"Open Vocal Phrases, Where Songs Come in And Out and Sketches For World of Echo (AU 1029CD) offer two intimate unedited Arthur Russell solo live performances recorded at Phill Niblock's Experimental Intermedia Foundation in Downtown NYC on 12/20/85 and 06/25/84. Phill curated and produced with Arthur both concerts at EI that would become part of the foundation for the World of Echo album. These extraordinary performances were recorded 18 months apart between 1984/85 by Steve Cellum and overseen by Phill and Arthur. Arthur would later edit sections from both concerts merging it with studio material recorded at Battery Sound to finalize the World of Echo album released in 1986. The double vinyl LP for Open Vocal Phrases, Where Songs Come in And Out includes the complete nineteen-minute-plus version of 'Tower of Meaning/Rabbit's Ear/Home Away' along with the previously unreleased songs 'That's The Very Reason,' and 'Too Early to Tell.' Side four includes two instrumental performances from the 06/25/84 Sketches for World of Echo performance, 'Changing Forest' and 'Sunlit Water' along with a full color insert and liner notes from Audika Records and Arthur Russell archivist Steve Knutson."

"Open Vocal Phrases, Where Songs Come in And Out and Sketches For World of Echo (AU 1029CD) offer two intimate unedited Arthur Russell solo live performances recorded at Phill Niblock's Experimental Intermedia Foundation in Downtown NYC on 12/20/85 and 06/25/84. Phill curated and produced with Arthur both concerts at EI that would become part of the foundation for the World of Echo album. These extraordinary performances were recorded 18 months apart between 1984/85 by Steve Cellum and overseen by Phill and Arthur. Arthur would later edit sections from both concerts merging it with studio material recorded at Battery Sound to finalize the World of Echo album released in 1986. Double CD digipack with full color insert and liner notes. 2CD contains the complete Sketches performance."

Thought Leadership's III Of Pentacles is an instant classic and glides into the pantheon of timeless guitar-soul totems. Originally out on cassette only, Be With presents the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this. Thought Leadership has already garnered big support from such tastemakers as Ruf Dug, Jason Boardman, Nathan Gregory Wilkins, J Walk, Evan Woodward, Justin Robertson and Heavenly's Jeff Barrett. They reside in Stockport and are obsessed with ethereal guitar records. Captured on a multitrack recorder in a terraced house in Stockport, this is as DIY as it gets. Glaringly obvious is a love for classic Factory and early 4AD. Perhaps it is the proximity to the River Mersey where the ideas arrived, and there being but three miles between where this and the Durutti Column's classic LC was recorded, as the two operate across a familiar aural plain. Be it geographic or otherwise, limited by a true economy of means, namely guitar, pedals and drum machine, the fruit borne from these humble tools has been indelibly shaped by the perma-gloom that hangs low over the Manchester and Stockport environs. Think Sensations Fix or Göttsching at his most peeled out. Drones, ambient drifts of broken chords and distorted lead lines all swirl round the mix. Carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever after its initial tape release. 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 original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With. Its stark presentation befits the music contained within. RIYL: Durutti Coulmn, Cocteau Twins, Dif Juz, Sensations Fix, Spike.

1999 DJ Tool: "Cassius 1999," "La Mouche," "Feeling For You" and other classics tracks as never heard before. Unreleased double vinyl album featuring eight exclusive extended versions of the most iconic tracks from the album 1999, and a short story-liner notes by Boombass. 1999 DJ Tool has never been released before ? it was only sent to some VIPs years ago as a promo vinyl boxset while the 1999 album was released. "Daft Punk's groundbreaking album Homework had just opened the door for French electronic music to reach global audiences. For artists rooted in DJ culture, this was a turning point. French acts were finally being invited to play at burgeoning festivals and iconic clubs. The British audience was the first to embrace us, and weekend after weekend, we toured the UK. Inspired by those nights behind the decks, we suggested releasing a vinyl featuring extended versions of tracks from 1999. Designed as a promotional DJ Tool, it celebrated expansive, long-form tracks reminiscent of the ones we loved to play, an homage to our early experiments with endless loops, like Dinapoly from 1996. The vinyl was pressed in an extremely promo limited series, echoing our early maxi-singles and the rare records we used to hunt for as collectors. For fans, it was a chance to own something truly unique; for us, it was a final opportunity to re-explore the album's music. Produced in the style of La Funk Mob's EP, with the two of us in a recording booth surrounded by floppy-disk machines and two or three synths, the album's songs were structured and mixed directly in stereo on a DAT (digital audio tape). "Most tracks, originally very long, were edited into a coherent, hour-long listening experience. The DJ Tool was assembled from those original mixes, as a final, free-wheeling variation of our three weeks of fun in the studio. Holding that vinyl today brings back vivid memories of those early travels, the nightclubs at the cusp of transformation, the crowds getting younger at new parties, and the vinyl records that were just starting to fade from DJ booths."

LP version. "This album has been a long time coming. We were lucky enough to do a tape in 2022 with Jeremy Hurewitz (aka Rootless) called what the truth leaves out. But this is the first time we've been able to work with long-time fave, Matt Lajoie, who appears with Ash Brooks as half of the no-longer-active duo, Starbirthed. The idea for this pairing was presented to us by Jeremy, who recorded the album at his cabin in southern Vermont in 2019. Jeremy's Rootless project generally features at least a soupçon of acoustic guitar (often combined with electronics or other things) and Starbirthed was initially canted towards producing music for meditation, although their instrumentation -- voice, bass, guitar, synth, bells, etc. -- also meant that some of the recordings possessed more of a gentle free rock heft than anything overtly new agey. Anyway, soon after the session, the Plague hit, the members of Starbirthed decided to go their own ways, and everything got sorta dragged down in the torpor of the times. But Jeremy persisted in wanting to get the session finished and together, and he succeeded quite admirably. The music on Rootless & Starbirthed is a glorious celebration of what I'd describe as a rural utopian vision of possible futures in which the world does not go straight into the shitter. This is music that glows with kind of positive energy that might be galling if it didn't sound so great. Both Rootless and Starbirthed (as well as Matt's many other projects -- Herbcraft, ML Wah, etc.) are about creating an atmosphere in which beauty thrives as much as anything else. And this great collab LP flows like a newly discovered river, carrying us away from the anxiety and insect paranoia of our quotidian reality. Positing something better, just around the corner. Something we are not yet able to see, but which might. just. save the day. This might sound like old man hippie thinking, but that's cool. I've been called worse. And so have you." --Byron Coley

Thirty-two artists honor the extraordinary legacy of Suzanne Langille through interpretations of her vast songbook. Langille is best known as an acclaimed avant-garde singer-songwriter and collaborator of guitarist Loren Connors. They ventured into electrified blues and abstracted artsongs across more than a dozen albums since the mid-1980s. Langille's songs, with Connors, solo, or other collaborators, are marked by distinct and captivating depth. Her evocative lyrics, layered with themes of loss, longing, and the natural world, defy conventional boundaries, blending poetry with potent melodies. Her work embraces the uncertainty of life and the delicate spaces between joy and sorrow. The double CD includes a 20-page booklet with artist bios, rare photos, and liner notes tracing Langille's roots from a cappella harmonies to 1980s protests through today. This Connors-produced collection is a joint release by Family Vineyard and Feeding Tube Records. The Suzanne Langille Songbook features a diverse array of artists who reinterpret her music, showcasing its timeless and transformative power. Contributors include Kim Gordon & Bill Nace, Jim O'Rourke, Heather Leigh, Lee Ranaldo, Zoh Amba, Sarah Davachi & Sean McCann, William Hooker, Daniel Carter, Alan Licht & Angela Jaeger, David Grubbs, Alison Farrell, Byron Coley, Ras Moshe Burnett, Loren Connors, Tom Carter, Ronnie Yates & Gabriel Martinez, Neel Murgai, Novaga, John Kolodij & Jane Hesser, Kim Gordon & Bill Nace, Andrew Burnes, Dean Roberts, Boris Hauf & Andrea Belfi, Laura Ortman, and Adam Casey & the Liminal Choir with Katherine Walsh.

I Know the Number of the Sand and the Measure of the Sea is the first collaboration of Lea Bertucci and Olivia Block. This collaboration was set into slow motion some years ago, in 2017, when Lea and Olivia connected through an interview facilitated by writer Steve Smith. In 2022, the artists finally had a chance to collaborate, performing an improvised set at Pioneer Works in New York City. Since then, the New York based Bertucci and Chicago based Block remotely built out ideas stemming from their live performance, passing sounds back and forth, until I Know the Number of the Sand and the Measure of the Sea was forged into existence. The title is a famous utterance of the Oracle of Delphi, a cult of female priestesses who would inhale the poisonous vapors of nearby volcanic vents to induce mystical visions for their seekers, often changing the course of civilization. Getting high from the earth. That is what this album hopes to achieve for our listeners. This collaboration sees Block playing synthesizer and tape, and Bertucci using her own voice processed through reel-to-reel tape, as well as microcassette collage of field recordings. Recorded and mixed by Olivia Block and Lea Bertucci. Mastered by Lawrence English at Negative Space Special.

2025 price reduction, last copies... LP version. Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs. The group was born out of Bristol's Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date, including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, Chester Giles, and Killing Sound (Childs with Kidel and Vessel). Jabu's previous 7" singles, though arresting, barely hinted at the level of accomplishment and emotional heft that Sleep Heavy delivers. It's a future Bristol classic with a universal resonance, with songs that are highly personal but deeply relatable, and a tripped-out, time-dissolving sound design that both haunts and consoles. It is, first and foremost, a meditation on grief, loss, making sense of separation, and death; but it also looks forward to what might come after the aftermath: healing, acceptance, the chance to begin again. Childs is one of the most gifted producers of his generation and his work here, grounded in hip-hop but floating free, is a thing of sustained wonder: crepuscular, melancholic, subtly psychedelic, and heavily dubwise, but always concise and purposeful. Stitched together from deep-dug and beautifully repurposed samples, it draws on influences from US R&B to Japanese art-pop minimalism -- Mariah to Mariah Carey, if you will -- and a rich seam of underground UK soul, boogie, DIY/post-punk, library music, and lovers rock. There is also of course a distant connection to the Bristol blues of Smith & Mighty and the sultry urban gothic of Protection-era Massive Attack (1994), but Jabu's orchestration of womb-like ambiences, cold synth tones, and brittle beats feel entirely sui generis. They provide the perfect setting for Rendall's wounded, imploring and carefully weighted vocals, which are no less extraordinary: nodding to giants like Teddy Pendergrass and The Temptations in terms of phrasing and front-and-center vulnerability, with something of The Associates' Billy MacKenzie in there too; defeated but defiant. Meanwhile, Jas's heavenly interventions, sometimes leading but more often parsed and layered into tremulous, gossamer abstraction, draw a line between the Catholic choral harmonies of her childhood and the ethereal, oceanic sweep of Cocteau Twins. By its end, Sleep Heavy's world-weariness is intact and scarcely diminished, but some light has been admitted, and is visible from the sea-floor.

2025 repress. Hydroplane reinstate their formidable 1997 debut of sublime guitar atmospherics, fragile lyricism, and droning incidentals with an overdue vinyl reissue. An offshoot of the now-fêted The Cat's Miaow, the trio formed after drummer Cameron Smith decamped to London, charting new territory with tape loops, manipulated samples, and a borrowed Jupiter 4 in the wake of Endtroducing. Adopting a handle that Dean Wareham once considered calling Luna, Hydroplane intended to only ever release Excerpts From Forthcoming LP (1996), a single-sided 7" sonic collage, before imploding in mystery. Their label however insisted they deliver their taunted album. From the comfort of a Brunswick flat, they continued to record soaring melodies and restrained song structures to 4-track, sculpting dramatic Radiophonic Workshop cues weighted in reverb and near-perfect dream pop lead by Kerrie Bolton's empyrean vocals. Bored of industry expectation and largely ignored by local audiences, the reluctant performers followed the way of The Cannanes and formed meaningful overseas alliances by mail and phone, securing releases on Michigan outpost Drive-In and Broadcast launching pad Wurlitzer Jukebox. Championed by John Peel with twenty spins on his converted Radio One slot and even polling in Festive Fifty of 1997, the humble three-piece still walked to their neighborhood shops undetected. Previously only available as a US-issued CD, this reminiscent late-night suite establishes Hydroplane as an everlasting ember in Australia's beloved indie nexus.

2025 repress; LP version. Kingston Sounds present a reissue of Tapper Zukie's Black Man, originally released in 1978 as a Jamaican-only release on Tapper's Stars imprint. Long deleted, it has become a classic in Mr. Zukie's vast canon of musical biscuits and is well overdue this worldwide release for the first time. Tapper Zukie (b 1956. David Sinclair, Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica, between the districts of Trench Town and Greenwich Farm. Living pretty much on the streets from an early age, the youths including the young Tapper had no choice but to fall into the hands of the political parties that controlled various ghetto areas of the town. Music seemed like the only way out of a life of crime and gang culture. A path that Tapper Zukie found by the mid-1970s was establishing himself as a named star on the DJ Roots circuit. Back home in Jamaica he was also getting a name for his production work for other local singers such as Prince Allah and the group Knowledge. To release these productions and his own material in Jamaica, Tapper started up his own label called Stars. It's this label that saw the initial release of this album Black Man. A great collection of Tapper tunes such as his biblical cut "My God Is Real", "Revolution", the title track, and some work overs of some of his fellow Jamaican artists like "Poor Man Problem", a work over of Johnny Clarke's "Blood Dunza" and also Mr Clarke's "Leggo Violence". "Yaga Yaga" is a re-working Horace Andy and Tapper's big hit "Natty Dread Ah She Want", and "Gather Them" is a reworking of Knowledge's tune of the same name with the help from bands like Jah Wisdom and Delroy Fielding. A great collection of tunes and reworkings that will hopefully find a wider audience with this reissue.

Donato Basile AKA DJ Plant Texture always wants his music to tell a story, and with his debut EP on Tresor Records, entitled Life, he's now trying to tell the biggest story there is. According to the artist, "Life is about the fear of growing up; both the anxiety itself and acknowledging and moving past it." This narrative seems to have struck a chord with those who have heard the track. Having used an MPC since the early 2000s, Basile feels an intuitive connection to the hardware he uses, and so the creative process is very spontaneous. This immediacy, and familiarity with his equipment is apparent on the A-side, where Basile's previous life as a drummer comes to the fore and tracks like "Cycles" and "Ripetivo" display his native understanding of groove but also how to stir things up -- the three A-side tracks find classic techno rhythms seemingly falling apart only to snap back into place even stronger. The B-side finds Donato exploring more of his melodic side with "WTT" and the aforementioned title track showing Plant Texture's love of breakbeat and classic techno.

2025 repress; LP version. 180 gram vinyl, half speed mastered; heavy sleeve with obi and gold ink. We Release Jazz announce the official reissue of Hiroshi Suzuki's Cat, a glorious jazz-fusion-funk holy grail originally released in 1976. Cat was recorded in October 1975 at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two-day session of groove magic. The chemistry was still intact. The skills and style had grown. The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums). Celebrated in jazz collectors circles, in the lo-fi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike. Sourced from the original masters. Liner notes by Teruo Isono.

"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.