier. A total of 15 songs in which the two performers display their eye-opening acrobatics, including unexpected electric modulation, creating an insanely hip groove at the edge of indigestion. This magical production work was done by Christian Bonneau, a genius in the French radio music world who has worked on many national treasure-class libraries for Dominique Andre and Yan Tregger. Licensed by Daniel Humair.

"Was Drosselbart a Krautrock band just because they came from Munich like Amon Düül, sang in German and released their first and only album on a major German record label in 1971? 'No,' says Monika Vincent-Gunia aka Jemima, Drosselbart's singer. 'We were the first punk band in Germany. The guys in the band could only play three chords, maybe four, but they were burning with enthusiasm.' However, Drosselbart's music on the album of the same name has very little to do with the punk of the mid-seventies. The guys had obviously practiced a bit and managed to get more than four chords down. The whole thing sounds a lot like the 1960s, occasionally reminiscent of harder rock, psychedelic US bands like Iron Butterfly or the music of British blues rockers like Brian Auger and Julie Driscoll. Keyboardist Christian Trachsel contributes some progressive moments and guest musician Ralf Nowy adds a classical touch. As already mentioned, the vocals are sung in German by Jemima and Peter Randl. The latter prefers a more aggressive, agitated, declamatory style, as known from various German political rock bands of the early '70s. The recordings were made at the Union Studios in Munich, where a young sound engineer named Reinhold Mack is said to have assisted the band and provided the mix. From the mid-1970s, Mack went on to make a career as a sound mixer and producer for the likes of ELO, Sparks, Deep Purple and, most notably, Queen."

Die Young, Die Broke. A new mantra for the most depraved connoisseurs of psychedelic punk. For fans of Mainliner, Brainbombs, Les Rallizes Denudes, Stooges, Motörhead, MC5. A critique and embrace of self-destruction, esoteric vanity and inevitable ruin. The molten-red LP on Riot Season Records plunges deep into an abuse of distortion, existential doom and primal Stooges-like chaos. LA's acid punk power trio returns to its line up, now wielding a second addition in twin-drum assault. Jasso (guitar/vocals) is seemingly out for blood on this four-track studio album, leading a violent dive into the abyss. Japanese underground fury meets Hendrix's wreckage, fuzz-drenched wah freak-outs compete against raw punk vocals caught in an endless slap back delay. Over-Gain Optimal Death are an acid punk power trio formed in 2008 hailing from Los Angeles, and now currently hiding out somewhere in the South of France. Fronted by guitarist/ vocalist Jasso (Psychedelic Speed Freaks, Antarcticans), they push a special niche product of blown-out extreme psychedelic noise rock. Their sound is enveloped in a total nihilist "No Hope" atmosphere of heavy lyrics and distortion, mating intoxicating pulsing repetition, hyperactive improvisations and out of body guitar solos. Resurrecting US '60s punk and acid-riffage from the likes of Blue Cheer, the Stooges, MC5 and live Hendrix Experience, Over-Gain Optimal Death also draws greatly on the in-the-red sound aesthetic and high energy of the "Speed Freak Underground" and hardcore scene of '80s/'90s Japan. Limited to 300 on molten red vinyl. Housed in matt finished outer sleeve with double sided insert, download code and hype sticker.

2025 restock. Souffle Continu presents Byard Lancaster -- The Complete Palm Recordings 1973-1974, the definitive seven LP deluxe package of Philadelphia born jazz wizard Byard Lancaster, including his four legendary albums released on Jef Gilson's Palm Records in the 1970s: Us, Mother Africa, Exactement, and Funny Funky Rib Crib, along with the first ever standalone edition of "Love Always," a fifteen minute modal jazz beauty plus a 20-page booklet with rare photos and in-depth article about Byard Lancaster's Parisian years by Pierre Crépon. At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell, and Ted Daniel. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. He would come back to France in 1971 and in 1973. This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement, and Funny Funky Rib Crib. Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass and the evergreen Steve McCall on drums. A few months after recording Us, Lancaster recorded Mother Africa along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings. The recording of Exactement required two sessions in the studio: February 1st and May 18th 1974. Two names appear on the cover of Exactement: Lancaster (Byard) and Speller (Keno). Funny Funky Rib Crib is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre, this one is an homage to James Brown and Sammy Davis. The magnificent "Love Always" was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975. Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running! On piano, Gilson shows the subtle tact of a sideman, leaving the lions' share of the place to the horns. And if further proof was required of the confidence that Byard Lancaster and Jef Gilson inspire, "Love Always" provides it on this one-sided release exclusive to the box set. Carefully restored and remastered by Gilles Laujol. Graphic design by Stefan Thanneur.

"This is a 32-page perfect bound book of photographs by Fredrik Nilsen documenting three months in 1976 when members of the Los Angeles Free Music Society, aka the LAFMS, occupied studios in the 35 South Raymond building in what was then the derelict district of Old Town Pasadena. Some images were taken as promotional photos for their upcoming infamous performances at the Brand Library & Art Center in Glendale, California in July of that year. Others show the general mayhem that transpired in an ultra-creative moment in the history of this experimental sound art collective. The LAFMS was officially founded in 1975 and continues to this day in various collaborating ensembles and individuals. Depicted are legendary sound artists including Joe and Rick Potts, Tom Recchion, Dennis Duck Mehaffey, Chip Chapman, Juan Gomez, and Harold Schroeder."

Madteo is one of the great eccentric visionaries of electronic music and his new album Misto Atmosferico E Ad Azione Diretta on Unsure once more happens to be a mind-bending piece of art. Misto Atmosferico E Ad Azione Diretta shifts between focused gritty grooves and the long freeform associative adventures that you haven't heard before, never static, sometimes overwhelming, always on edge. The opener "Cans People" is an archaic rave monster, "To Know Those Who" is non-linear dub techno, "Nocturnal Palates" expands the "Filter House" universe and "Rave Nite Itz All Right" hits you hard and strange (yet subtle, in a way). The last two tracks then let loose; Madteo manipulates time, space and sounds to create the psychedelic secrets of "Luglio Ottantotto." And "Emo G (Sticky Wicket)" explores the outskirts not only of house or techno or whatever but music in general, a 15-min-trip through the low frequencies, the rumble, the dark hearts and the enchantment. Breathtaking. Bring The Voodoo Down.

2025 repress; LP version. Obi; includes four-page insert. Wewantsounds present the first official release outside of Japan for The Mystery Kindaichi Band's The Adventures of Kindaichi Kosuke, originally released in 1977. The "imaginary" soundtrack to the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best '70s Japanese Funk musicians, the album is pure undiluted disco funk. Writer Seishi Yokomizo is an institution in Japan. He could be compared to Agatha Christie with his series of novels based on the adventures of detective Kosuke Kindaichi. The fictional character was born in 1946 with Yokomizo's first novel in the series and solved mysteries until the late '70s under Yokomizo's pen before the death of the writer in 1981. Yokomizo's novels have been a prime source for film and TV scenarios, so when, in 1977, Japanese label King Records decided to record a concept album based on the Kindaichi novels, it made complete sense. The writer was slightly surprised though. The concept album was arranged by pianist Kentaro Haneda, a key TV and film composer who has worked on many anime films and is also famous outside of Japan for composing the music for the video game Wizardry. For the album, he assembled a supergroup of some of the best Tokyo funk and city pop musicians. The long list includes jazz pianist Hideo Ichikawa who played on the 1971 Joe Henderson In Japan album, drummer Jun Moriya, who is on Joe Hisaichi's cult Wonder City Orchestra album (1982), percussionist Tadaomi Anai who played with disco singer Eri Ohno, trumpeter Koji Hadori who's featured on Haruomi Hosono's Pacific album (1978). Also present on the album are saxophonist Takeru Muraoka who plays on many Tatsuro Yamashita cult albums including For You (1982) and Spacy (1977), Kimiko Yamauchi (koto) who's on Akiko Yano's landmark 1976 album Japanese Girl (WWSCD 017CD/WWSLP 017LP), and last but not least, French hornist Koji Yamaguchi who plays on Yazuaki Shimizu's Kakashi (1982). Together they lay the funk on ten instrumentals filled with pure disco and funk breakbeats, making the album one of the highly-coveted Japanese LPs on international cratedigger scene. Remastered from the original tapes. Faithfully reproduced original artwork; Artwork by renowned illustrator Ichibun Sugimoto. New introduction by Anton Spice.

2025 restock. Wewantsounds present the first ever vinyl release of Ziad Rahbani's Houdou Nisbi recorded in 1985 and only released on cassette and CD in 1991. One of Rahbani's most praised albums, released on the sought-after Lebanese label Relax-in. Mixing Arabic music with funk, jazz, boogie and a touch of Brazilian music, it is considered a classic among Oriental groove fans, DJs and collectors around the world. Curated by Lebanese DJ and Journalist Ernesto Chahoud. Ziad Rahbani is one of the giants of Arabic music and a cultural icon in the Middle East. The musician, pianist and producer is also a celebrated playwright and a political activist. Coming out of an illustrious artistic dynasty (his father, famous composer and musician Assi Rahbani, was in The Rahbani Brothers and his mother is the legendary Lebanese diva, Fairuz), Ziad Rahbani released a string of key albums in the '70s that have since become cult among DJs and collectors. Heavily influenced by Western music, Rahbani brought these influences to traditional Arabic music early one. 1978 saw the release of two key Rahbani albums, the disco 12" Abu Ali and Bennesbeh Labokra... Chou? (WWSLP 044LP). Serving as musical director to his mother Fairuz, he produced some of her best albums including Maarifti Feek recorded in 1984 at his Beirut studio, By Pass, bringing his blend of modern influences to her traditional sound. At the very same time, Rahbani started recording his own album at By Pass with the cream of Lebanese musicians including saxophonist Tewfic Farroukh, guitarist Paul Dawani, and percussionist Emile Boustani. Bringing funk, boogie, jazz funk fusion and Brazilian music to the mix, Rahbani created a landmark album, Houdou Nisbi now considered one of the best jazz funk albums from the Middle East. Featuring such cult tracks as "Rouh Khabbir", a remake of the Crusaders' "Soul Shadow" sung by Rahbani himself, the modern soul of "Bisaraha" and the Brazilian flavored "For Sure", the album is both effortlessly groovy and steeped in Oriental music. Houdou Nisbi, which means "relatively calm", an expression used by news anchors on Lebanese TV to describe the mood during cease-fire in the civil war that went on between 1975 and 1990. The cassette artwork has faithfully been reproduced for vinyl release. Remastered. New liner notes by Lebanese DJ and curator Ernesto Chahoud in English/French.

45 songs to commemorate 45 years of Sweet Williams aka Thomas House. Patchwork quilt or collaged map, this is his weirdest, funniest and darkest record to date. Thomas House has been busy in the years since Sweet Williams' last LP. Tunes that grew from fragments on old tapes or came fully formed in dreams in the small hours. He was sending Wrong Speed Records a fistful of new songs every couple of weeks. Nobody knew where this was leading. There was a half-joke about House releasing his own version of The White Album. Bringing in neighbor Carl Jehle to co-produce, the pair spent last summer putting Four Five together in long, delirious sessions, stretching through the forty-plus mid-afternoon heat into the balmy small hours. More than a hundred songs were on the table. A significant chunk of the work was completed while House recovered from emergency dental surgery. The results, House says, can be taken as a whole "if you're mad enough," or as three separate LPs. What's clear is that a triple LP has afforded the possibility to stretch out in directions Sweet Williams have not previously explored. Tape loops and warped, sampled voices butt up against brief, punky earworms. Influences are either worn on sleeves or nigh impossible to discern. Ever present, as ever, are repetition, space, and the sputtering growl of petrol guitars. Four Five is a masterpiece. The perfect mix of spontaneity and obsession; of serendipity and sheer force of will. Not to mention maybe the only justifiable triple album ever made. FFO: Hood, GBV, Lungfish, The Breeders.

"Burning Sounds presents a brand-new album from Omar Perry. This is a must-have for reggae fans and music lovers alike! The album, Channelling Lee 'Scratch' Perry, is a tribute from Scratch's son, Omar Perry, to his father. 'Scratch' was, beyond question, a genuine genius responsible for creating some of the greatest, most complex, and thought-provoking music to ever come out of Jamaica -- or anywhere else. His importance to the furtherance of Jamaican music as a producer, arranger, writer, and artist is beyond compare and he played an integral role in, and was the inspiration for, many of the key movements in the development of reggae throughout the '60s and '70s. Omar Perry is an accomplished performer in his own right with an impressive track record and Channelling Lee Scratch Perry leaves the listener in no doubt as to where Omar and Olivier Gangloff, the producer of Scratch's final studio album Heaven are coming from. And every bit as importantly, they demonstrate where they are going -- it's not nostalgia but an intelligent use of the past to create music for the future."

Due to popular demand: Les Disques Bongo Joe are releasing a brand new 7'' of Nusantara Beat featuring the previously-released-digital-only single "Mang Becak" and a new killer track! For their third collaboration with Bongo Joe, the Amsterdam-based band reinvents two gems of Indonesian music on this 7''. Through these tracks, Nusantara Beat fuses traditional sounds with modernity, breathing new life into timeless classics. On Side A, "Sifat Manusia," inspired by Indonesian folklore, delves into the depth and richness of the human soul, delivered through a vibrant and captivating performance. On the B-side, "Mang Becak" pays tribute to 1970s Sunda Pop and the iconic track by One Dee Group, reimagined with a modern groove and irresistible energy. By blending psychedelic textures, folkloric rhythms, and boundless creativity, Nusantara Beat transports listeners into the unique atmosphere of Bandung, balancing respect for musical heritage with contemporary innovation. This new 7'' is a complete immersion into the singular universe of the band, celebrating the diversity and richness of Indonesian culture.

2025 repress. This is the "lost" second album by hard-prog band T2, featuring demos recorded at Decca Studios by the original line-up in 1970, just after the release of their debut masterpiece It'll All Work Out In Boomland (1970). Known also as T2 and Fantasy, 1970 shows T2 at their rawest, featuring the explosive guitar of Keith Cross, the powerful drumming and cool vocals of Peter Dunton, and the fantastic bass playing of Bernie Jinks. Hard cardboard sleeve; includes insert with liner notes and photos.

Music Is A Message From Space is a bracing nine-track LP featuring new and archival recordings, all orbiting around the intergalactic soundscape introduced by Sun Ra. Ra's own acapella track "I Don't Believe in Love," recorded by Ra at home in Chicago during the 1950s, kicks the program off. This intimate private recording is followed by two intense new solo improvisations by French guitarist Raymond "Moncho" Boni, one acoustic and one electric, inspired by seeing the Arkestra preparing for a gig in Arles in 1976. The first side wraps up with Jason Adasiewicz's riveting unaccompanied vibraphone workout on Ra's "Lanquidity" and "Where Pathways Meet," both compositions from the LP Lanquidity. With a completely different take on Lanquidity, side two begins with four wild remixes by legendary Cologne techno pioneer Wolfgang Voigt, using layered samples from the record. Hailing from the intersection of free jazz and out rock, Ken Vandermark's band Spaceways Inc., with bassist Nate McBride and drummer Hamid Drake, continue with a medley of two Ra tunes ("We Travel the Spaceways" and "Space is the Place"), in collaboration with the Italian band Zu. And where the program started in disbelief, love-skepticism, it concludes with Joe McPhee's emphatic loving embrace on "Cosmic Love," a classic tenor/synth sound-on-sound recording from 1970. In its breadth, Music is a Message From Space revels in the omnidirectionality of Ra's influence. The vinyl is strictly limited to 500 copies and features cover art by Emil Schult, who designed classic 1970s LPs for Kraftwerk. The record's inner sleeve reproduces the artworks in Nothing Is: Sun Ra and Other's Covers, a show curated by John Corbett and Albert Oehlen for JUBG in Cologne and CvsD in Chicago, serving as a full-color commemoration of that recent exhibition.

"Antigone is Eiko Ishibashi's new album -- a musical masterwork rife with chilling speculations, all calling from inside her own head! For Antigone, her first album of songs with lyrics and singing since 2018's acclaimed The Dream My Bones Dream, Eiko teases out images from a dystopia not unlike the one we've already got. Hers is suffused with a 'scene missing' quality, its continuity laced with sudden, odd details sprung like traps from within her music's smooth, expansive sound. It's a clash of context with Eiko's serene vocals and the well-appointed precision of the soundscape, uncanny, disturbing, not entirely okay. That's it working! And it keeps ticking like clockwork through the whole album. An accomplished keyboardist/multi-instrumental composer and improviser, Eiko consolidates her conceptions throughout Antigone. On her early song-based albums -- 2013's sci-fi-themed Imitation of Life and 2014's poptastic Car & Freezer, listeners sensed an album-oriented direction, built song by song into an inevitable whole. 2018's conceptually-united The Dream My Bones Dream allowed Eiko to tell stories closer to home. Her instrumental works since then -- 2022's For McCoy (Black Truffle) and the soundtracks for Ryusuke Hamaguchi's films, Drive My Car and Evil Does Not Exist -- have seen her diversity of musical ideas operating in an increasingly integrated long-form presentation. With these transformative encounters in hand, Eiko and her band -- drummer Tatsuhisa Yamamoto, bassist Marty Holoubek, Norweigan accordionist Kalle Moberg, Ermhoi on backing vocals, Joe Talia playing percussion and Jim O'Rourke on Bass VI, synths, etc -- bring a wide array of sounds and moods to the songs here, referencing pop, funk and jazz, ambient, electronic and musique concrète in a seamless flow. Antigone is a bittersweet look at our already-alternate reality, Eiko's jarringly personal vision glimpsed through a latticework of ambitious compositions and on-lock production techniques."

Top-shelf previously unreleased psychedelic pop from 1967-68 by this post-Lomax Alliance Anglo-American trio. A mix of West Coast/Swingin' London sounds with killer vocal harmonies, fuzz guitar, tape/studio effects. Think psych-era Beatles, Byrds, Nazz, Buffalo Springfield, Colours, and The Moon. The convulsed story of Rain involves Brian Epstein, The Beatles, Merseybeat, Liverpool, New York, Linda Eastman (who photographed the band) and more. Basically, when the Brian Epstein-managed band Lomax Alliance parted ways with their frontman Jackie Lomax (who was about to embark on a George Harrison-assisted solo career), his colleagues in Lomax Alliance -- guitarist John Cannon, bassist Tom Caccetta and drummer Bugs Pemberton -- left London behind to relocate to New York, where they changed their name to Rain (after his favorite Beatles track) and recorded a full album with producer Chris Huston (The Undertakers, Young Rascals). Despite the outstanding production, top notch songwriting and superb musicianship, the album never left the acetate stage. The trio played at the Fillmore and did more studio work under the Gypsy Wizards Band name that remained also unreleased, before disbanding in 1969. Tomorrow Never Comes includes all the tracks from the Rain acetate, recorded 1967-68, plus two songs from the Gypsy Wizards Band one (1968-69). Vintage styled artwork in hard cardboard sleeve. Remastered sound. Includes Insert with liner notes by David Wells and rare photos/memorabilia.

LP version. Private hard-rock ultra-rarity from Texas, only 200 copies pressed back in 1975. A mystery for many years (all the band members used pseudonyms on the album credits), many people failed to track the band down -- until Out-Sider solved the mystery in 2015 when the label located them and reissued the album. Long out of print, Out-Sider now presents a new edition. Formed in 1974 in Houston, Stud featured the killer lead guitar of 17-year-old genius Tim Williams, the brutal Rickenbacker bass attacks of Paul Eakin and the solid as a rock drumming of George Lasher. The chemistry was born since they first starting played together and after many rehearsals, they decided they were ready to record their first album. So they entered the Barons Studios in Rosenberg and Stud was the result. Powerful hard-rock on songs like "A woman like you" or "Jim/Blues," killer boogie-rock, hard-psychedelic jams, and progressive hard-rock on the impressive "The War Aong." RIYL: Morly Grey and Incredible Hog. Original artwork in hard cardboard sleeve plus OBI. Remastered sound. Color insert with unseen photos and liner notes by band member Paul Eakin. Includes download card.

LP version. Debut album from Bolton-born gothic-folk songwriter Toria Wooff. English folk is about to enter a beguiling new era; tales of the beautifully strange. Singing stories woven of love, loss, hope, and womanhood, Toria Wooff's self-titled debut album offers an antidote to demons; a contemporary twist on the Anglo folk which whisper a word to the wise; never judge a book by its cover. Like tales of the unexpected lingering in the dewy mist of the Lancashire moors surrounding her hometown, Toria Wooff is anything but linear. With each song written independently of the other, and yet, working together like a compendium of short stories in a well-thumbed cloth-bound novel, hope lies at its heart and buckles under emotional weight like the hefty influence of the gothic literature, ghost stories of English medieval scholar M.R. James, and the British Library's Tales of the Weird adorning her bookshelves. The artwork even sees Toria herself, lounging across a church pew in the haunted 15th Century Medieval Mansion, Stanley Palace. Both an exorcism of torment and an invitation to feeling the good, it offers a more palatable pill to swallow. Album opener "The Plough" and imagined ghost story "The Waltz of Winter Hey" explore the physical and metaphysical truth of womanhood, whilst love and commitment eeks through the cracks on reassuringly uplifting "That's What Falling In Love Will Do." Elsewhere "Song for A" and "Lefty's Motel Room" contend with the impact of death, lovingly reviving the spirit of her own MIA partner-in-crime, Alicia. Whilst tugging at the cloaks of contemporary folk souls Jake Xerxes Fussell or Richard Dawson, each track also transcends time with roots deeply entwined in the seventies lyrical narratives of Led Zeppelin, Fairport Convention, and Townes Van Zandt. Recorded with producer and mix engineer James Wyatt, at his Sloe Flower studio in Chester with the organ recorded in Wales, the objective was simple; show restraint. With Toria's reassuring vocals and guitar taking the lead, it is only at the end of "Sweet William" when the band join in, whilst rousing strings on "Seeing Things Through" crescendo at the perfect point through instinct rather than intent -- adding its own challenges.

Acetate only album recorded in 1969 by the early line-up of '70s UK progressive rock band Black Widow, featuring female vocalist Kay Garrett. Including the original versions of material that would be re-recorded and released as the band's debut 1970 album, the occult-rock classic Sacrifice, like their demonic anthem "Come To The Sabbat." Heavy prog sound with hard guitars, sax, flute, keyboard and occult/dark lyrical themes. Originally known as Pesky Gee!, Black Widow formed in Leicester in 1969. Influenced by Hammer horror films, they combined progressive hard rock, jazz, and folk influences with occult and black magic imagery. Their stage performances often included ritualistic elements, including mock sacrifices. Remastered sound. Hard cardboard sleeve. Includes insert with liner notes by David Wells and rare photos / memorabilia.

Third vinyl edition. 40th anniversary remaster. 140gram, galaxy swirl sea blue & ultra clear vinyl. "Steve Roach's 1984 Structures from Silence is an ambient classic. Projekt celebrates Structures' 40th anniversary beautiful remastered edition. The breathing, suspended embrace of atmospheres and serene melodies instantly struck a chord with listeners in 1984; the album continues to reiterate its timeless resonations with new listeners today. This landmark recording of gentle proportions was the birth of something new: an original and pure balance between diaphanous and understated, deep and reflective. Pitchfork: 'Top-40 Best Ambient Albums of All Time. Contemplative bliss, full of purring drones and high notes that shimmer and fade. Like a desert mirage, these structures hover forever at the horizon, an oasis from the din surrounding it.' Structures From Silence remains an iconic American release in the ambient and electronic genres. A well-respected soundtrack for contemplation, relaxation, meditation, and creativity, it's emotional, powerful, and enriching. It is a living example of music's true healing quality. Yoga Journal Magazine: 'Top ten all time releases for Yoga.' Rediscover this timeless classic. The new mastering reveals the stillness within, setting the tone for the next 40 years of silence. Drawing from his 44-year dedication to the evolution of ambient-atmospheric-electronic music, Steve Roach is an internationally-renowned artist who creates timeless ephemeral and empowered spaces that sooth, inspire and enlighten."

An unusual detour in the Robert Wyatt catalogue, Radio Experiment Rome was recorded in February 1981, when the ex-Soft Machine drummer had been invited to record some material in-progress for a radio broadcast. The tone of these sessions is characterized by a free-roaming experimentation, laying down eight-track recordings of vocals, piano, hi-hat, jaw harp and a variety of analogue tape effects. This is Wyatt unhinged and completely let loose from the agenda of proper album recording: there's no eye on a finished, commercially viable product here, and the scope of the project takes in jazzy soundscapes like "Heathens Have No Souls," exquisitely melodic piano pieces like "L'Albero Degli Zoccoli," vaudevillian vocal tuning experiment "Billie's Bounce" and the politicized rant-poem "Born Again Cretin," about the imprisonment of Nelson Mandela. "I was invited to go for a week just to record the actual process of my working. Of things like that which I've seen, for example on painters, with the honorable exception of Picasso who worked on a piece of glass, people tend to cheat a bit and do an actual finished performance in front of the cameras. But I thought 'If they really want to see how I work before I know what I'm doing, then that's what they're going to get and if during that week something comes out of it, then it will do, but if it doesn't then that will be more honest.' I deliberately went in there and improvised what I was doing as well as how I did it. The point wasn't to have a finished result that could be listened to, the point was to see a process. It's only in retrospect that I can see that bits of some of them have some kind of coherence." Robert Wyatt recorded for Un Certo Discorso, a Rai Radiotre programme by Pasquale Santoli with Francesca Albini, Teresa De Santis, and Sabina Sacchi Rome, sala M, Centro di Produzione Radio Roma, February 16-20, 1981.

A limited edition of 300 copies. Imagine a road trip aboard a beautiful American convertible, the landscape passes by and you can hear this warm '60s soundtrack of Santa Maria Death Trip somewhere between the surf rock of La Luz, the sunny pop of Allah-Las and the psychedelic garage sound of their Perpignan fellows The Limiñanas. After two EPs, critically acclaimed by the French specialized press like Rock & Folk and Rolling Stone, here is their first full-length album Lili's Garden, released on Staubgold.