Hardcover, 656 pages, 500 color images. 28 × 21 cm. "A massive photographic archive of Lee 'Scratch' Perry's legendary recording studio. A 600-page tribute to one of the most famous locales in music history, Black Ark is a detailed inventory of photographs and writings from the Black Ark Studios in Kingston, Jamaica, where producer Lee 'Scratch' Perry created music from 1973 onward. The eclectic and constantly evolving decoration of the studio provides an enduring visual counterpart to Perry's expansive musical catalog. From mural paintings to shape-shifting assemblages of records, instruments, found objects, posters and newspaper clippings, the artworks layer upon one another as they intertwine with the studio building itself. Perry created his own dense and diverse world in which to work: memorialized in this volume before the Black Ark disappears for good. The photographic documentation of the studio in the spring of 2021 was supplemented by efforts to secure and preserve Perry's works, objects and recordings as part of a joint project with the Smithsonian Institution in Washington, DC. Black Ark reflects the rhythm and layering effects of collage both in its content and the materials used to craft the book. Perry was involved in the development of this publication until his death in August 2021. The book closes with memorial essays from Ishion Hutchinson, David Katz, Kodwo Eshun, and John Corbett. Lee 'Scratch' Perry (1936-2021) was a musician and producer best known for pioneering the dub genre in the 1970s. He worked with well-known Jamaican artists such as Bob Marley and the Wailers, the Heptones, the Congos, and Max Romeo. In 2003 he won a Grammy Award for Best Reggae Album."

First time reissue of Japan/US free jazz rarity. Old-style gatefold LP with rare photographs and liner notes by Ed Hazell. Edition of 1000. The 1970s were Marion Brown's most searching decade, a period during which he sought to move beyond the free jazz of the previous era and find more personal approaches to structuring improvisation and composition. After leaving New York for Europe in 1967, Brown began reshaping his music into what he described as "a more deliberate kind of music that had more structure to it," pacing it so that moods and modes could develop over time. Albums such as In Sommerhausen, Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying trace this evolution: rhythmic structures moved to the foreground, harmony receded, and composition became a matter of orchestrating interlocking rhythmic parts as one would polyphonic lines. Released in 1976, Awofofora is an overlooked but crucial entry in that sequence. At the time, its use of funk and reggae beats, electric guitars, and grooves drawn from contemporary Black popular music led some to misread it as a jazz-rock detour. In retrospect, it is entirely consistent with Brown's methodology. As he admired in the Art Ensemble of Chicago, the stimulus comes from within the community. Here Brown filters Afro-Caribbean rhythms and funk through his own sensibility, abstracting their structural qualities rather than adopting surface style. "La Placita," making its first recorded appearance, layers distinct rhythmic phrases in a manner reminiscent of African drum ensembles, over which Brown and trumpeter Ambrose Jackson spin extended improvisations. The standard "Flamingo" is reshaped through diasporic rhythm and lyrical soloing, while "Pepi's Tempo" and "Mangoes" harness crisp funk and reggae grooves to generate what Brown called a "manifestation of community" through collective improvisation. Even the overdubbed solo feature "And Then They Danced" reflects his structural thinking, ingeniously re-voicing a duet composition for two alto saxophones performed by one player. This was the only recording by a short-lived band that briefly polarized audiences during festival appearances in 1976. Yet Brown consistently sought unity across change: different sounds, same principles -- rhythm as structure, melody as architecture, collective improvisation, and above all, the primacy of tone. Awofofora stands not as a departure, but as a vivid synthesis of the elements he had been refining since the late 1960s, its grooves and golden alto lines conveying a sound drawn, in his words, "from life and from the world of experience."

First time reissue of free jazz rarity, pre-Seikatsu Kōjyō Iinkai group. Old-style gatefold LP with rare photographs and liner notes by Alan Cummings. Limited edition of 500. The single album self-released by the quartet Shūdan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo's free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In free jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the center: a cramped basement beneath a rice shop, seating just 20 people. Among the most active of the new venues was Alone in Hachiōji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene. In early 1976, Umezu and pianist Yoriyuki Harada -- recently returned from New York's loft jazz environment, where they had played with musicians such as David Murray and William Parker -- formed Shūdan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning "mass evacuation," pointed to their self-chosen exile in Hachiōji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms. They returned to Alone on December 24 to record Sono zen'ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. Alone closed in September 1977, and Shūdan Sokai soon dissolved, later morphing into the expanded Seikatsu Kōjyō Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.

"The title track for Lupo Città's second LP, Inverno ('winter' in Italian), was born in January 2023. Written in waking sleep at 4 am. Looking out the window at the winter world below when it's too quiet, no one is around, but anything and everything feels possible. Lupo Città wrote the songs for Inverno by instinct: each song, in viscera, a life and personality of its own. Chris, Jenn, and Sarah each brought in songs at different stages, in different forms and moods. Some came together fast, others took long. Some songs had to be stripped, slowed down or sped up, while others were completely gutted and rebuilt. A hard coming out of post-COVID lockdown, trying to relearn to live outside of isolation. Moving from the dark of winter into light, a jarring shift, the world was changing so fast in such stark contrast between the quiet isolation the world settled into with close friends and family. While Lupo Città's debut was melodic, energetic, world-weary, sometimes chaotic, Inverno is out on a limb, taking a risk, and not caring at all how it turns out. Inverno is a snapshot of the bad and good, trying to stay awake and be present, fighting off the sleep of winter and the lure of time standing still. Writing, playing, listening to music is essential, now, more than ever, for survival amidst uncertainty, doubt, dystopia, grief, loss, blindness, vision, and love. This is Inverno."

Ste Cy, the latest studio offering from the trio of Jac Berrocal, Vincent Epplay, and Timo van Luijk, ripens like a forbidden fruit -- born of an improvised instrumental session captured in the secluded hush of Kulta Saha by Timo van Luijk. These raw recordings were later reshaped into 12 songs by Vincent Epplay at Studio Villejuif in Paris. And over it all drifts the poetry of Jac Berrocal -- sensual and incendiary, seeping into the music like spice into flesh. Jac Berrocal: voice, words, trumpet, double bass; Timo van Luijk: guitar, piano, vibraphone, percussion; Vincent Epplay: field recording, drums, percussion, EMS Synth A, Noizoid OCS 2, double bass.

Slipcase edition with 8-page booklet. 250 copies. Metaphon presents this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy. Liliane Donskoy (1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis. Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions. Donskoy's oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication. Anthology produced by Timo van Luijk. Mastering by EARLabs. Booklet edited by Vincent de Roguin. Design by Meeuw. Also available as hardboard linen box set edition with 8-page booklet and download code (METAPHON 026BOX).

Wired was an ephemeral improvisational music project formed by Michael Ranta, Karl-Heinz Böttner, and Mike Lewis. On April 28, 1970, the trio recorded an extended studio session of approximately 140 minutes, in collaboration with Conny Plank, who engineered and mixed the recording in real time, incorporating elements of live electronics. This session was subsequently edited to album length and released in 1974 as part of the Free Improvisation 3LP box set issued by Deutsche Grammophon, alongside recordings by Iskra and New Phonic Art. Owing to its exploratory electric sound world and Plank's distinctive spatial production techniques, the Wired recording acquired a degree of underground cult status, particularly among listeners associated with krautrock and psychedelic improvisation. Shortly after the studio session, Ranta and Böttner travelled to Japan, where they spent approximately six months performing with Karlheinz Stockhausen at Expo '70 in Osaka. In addition to these activities, they engaged in various independent musical projects and performances. The present release, sourced from the personal archive of Michael Ranta, documents a live duo performance by Ranta and Böttner, recorded on 27 July 1970 in an outdoor setting in Kyoto (the exact location remains unknown), before an audience of approximately 200 music teachers. The recording exhibits sonic and aesthetic characteristics closely aligned with the previously released studio material, retaining the distinctive "Wired" sound while situating it within a live, site-specific context. Production: Timo van Luijk. Painting: Wayne Jacob. Mastering: EARLabs. Design: Meeuw.

Originally released in 2025. N1_SOUND and Ras Yunchie join forces on an 8-track LP that transcends both definition and generation. Inna DJ Style marks the Toronto veteran singer's first-ever vinyl release. Pairing four vocal cuts with four dub versions on the B-side, Inna DJ Style bridges experimental dub, digi, and roots, embodying what Ras describes as an "open" sound -- one that draws from reggae traditions while boldly breaking new sonic ground. N1_SOUND first encountered Ras' distinctive voice and soaring falsetto at Toronto sound system parties. A cornerstone of the city's reggae scene, Ras Yunchie has been performing since 1983 and remains a vital presence more than 40 years on. His contributions have been recognized with a Lifetime Achievement Award from the National DJ Association, alongside titles such as DJ of the Year, DJ Sound Champion, and winner of the 1985 DJ Sound Clash. While the rhythms pulse with heavy bass and the three-dimensional lead melodies synonymous with N1_SOUND, it's Ras' vocals that make Inna DJ Style truly shine. Each track was recorded in a single take and left largely untouched -- a testament to the raw talent and enduring artistry of the 61-year-old singer. Across the four vocal cuts, the alchemy of contrasting styles, influences, and lived experience highlights how collaboration can push sound and genre into bold, unexpected territory.

WRWTFWW Records releases The Gentle People The Peel Sessions, available on vinyl for the first time ever, in conjunction with the worldwide expanded reissue of the group's Soundtracks for Living. This is an exclusive four-song EP recorded in 1997 on BBC's Peel Sessions, as The Gentle People were doing the rounds for the release of their legendary debut album. These live versions have never seen the light of day before -- a must have for all the gentle fans!

2026 restock; double LP version. "In 1984, four years after the release of my first solo album Synthesist on Sky Records, I wanted to produce a new solo album. At the time I was operating on the fifth floor of a former backyard factory on Graefe-Str. in Berlin Kreuzberg with my Neue Deutsche Welle Band Lilli Berlin. We'd turned the space into a small music and rehearsal studio where we set up a Tascam 8-track tape recorder, a 12- channel MM mixer that roared like hell, a Mini-Moog and a Roland Jupiter-6 synthesizer. This is where the basic recordings for Oceanheart were made. Essentially sequences and chords, which I then added piano, drums, Indian tablas and solo voices to in Christoph Franke's (Tangerine Dream) studio in Berlin Spandau. It was then mastered on a Betamax video recorder -- at that time the non-plus-ultra of modern stereo recording technique. Oceanheart was released on Sky Records in 1985. At the beginning of 2022 Gunther Buskies, owner of Bureau B label, had the inspired idea to expand the planned re-release of Oceanheart with a remix album and to call it Oceanheart Revisited. Around the same time, I met Tobias Stock through my friend Chris Mick. Tobias, a qualified electronics engineer and musician, had put together a complex, top-class analog studio over 20 years of meticulous and passionate collecting -- bringing each of the numerous component parts back into the best technical state with his own hands. There are only few studios of this kind and quality in the world and it was here, in his 'On TAPE' Studio, we created the analogue mixes of Oceanheart Revisited on a NAGRA 2-channel tape machine. I really enjoyed working on Oceanheart Revisited and I'd like to share this experiment with you." --Harald Grosskopf, January 2023

2026 restock. Legendary and pioneering Träd, Gräs och Stenar is considered Sweden's oldest rock band to play psychedelic underground music. The group originally formed in 1967 as International Harvester, later became Harvester, and eventually evolved into Träd, Gräs och Stenar. Their unique blend of psychedelic rock and traditional Swedish folk music was groundbreaking at the time -- and still resonates with new generations of listeners today. This long-awaited "Green Album" from 1970 marks their very first release under the name Träd, Gräs och Stenar. Now, for the first time since its original release, it's being reissued on vinyl-complete with rare photos, an in-depth story, and a 30x60 cm poster. Decades later, the band continues to perform under the name TRÄDEN, now with only one original member. He is joined by a new generation of acclaimed musicians, who are keeping the spirit alive and carrying the sounds and legacy of Träd, Gräs och Stenar into the future.

LP version. Maroon color vinyl. "The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting's self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. Setting harnesses the euphoria of communal creation. 'This is one of the most joyous albums I've made with other musicians. It felt like we were all in the slipstream,' notes Fennelly. Bowles adds: 'Making this is maybe the easiest thing in my life; it's not struggle music. This collaboration feels like it's just coming out of the air, like it's breathing.' Fennelly's synth programming acts as a guiding light, bending pieces into dynamic arcs and imbuing them with swirling hues, while rhythmic push-and-pull between Westerlund and Bowles lends an elasticity to each track's warp and weft. Their working methods have found a kindred traveler in Adam McDaniel from Asheville's Drop of Sun Studios, whose engineering and production work forms an indispensable piece of the album's dynamism and luminescent fidelity. Across the five pieces, the trio make deft use of their seemingly infinite palettes to mold landscapes that appear familiar at first glance before glowing with vibrant new colors as the whole picture sets in. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive."

Silver vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."

Hand-assembled offset-printed sleeve. Limited edition of 250 copies. Hawk Deh Near marks the return of MT Gemini with his most intense and uncompromising release to date. The title draws from the Jamaican proverb "Chicken merry, hawk deh near," a phrase balancing humor and warning, and encapsulating the album's central tension between apparent lightness and underlying threat. Leaning toward incantation rather than genre, Hawk Deh Near treats reggae as raw material. Fragments of rhythm, melody, and texture are pulled into abrasive hypnotic compositions where repetition, saturation, and warped psychedelia destabilize familiar forms. The result is a music of deconstruction: raw, ritualistic, and emotionally immediate. The album was recorded, produced, and mixed by Yannick Franck using a process deliberately opposed to hyper-controlled digital production. Texture, imperfection, psycho-acoustic phenomena, and instability are foregrounded, allowing distortion, accidents, and ambiguity to actively shape the music. MT Gemini is Franck's long-running avant-dub project, fusing Jamaican forms such as ska, rocksteady, and dancehall with unorthodox electroacoustic practices. Rather than revivalism, the project operates through mutation and fabulation: obscured elements of classic rocksteady or popular dancehall tunes re-emerge from unfamiliar angles, reconfigured into dense, ritualistic sound environments. Drawing from pataphysics, defined by Alfred Jarry as "the science of imaginary solutions to actual problems," MT Gemini stages collisions between genres, techniques, and cultures that rarely communicate, embracing radical cross-pollination as a creative method. MT Gemini's work has been released by Sub Rosa and Antibody, the left-field imprint founded by Franck himself, and has been praised by The Wire and Brainwashed.

Anonymous transmissions from a spectral, dead-of-night mystery zone. Recorded in 1996 and originally release by Japan's enigmatic La Musica Records label on limited cassette. A group that deconstructs and liberates the chance nature of contemporary classical and noise music enough so that their boundaries blur. Available for the first time on vinyl and digital. Recorded in 1996 and released without any identifying credits in an essentially private cassette edition, Bibiotheca Hermetica's sole release, One, was only the second by the Japanese La Musica label and remains one of its more obscure and enigmatic entries. The group works in spaces adjacent to contemporaneous outfits like Nijiumu and Toho Sara though its non-idiomatic improvisations and decentered, free sound explorations call back to seminal collectives such as the Taj Mahal Travellers and the East Bionic Symphonia. The music constantly shuffles and sifts filled with hypnotic clatter and clamor, rattling percussion, toughly scraped strings, gurgling bass tonalities and pirouetting winds. An anonymous transmission from a spectral, dead-of-night mystery zone. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990's. It released nearly 200 cassettes and CD-Rs, all handmade in micro-editions sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo psychedelic underground.

"On the cover: Sunn O))); The self-titled tenth album by the hallowed drone metal minimalist duo will be their first with US indie institution Sub Pop. Ahead of extensive US, UK and European touring in spring and summer, they reflect on almost three decades of redefining heaviness. By Rob Turner, with a special illustrated cover by Wire and Sunn0))) affiliated illustrator Savage Pencil. Inside: Delphine Dora: The Parisian multi-instrumentalist, vocalist and songwriter has released a suite of keyboard instrumentals pondering the poetics of acceleration and alienation, l'ineluctable pulsation du temps via Toronto's Marionette records. By Milo? Hroch. The Sleeves: The guitar/vocal duo of Tara Cunningham and Jack Cooper (one half of the quartet Modern Nature) present their debut album via 12XU before live dates in the US and UK in summer. By Lucy Thraves. Brion Gysin: Recent years have seen a revival of interest in the legacy of the late artist and poet who worked closely with William Burroughs to develop the cut-up as a poetic and literary technique. Parisian label WEWANTSOUNDS reissues his long out of print Dreamachine recordings. By Daniel Spicer."

Triple Point, featuring Pauline Oliveros, Doug Van Nort, and Jonas Braasch, was an improvising trio with a core instrumentation of soprano saxophone, greis/electronics, and V-accordion. The name refers to the point of equilibrium on a phase plot, which acts as a metaphor for the group's improvisational dialogue. Triple Point's musical interaction was centered around an interplay between acoustics, physically-modeled acoustics (v-accordion), and electronics. Van Nort captured the sound of the other players on-the-fly, either transforming them in the moment to create blended textures or new sonic gestures or holding them for return in the near future. Oliveros changes between timbres and "bends" the intended factory sound models through her idiosyncratic use of the virtual instrument, while Braasch explores extended techniques, including long circular-breathing tones and multiphonics. This mode of interaction has resulted in situations where acoustic/electronic sources are indistinguishable without very careful listening, while other times, this becomes wildly apparent. This continual, fluid morphing is a product of Deep Listening and listening in the moment. The tracks were recorded by Jonas Braasch during a week-long residency at the Experimental Media and Performing Arts Center (EMPAC), Troy, NY, August 2012. Mastered by Tom Eaton at Sounds & Substance.

These stunning recordings combine the great strengths of Pauline Oliveros on her Roland V-Accordion, Issui Minegishi, Ichigenkin master and great-great granddaughter of the founder of the Seikyodo Ichigenkin tradition and Miya Masaoka on her 21 string Japanese Koto. Together, these masterful improvisors create a beautiful and fascinating world of instrumental communication. This trio of legendary artists establish a sonic zone so compelling that you'll never want to leave. This double CD preserves the original session edits chronologically in order to preserve the emotional flow of the recordings. Disc one presents the first day of sessions and disc two presents the second day. Hence the title, Two Days In Dreamland. Recorded at Dreamland Studios in Hurley, New York. Mastered by Tom Eaton at Sounds & Substance. Pauline Oliveros, composer and accordionist, was a central figure in the development of post-war experimental and electronic music. She was a founder of the San Francisco Tape Music Center along with Ramon Sender and Morton Subotnick and she also served as its director. Minegishi Issui is the great-great-granddaughter of Tokuhiro Taimu, founder of the Seikyodo Ichigenkin tradition. She received her earliest training from her great-grandmother, Matsuzaki Issui, who was the third hereditary head of Seikyodo and who was also designated by the Japanese government as official guardian of the Ichigenkin tradition, as one of the country's Intangible Cultural Treasures. Miya Masaoka is an American sonic artist, composer and performer. Her work explores bodily perception of vibration, movement and time, while foregrounding complex timbre relationships. She has created a body of work that encompasses scores for orchestras and ensembles, sculpture works instigating new modes of listening, interactive media. Among her awards are the John Simon Guggenheim Fellowship, a Fulbright, the American Academy Rome Prize, the Doris Duke Artist Award and the United States Artist Award.

LP version. Yellow color vinyl. The Gaia ll Space Corps is an album of tunes that don't quite sound like heavy metal or hard rock, but clearly is reaching for some of the same qualities. It is post-psychedelic, pre-metal music, and is probably as close to making a true blue "classic hard rock" album Motorpsycho ever will come. The Gaia ll Space Corps is a short, concise, catchy and exciting album, continuing where Motorpsycho's Stanley and The Comeback left off. The instrumentation is mostly guitars, guitars and some more guitars, but there is quite a bit of singing in there too, and even an occasional keyboard sound or two as well.

Written in 1971 and read here by the author himself, Through the Billboard Promised Land Without Ever Stopping is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film Blue, it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalizing autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press/Prototype Publishing, and The Estate of Derek Jarman. Limited 500 copies on heavyweight 180gm black vinyl in gloss sleeve.

The first time on any format for Pier Paolo Pasolini's controversial 1975 vision of the Marquis De Sade's 120 Days Of Sodom, featuring beautiful and discordant classical compositions, in stark contrast to the shocking and cruel events unfolding onscreen. Three weeks before the scandalous release of Salò, or The 120 Days Of Sodom, Pasolini was brutally murdered in Ostia, Italy. In the wake of the tragedy, legendary composer Ennio Morricone wrote "Addio a Pier Paolo Pasolini" (Goodbye to Pier Paolo Pasolini) for the late filmmaker, included in the final edit. Following the narrative of one of Pasolini's defining cinematic moments, the soundtrack opens with Ennio Morricone's "Son Tanto Triste," descends into the melancholic minor chords of Bach, Chopin, Orff, Puccini, and Graziosi, incorporates sinister renditions by the cast, and includes Morricone's own somber tribute to the director. Disgusted by the flood of crass sexploitation movies which filled the space opened up by his Trilogy Of Life, Pasolini turned to the most nihilistic thinker in European history for what became his final film. His version of De Sade's 120 Days Of Sodom, amplified with motifs from Dante's Inferno, confronts the ultimate implications of fascism in a series of sexual and moral atrocities. CD comes in matt-laminate gatefold ecopak. Limited LP edition of 500 copies on blood red vinyl in gatefold matt-laminate sleeve (CSR 362LP).

From Bunny Lee and Coxone's Studio One to King Tubby and Wackie's, Mad Professor and Massive Attack to On-U Sound these days -- here's a special selection presenting the legendary voice in sound in a different style! An international bunch of producers show their craft and embedded the unique voice in sound and rhythm.

LP version. "Courtroom Wedding, the feral new album by singer-songwriter-punk rock legend Chris D.'s new unit Poison Fang Society, succeeds In the Red Records' release of two expansive albums by the bandleader's Divine Horsemen, Hot Rise of an Ice Cream Phoenix (2021) and Bitter End to a Sweet Night (2022). The taut, economical eight-song set grew out of several songs penned in the immediate wake of the COVID pandemic lockdown and originally envisioned as material for a third Divine Horsemen record. But logistical problems involving the band's co-lead singer Julie Christensen's ability to record in Los Angeles led to the formulation of a new solo configuration rooted in the past. Poison Fang Society guitarist Larry Schemel, most recently of Death Valley Girls, and Tucson-bred drummer Johnny Ray are both veterans of the eight-piece lineup heard on the Flesh Eaters' 1999 album Ashes of Time. They are joined by bassist-keyboardist-guitarist Sharif Dumani, who also engineered the collection and co-produced with Chris D. The songs Chris brought to the studio reflect a shift in style: 'I was really trying to write some more traditional kinds of songs, but not make them sound really anonymous. On the last couple of albums, the Divine Horsemen albums, there was a lot more cut-up stuff. I still did some cut-up in the lyrics with this record, but not as much. The lyrics to 'Cellars to Weep' were very influenced by songs like Bob Dylan's 'Subterranean Homesick Blues' or 'Highway 61 Revisited,' even though song doesn't sound like that. I wanted to keep that kind of surrealist humor that Bob Dylan has -- those nonsense phrases that add meaning when they're all put together.' With tracks inspired by subjects as diverse at the gun-toting MAGA couple who pointed their weapons at Black Lives Matter protesters ('Goddamn Thieving Shame') to the sleazy come-on cover lines of '50s pulp paperbacks ('Sex Kitten'), Courtroom Wedding flexes a lean, potent sound that recalls the knife-edge attack of the Don Kirk-era Flesh Eaters and the heavyweight vibe of Chris' second solo album (as Stone by Stone), 1989's I Pass for Human. Like this punk grand master's finest work, it displays an electric, tormented immediacy."

LP version. "'The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions -- the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder. Two songs established the spine of this music. Songs I've always loved, it seems even before I'd heard them. The first one, and the source of the title is 'You Belong to Me' by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it's also a beautiful mid-century romance -- and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth. The second song is 'Promised Land' by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he's safely arrived in the new one. The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open." --Mark N/Pan?American

Bruno Silva, operating here under his restless Serpente alias, returns with Visita do Fogo -- a sharp, stripped-back and incendiary counterpoint to the drifting, dream-jazz abstractions of Dias da Aranha (SOUK 009LP). If that record floated like smoke, this one crackles and snaps like dry wood. Visita do Fogo finds Silva stepping back into the heat of his beat-driven origins, embracing a raw, forward-leaning approach that feels closer to his live detonation than a studio construction. The record is built on stark materials -- drum fragments, percussive jolts, scorched-earth loops -- all manipulated with his unmistakable "screw" instincts: micro-cuts, sudden pivots, rhythmic false floors and the sense that the track might turn itself inside-out at any moment. Rather than smoothing edges or leaning into atmospherics, Serpente doubles down on urgency. Each piece moves through the record with a chop-and-go physicality, a kind of ritual propulsion that never settles into comfort. Silva's rhythmic language remains entirely his own: crooked but precise, feral yet meticulous, rooted in dance structures but constantly mutating away from them. Visita do Fogo is less a sequel to Dias da Aranha than a flare shot into the same night sky -- brighter, hotter, and designed to leave afterimages. It captures an artist burning forward, shedding everything unnecessary, trusting the flame.

"Between 1975 and 1978, Brian Eno's Obscure imprint produced ten LPs to document the work of virtually unknown composers at the time. These records continue to inspire both practitioners and fans of experimental, ambient and modern classical music. Ensemble Pieces, Obscure No. 2, is the second LP to feature composer Gavin Bryars -- the first being his magnum opus The Sinking of the Titanic. Bryars would play a big role in finding projects for Obscure and helping to realize them in the studio with Eno. Christopher Hobbs was an early member of Cornelius Cardew's Scratch Orchestra and performed with anarchic free improv titans AMM. Ensemble Pieces presents two Hobbs compositions, his debut recordings. On 'Aran,' the composer is accompanied by Bryars and John White -- utilizing various percussion, reed organs and toy piano to construct an otherworldly gamelan music, while the Scottish bagpipe-inspired 'McCrimmon Will Never Return,' featuring Hobbs and Bryars on reed organs, evokes the slow-motion minimalism of Eliane Radigue or Folke Rabe. John Adams' masterpiece 'American Standard' premiered in 1973 at San Francisco Museum of Modern Art where these recordings were made. While this neo-Romantic three-part suite explores distinctly American musical forms (march, hymn and jazz ballad), Adams threads in found-sound tape elements from AM talk radio, which suggests a mottled landscape of Robert Ashley, The Residents or Negativland. The album's closing piece, Bryars' '1, 2, 1-2-3-4,' features Hobbs, Cardew, Derek Bailey, Eno and Roxy Music's Adam McKay. Each musician performed while listening on headphones to identical pre-recorded music, though factors such as tape-speed and battery life of the individual Walkmans provided tantalizing variables that affected pitch and duration. Despite this process-oriented approach, '1, 2, 1-2-3-4' is exquisitely sublime -- at times predicting the gauzy, haunted music of The Caretaker."

"Between 1975 and 1978, Brian Eno's Obscure imprint produced ten LPs to document the work of virtually unknown composers at the time. These records continue to inspire both practitioners and fans of experimental, ambient and modern classical music. Machine Music, Obscure No. 8 and the third title to feature Gavin Bryars, showcases 'systems music' pioneer John White. Largely known for his compositions for tuba and piano, White was a stylistically omnivorous artist who felt at home in his position as musical director at the Western Theatre Ballet as well as playing alongside Cornelius Cardew and Bryars in the radical Scratch Orchestra. Performed by the composer, Christopher Hobbs, Michael Nyman, and Bryars, the album's first side is comprised of four White pieces. Short, repetitive themes -- for brass, woodwinds, strings, piano and jaw harp -- share common ground with the minimalist work of Steve Reich and Terry Riley. Splendid timbral variations reveal a trance-inducing listening experience. 'Drinking And Hooting Machine,' the side's eerie finale, features the sound of five musicians (including Eno himself) blowing into empty milk bottles -- a reminder that serious avant-garde music can sometimes be puckish and strange. Side two consists of Bryars' 'The Squirrel And The Ricketty Racketty Bridge,' a mesmeric piece that finds Derek Bailey, Fred Firth, Bryars and Eno each striking a pair of tabletop guitars. Fans of Michael O'Shea and Eno's own protege Laraaji will find much to love here. Machine Music serves as an ideal entry point to the kind of compelling art music that would become Obscure's stock and trade."

Gold vinyl version. "OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators' influence would be impossible to overstate. YoshimiO, OOIOO's founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt's Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. The Horizon Spirals/The Horizon Viral is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail. 'The Horizon Spirals,' composed of OOIOO's gamelan-infused sagas 'The Horizon' and 'Gamel Be Sure To Spiral' demonstrates the boundless scope of OOIOO's music. Opener 'The Horizon' draws inspiration from Sun Ra Arkestra's 'Horizon,' bursting from oscillations into a syncopated groove before stretching out into up-tempo hypnotisms lead by YoshimiO's trumpet. Lightning Bolt's 'The Horizon Viral' evokes the limitlessness of their improvisations and distills through more sophisticated home recording techniques. 'The Horizon Viral' reignites the flame of their storied home recordings, capturing the duo in full freeform, bolstered from bassist Brian Gibson's experiences composing and recording soundtracks for video games he co-designed, Thrasher and Thumper. The five pieces that make up their side were arranged as a single suite, meant to be played all together, with movements like 'Wavers' and 'Cloud Core' showcasing how relentless the duo's energy remains. Throughout, Gibson's ability to conjure riffs that feel timeless is as potent as drummer Brian Chippendale's ability to propel them until their instruments become inextricably enmeshed. The Horizon Spirals/The Horizon Viral is a celebration of indomitable creativity. In their endless pursuit of crafting pure, uninhibited, enchanting art, OOIOO and Lightning Bolt continue to make astonishingly powerful, invigorating music."

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Los Felcas were one of the best bands to come out of Peru during the golden years of the cumbia and tropical sounds explosion. In Lima, founding member, guitarist Florentino "Tino" León, quickly joined the Peruvian cumbia tropical movement led by electric guitarists Enrique Delgado (Los Destellos) and Berardo Hernández "Manzanita.". This new style was soon practiced by other groups from Lima, such as Los Ecos, Los Beta 5, Los Diablos Rojos, and, a bit later, by bands from the rest of the country. This movement became a massive phenomenon. Nelson Ferreyra and the multifaceted singer Pablo Villanueva Branda "Melcochita", who had become fans, introduced them to the MAG record label. In mid-1973, they recorded their first 45 RPM singles, with "Sabor a Felcas" being their most popular release. They recorded several albums during the late '70s and '80s, mostly on MAG: "La Blanquiñosa," "Tu bello cuerpo," "La cusqueñita" and "Manzanita coloradita." In the early 1990s, chicha music became popular in Argentina, especially in the north, where "Boquita perfumada" by Los Felcas was a hit. This compilation brings together their finest recordings, taking from albums and obscure 45s, blending a wide range of influences -- from psychedelic vibes to rhythms closer to guaracha and chicha -- and now being reissued for the first time.

With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the US North West at the same time. Theirs is the same DNA shared by The Sonics, Rocket From The Tombs, The Cramps and Black Lips. This release compiles all their recordings, including some later rarities available here on CD for the first time, and tells their amazing story.

"I'd never heard Los Saicos until a few days ago but had experienced the Wau y Los Arrrghs!!! version of 'Demolición.' Whilst appreciating the inherent wildness, I never for a minute considered that the original could have been even more deranged. More importantly, this snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles. I hear direct links to both The Stooges and The Cramps here and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. The unhinged nature of the song titles is one thing but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and kicks in the call of the wild. The individuals have no other option than to just go with it. Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy." --Lindsay Hutton

2026 repress. Ranil is undoubtedly the most unconventional figure among the greats of Amazonian cumbia, earning a well-deserved place alongside all the better-known iconic bands. He worked as a teacher, criollo guitarist, radio host, TV entrepreneur, and politician, but gained lasting fame as the founder of Ranil y Su Conjunto Tropical in the 1970s. By 1968, around the same time Los Destellos were making waves in Lima, groups like Los Wembler's de Iquitos and Juaneco y su Combo began electrifying cumbia in Iquitos. This new genre, dubbed Amazonian cumbia, exploded nationwide in 1973, thanks to hits by Juaneco y su Combo, Los Mirlos, and Los Wembler's. The success these bands achieved spawned dozens of other groups from the Amazon. Ranil, always a visionary, recognized the movement's potential and joined forces through his first single recorded on the Dinsa label in 1974. Unhappy with the contractual terms, he went on to found Producciones Llerena, the label on which he would release the rest of his discography. Over the years, Ranil y su Conjunto Tropical featured guitarists like Límber Zumba and Luis Nigro, while Ranil remained the lead vocalist and bassist for group. Zumba and Nigro had already played with other regional bands and written songs for groups like Los Destellos and Los Mirlos. This compilation offers a glimpse into the vast musical output Ranil created in the late 1970s and early 1980s, bringing together 14 tracks from the band's ten LPs. These records have always been hard to come by as, despite being recorded in Lima, they were distributed by Ranil from Iquitos. Psychedelia, rock fusion, cumbia, salsa, mambo, Amazonian folk -- you'll find all these flavors blended into the vibrant, jungle-rich sound Ranil crafted.

2026 restock. This anthology of Los Wembler's allows listeners to appreciate the legacy of the iconic group from Iquitos, the most important city in the Peruvian Amazon which is only accessible by air or river, and their key role in the creation and revival of Amazonian cumbia. Los Wembler's emerged as a family band in the late 1960s in the Belén district of Iquitos and are regarded as pioneers of electric guitar-driven Amazonian cumbia from Perú. The selection of songs that make up this compilation dates from the period between 1972 and 1980, at the peak of the band's career. Songs such as "Sonido amazónico" or "La danza del petrolero" have become highly influential classics of the genre. Most of these tracks are reissued here for the first time after remaining unavailable for decades. Selva includes an insert with liner notes and photos. Pressed on 180g vinyl.

2026 repress. Released in 1969, Gal Costa is the album that cemented Gal as one of the boldest voices of Brazil's Tropicalia movement -- and it still sounds thrillingly alive today. Coming right after the genre-shaking Tropicália ou Panis et Circencis, this LP captures a moment when Brazilian music was breaking rules, blending psychedelia, rock, samba, and poetic experimentation into something totally new. Gal's voice is the real star here: warm, fearless, and incredibly expressive. She moves effortlessly from soft, intimate moments to explosive, full-throttle performances, always sounding confident and emotionally present. Backed by adventurous arrangements and songs from key Tropicalia figures like Caetano Veloso and Gilberto Gil, the album feels both playful and politically charged, even when it's being subtle. Several tracks stand out as absolute classics. "Baby" is a highlight right away -- cool, tender, and deceptively simple, with Gal delivering Caetano Veloso's lyrics in a way that feels both innocent and quietly radical. On the other end of the spectrum, "Divino, Maravilhoso" is pure intensity: urgent, raw, and electrifying, capturing the restless spirit of the era and showcasing Gal's power at full blast. "Não Identificado" leans into dreamy psychedelia, floating between romance and cosmic imagery, while "Que Pena" shows her knack for turning heartbreak into something irresistibly melodic and catchy. What makes this record special is its balance. It's experimental without being alienating, sophisticated without losing its groove. Tracks flow naturally, pulling you into a colorful, slightly rebellious world that reflects the cultural tension and creativity of late-'60s Brazil. If you're curious about Tropicalia or just want a timeless album driven by pure vocal charisma, Gal Costa (1969) is an essential listen.

2026 restock. Another Thought was the first collection of Arthur Russell's music to be released after his death in 1992. Released on CD by Point Music in 1993 it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With Records revisits this first compilation. This is the only place where you can hear some of Arthur's most recognizable music, like the title track "Another Thought", "A Little Lost", "This Is How We Walk On The Moon", "Keeping Up" and the woozy disco of "In The Light Of The Miracle" and "My Tiger, My Timing". Though technically a compilation, the whole of Another Thought comes together as a consistent, coherent, wonderful album. Janette Beckman reproduced her iconic photograph of Arthur in his newspaper boat hat for the sleeve. Tom Lee gave permission to include his liner notes from the original CD booklet, together with Arthur's lyrics. Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact, it's essential for any fan of non-obvious pop music. CD version comes in triple-fold digipack with insert and original liner notes.