"Messrs. Corsano and Dorji are both familiar names in the Feeding Tube discography. Chris has played drums on eight FTR LPs (and recorded two other), and Tashi has played guitar on six (details upon request if you are lazy.) But this is the first time they have appeared on vinyl as a duo, and we are damn proud to have them. Over the past years Chris has recorded with a lot of the era's best guitarists -- Bill Nace, Ben Chasny, Thurston Moore, Nels Cline, David Vanzan, Bill Orcutt, Rick Bishop, Glenn Jones, Jim O'Rourke, Flo Stoffner, and onward. And Tashi has worked with some fine-ass drummers -- Thom Nguyên, Tyler Damon, Michael Zerang, Dylan Fujioka, Susie Ibarra, Marshall Trammell, etc. So perhaps this team-up was inevitable. They played their first live duo show at a one-off in 2023 and it went so well, they set up a four date tour for 2025. This set was recorded at the tour's inaugural date in Tashi's hometown, Asheville NC, at Ritual Botanica, a space run by Tashi's pals, Potion. And it is a corker. Chris runs through a panorama of his playing styles. Sometimes he flashes polyrhythmic jazzoid explosions across every available drum head. At others he lays into a slightly off-kilter backbeat like some sort of prog rock lumberjack. Simultaneously, Tashi lays out lines of space-oid feedback, drives through angular chunk-riffs ala early John McLaughlin, or spirals into psych flairs worthy of Japan's sub-underground masters. Together, they make a powerful argument for the divine mastery of drum/guitar duos, a non-standard format first introduced (to me, anyway) on Randy Holden's Population II. Live at Ritual Botanica is a different animal than Holden's classic LP, but a stone by any other name, y'know?" --Byron Coley, 2026

"Totality! Automaginary! The in-studio convergence of Natural Information Society and Bitchin Bajas: two albums made over a decade of time, brought ye now together on CD. Congenial and organic, individual and ensemble inclinations incline in crafting new rhythm 'n gravity pieces. Invisible force meets ancient object: unique passages in time by two ensembles in shared and separate forever arcs."

Gold disc CD housed in a digi-pack. Music springs eternal. Recognizing the enduring power of timeless albums to guide the world through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music. Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever. Dancing on the wildest edge of the '90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek, and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown. Forever Records presents an extensive reissue edition of the first "fully released" Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves is pressed on vinyl. The original LP and CD artwork from the various editions released in the early '90s has been combined and designed by the band, and the audio has been remastered with their full approval. Also available as limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks (FRVR 001LTD-LP).

Double LP version. Deluxe reissue of the sole album by The Eighteenth Day Of May. Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola). This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake. Andy Childs who signed the band originally takes up the story. "I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited -- old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like 'Lady Margaret' and 'Flowers In The Forest' and not be afraid to stamp their own identity on them. Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent."

LP version. Red color vinyl. 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. Limited LP edition of 500 copies on blood red vinyl in gatefold matt-laminate sleeve.

A closing chapter for Iro Aka: ambient introspection and precise IDM meet in a deeply personal, memory-driven LP. Barcelona-based duo Iro Aka present Memories Exploration, a record that marks the closing of a creative chapter. The LP unfolds as a personal archive -- tracing ideas, influences, and emotional states shaped over time. The A-side moves through ambient-leaning territories, building meditative landscapes where time seems to dissolve and blur. Through tracks like "Frozen Sun" and "Golden Sea," the duo showcase a refined approach to sound design, shaped by carefully distilled emotion. Meanwhile, "Gendo" and "Intervertert" lean further inward -- sketching moments of deep introspection through soft textures and a minimalist sensitivity that invites contemplation. On the B-side, the record shifts. Rhythmic structures come into focus, drawing from IDM and broken beat patterns with a precise, understated touch. "L," "Ozadene," and "Phased9" introduce movement while maintaining the album's introspective core. Closing track "We Felt in Love with a Loop" brings the album to a gentle, open-ended close. The artwork by Jack Anderson reflects this sense of fragmented memory and process, complementing the album's emotional tone. Rather than a definitive ending, Memories Exploration feels like a transition -- an understated way of closing one chapter before the next begins.

"Taco" means "octopus," "kite," and even "bunion" in Japanese. Bald men or men with shaven heads, as well as red-faced, staggering drunks, are also referred to as "Taco." It's a word that appears in a lot of slang and sayings. Taco is also the name of an '80s music and performance collective whose performances were like nothing before or since. The Japanese band Taco, formed at the beginning of the '80s, is a loose group/collective of varying members that belongs to the post-punk alternative music movement. The network of members were all friends and acquaintances of Harumi Yamazaki, ex-member of Gaseneta and Taco's central member. Taco can be described as a band of guerrillas who, over the years, continued to connect, collect, interrupt, and scatter while sending out into the world music and sounds that can best be described as transient. Taco also performed without Harumi, and so it is as though the band is an anonymous group of mercenaries. Taco's first album was released in 1983 and had a huge impact on Japan's underground music scene as an anomalous and collaborative album involving various participating artists (the stars of Japan's underground music scene!) and Harumi, who provided the lyrics. Although each track represents a reverberating conglomeration of sounds created by this transient local network, common to all the tracks are Harumi's expressive lyrics. However, because of another incident in which the records were recalled due to the scandal caused by some of the lyrics, only a limited number of people actually own a copy of the album. Taco's second album, released in 1984, features a live recording of a performance that was held at the end of 1982. This is an album which effectively conveys the power of Taco's astounding and legendary live performances, as well as Harumi's inflammatory, sensational, and masochistic presence on stage. Her mutterings and screams, which practically ignore the detached beat, confront the audience like an overwhelming groundswell.

The historic and perhaps infamous Psychopathia Sexualis LP, originally recorded and released on creamy-colored vinyl in 1982, and for decades a clandestine, highly sought-after collector's item, is now here for the very first time in CD format! Finally! This brand-new Susan Lawly legacy reissue CD version, digitally remastered by Andrew Liles, features a beautiful 12-page booklet packed with photos, technical info, and a biographical text by William Bennett.

"On the cover: EarthBall: The Canadian improvised free rock collective have earned a reputation for electrifying live sets since their 2019 inception. Last year's Actual Earth Music Volumes 1 & 2 documented performances in Vancouver and London, with guest collaborations from Chris Corsano and Steve Beresford. This year they follow up with Volumes 3 & 4 incorporating live recordings from Geneva and the Le Guess Who? festival in Utrecht. By Emily Pothast. Inside: DoYeon Kim: The Seoul born, New York based gayageum player, composer and improvisor has released her highly anticipated debut Wellspring on TAO Forms, supported by an ensemble featuring drummer Tyshawn Sorey, double-bassist Henry Fraser and violist Mat Maneri. By Stewart Smith; Jocy de Oliveira: In the year of her 90th birthday, the pioneering Brazillian composer and pianist's work is the subject of Dácio Pinheiro's documentary film The Circular Universe, reflecting on her life, work and legacy. By Andy Cumming; Onilu: For their forthcoming album Jakutá's Dance, on New York's 577 records, Onilu founders Kevin Diehl and Joe Chambers have been joined by Craig McIver and Daniel Villarreal to create a formidable percussion ensemble. By Phil Freeman."

LP version. White color vinyl. Circuitry presents the reissue of House Without A View, the out-of-print second album by singer-songwriter Lande Hekt. With a new album Lucky Now released on Tapete, Lande's contemporary twist on the classic C86 indie sound -- with a queer feminist punk identity lyrically explicit throughout -- is drawing in an ever-growing audience of devotees, such is the consistent quality of her songwriting, and the personality within. The opening track of the album is "Half With You" which "is about growing into yourself as a queer person, and enjoying who you are after not enjoying it for so long," says Lande. "Cut My Hair" is about how her relationship with her gender has changed over the last few years, becoming more comfortable in herself and understanding more about what makes her happy. "It's also about how easy it is to not talk to people when you're struggling, which is something I did for a long time," admits Lande. The title track of "House Without a View" deals with childhood trauma and how events of our formative years "affect us so much into our adult lives and are intrinsic to our personalities and the way we cope (or don't) with life and relationships," says Lande. Although there's darkness and sadness within the record, there's also some shining beacons of positivity and a light-hearted side, albeit with a side of frustration. "Lola" was written about Lande's cat shortly after she came to live with her and her girlfriend. "She's the first pet I've ever had and I wasn't quite ready for how hard it would be to not be able to verbally communicate with her. I worried constantly that she was depressed because all she did was sleep, but my girlfriend assured me that that was regular cat behavior."

Cluster -- Hans-Joachim Roedelius and Dieter Moebius -- occupy a central position in the evolution of European electronic music, moving from early experimental noise into more open, melodic forms without losing their exploratory edge. Released in 1976, Sowiesoso finds the duo working with a new sense of clarity and restraint, shaping gentle, cyclical pieces from a small set of tools and a deliberately reduced studio setup. The music unfolds with quiet precision, balancing repetition and variation while maintaining an understated rhythmic flow. Marking its 50th anniversary, the album is reissued as a limited LP edition on 180g vinyl, hand-numbered and restricted to 1000 copies. A defining work from Cluster's mid-1970s period, presented in a carefully produced anniversary format. Sowiesoso follows on from Cluster's most highly acclaimed album Zuckerzeit. Michael Rother's influence was clearly audible on the latter, Cluster already having recorded two albums with him under the name of Harmonia. 1976 saw the duo looking for new musical forms. More than any other Cluster album, Sowiesoso represents the utopian vision of Hans-Joachim Roedelius and Dieter Moebius, its mellow transparency evoking the landscape of the Weser Uplands where the two musicians lived at the time. Sowiesoso is not the work of fanatic dreamers who have fled the metropolis, but the reward for their tenacious search for a new musical language. The LP's seven cuts were recorded in their own studio with modest equipment -- a fourtrack tape machine, two Revox A77 stereo tapedecks and a simple 8-channel mixer. Cluster were thus completely independent, able to work where and when they wanted, at their own pace. With no guest musicians, sound engineers or producers to accommodate, Cluster thrived on their new-found autonomous freedom. Sowiesoso captures them at the peak of their creative development, with the limited range of recording equipment enhancing the clarity of their vision, allowing them to concentrate on the music without drifting into narcissistic muso territory. Minimalist, yet neither formulaic nor automated, the album is a rhythmic tapestry of electronic and acoustic elements. This could only be Cluster music, its harmonies reaffirm the quality of song, in spite of eluding song structure as such.

Restocked! 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."

Opponents Stims has two cuts from Clark's live show, the blistering, pummeling, nominatively deterministic 'Relentless Opponent' and the euphoric/cathartic 'Who Booed the Geese,' maxing out Goose intensity. They nestle up against two coy vignettes, Uxor Cut and My Crow Life and then Frisky Mellows. That's an addictive, briskly paced 4/4 Detroit-tinted number that could almost be a lost Carl Craig classic.

LP version. Lau Nau (Laura Naukkarinen), Linda Fredriksson, and Matti Bye enter the We Jazz Records realm as Kiri Ra!, a trio that creates their sound slowly, in a process of improvisation and discovery. Filtered through the musicians' long-standing friendship and collaboration, Kiri Ra!'s music is a testament to the joy of creation and invention. Their sound together draws from each of the artists' work before, while creating new world of sound. Their music is about letting go and being free to take in the even softest whisper and the most minute sonic particle to complete a mosaic filled with beauty. Kiri Ra! follow their own path with courage, showing how letting go can create new worlds. From Kiri Ra!: "This music does not try to be anything. No pre-determined references, we get into our recording sessions without any verbal communication. It's more like a state of mind where we are not trying anything, we just see what happens. We create a moment that is unexpected and doesn't have any locked direction. We are not trying to be anything, We are existing together. This music was made with a lot of time. We drank coffee and tea. Played. Enjoyed pulla and cookies. Played a bit more. We talked. We were slow. It took 10 years to combine the right pieces for the album. We were not in a hurry. Keywords: air, space, love, time, rest, electronic, synthetic, organic, warmth, wood." RIYL: Linda Fredriksson "Juniper", Lau Nau, Matti Bye, Laraaji, Laurie Spiegel, Joanna Brouk, Nala Sinephro, ambient, abstract electronic music.

2026 repress. Be With Records present a reissue of Sweet And Nice, the vital debut album from Jamaica's undisputed first lady of song Marica Griffiths, originally released in 1974. It's reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original's opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn't mess with magic. Marcia's version of "Here I Am (Come and Take Me)" has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It's followed by the sophisticated, rollicking wah-wah funk of "Everything I Own" and the slice of smooth lovers soul par excellence that is "Green Grasshopper" and her ace, lilting Neil Diamond cover "Play Me". The thundering, humid funk of "Children At Play" "sounds uncannily like a precursor of Massive Attack", as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody, and essential. Side two keeps the fire burning. "Sweet, Bitter Love" should leave you swooning, and is also one of the album's alternate titles. Curtis Mayfield's already-eternal "Gypsy Man" follows, recast as proto-lovers rock. "There's No Me Without You" is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia's heartbreaking delivery. And if this doesn't get you then surely the next track will: arguably the definitive version of Ewan MacColl's "The First Time Ever I Saw Your Face". "I Just Don't Want To Be Lonely" re-takes its rightful place at the end of the LP's second side... but Be With Records added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Amongst these 14 extra tracks you'll find the exquisite late-60s singles "Melody Life" and "Mark My Word" which, along with the sumptuous reading of "Band Of Gold". All material is remastered. 140 gram vinyl.

2026 repress; LP version. Bureau B reissues Wolfgang Riechmann's Wunderbar, originally released in 1978 by Sky Records and an absolute gem of German electronic music. This album, however, is beautiful and tragic in equal measure, as Riechmann became the random victim of a knife attack just three weeks before the LP went on sale. Wolfgang Riechmann's career as a musician went all the way back to 1969, which was roughly when he met Michael Rother (Neu!, Harmonia) and Wolfgang Flühr (Kraftwerk), who would be his colleagues in the Spirits Of Sound Group. Later on (1973 to 1976) he played with Phönix, before going on to record two albums with Streetmark, who enjoyed great popularity at the time. From November 1977 onwards, he devoted his full attention to the Wunderbar LP. On his first and, regrettably, last recording as a solo artist, Riechmann went eclectic. Distant echoes of the so-called Berlin School (Tangerine Dream, Klaus Schulze, and the like) can be detected on Wunderbar, as well as the clear influence of the so-called Düsseldorf School (Neu!, Kraftwerk, La Düsseldorf) -- not that Riechmann was attempting to copy their styles in any way. While contemporary influences need not be denied, Wunderbar hints at the direction he would take in terms of sound and composition, reflecting a powerful, independent musician's personality, one which would have caused quite a stir, had it been given the chance to unfold. This optimistic music is characterized by simple sequencers and drum patterns, with Riechmann adding his own individual layers of harmony. And then there are the melodies: simple, sometimes to the point of being simplistic, but never naive. Wunderbar is modern, electronic pop, perfectly and permanently frozen in time. Printed inner sleeve featuring rare photographs and liner notes by Asmus Tietchens, one of the original pioneers of electronic music.

Richard Pinhas' Heldon remains a crucial outlier in the 1970s European underground, fusing the more radical edges of progressive rock with early synthesizer experimentation in ways that still feel ahead of their time. Released in 1976, Agneta Nilsson captures a moment of consolidation, as extended pieces evolve through cycles of tension, drift, and release. The album's internal logic feels both rigorous and open-ended, balancing restraint with sudden surges of intensity. Reissued for its 50th anniversary, this edition arrives in red vinyl, hand-numbered and limited to 500 copies. Essential material, sharpened for collectors and new listeners alike. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. As on other early Heldon albums, the rest of Agneta Nilsson is diverse in a nearly contrarian way. Each track refuses to mimic its predecessor in a way that feels rebellious, like a child running away from home. This is true despite the fact that three of the four pieces are actually chapters of "Perspective," partners in a thematic whole. The album-closing "Perspective IV" is one of Pinhas' most unabashedly proto-prog guitar-hero epics, boosted by a technical upgrade. "This was the first album where I had enough money to rent one or two days in a real studio to do the drumming," says Pinhas. "After that we had real budgets for studio time. That all changed with and after Agneta Nilsson -- that was a good turn." Pinhas parlayed Heldon's change of direction into three more adventurous albums in the '70s, and simultaneously spurred himself toward a solo career that continues to prod and probe the sonic universe today, over 40 years since he began. It would be wrong to say this album was the big bang of this singular career; the seeds of were planted years before, and every work Pinhas has been involved with sprouts more sounds and ideas that can grow into their own branches. But Agneta Nilsson is one of the most convincing pieces of evidence that Pinhas in incapable of sitting still.

Double LP version. Meaning "soul friend" in Gaelic, Anamchara is a new compilation of buried treasure from Nina Walsh's colossal Woodleigh Research Facility archive. W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases. Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall's creative relationship born after they clicked at London's earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s. An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man's land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall's Convenanza and Qualia solo sets, W.R.F.'s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular "Borderland" as natural successor to "Smokebelch," his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel's Canon in D Minor in mind. The set also catches the breakthrough period when, through Nina's careful coaxing, Andrew started using the computer system she'd set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK's greatest DJ-producer, Andrew's arrangements were inspired by his club-igniting sets. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic "drug chug" outings "We Two." Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew's 2016 admission into the vault, "Rattly Old Puffin" boasts Erick's psychedelic guitar and tumbling drum loop Weatherall would run with, including on "Borderland." Bringing down the curtain, "Alma's" exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick's birth and departure date anniversaries to accompany Andrew's reading from Gordon Burn's 1991 same-named novel at 2018's Durham Literary Festival. Burn's novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. A beautiful grand finale for this astonishing selection of pure gold from the vaults.

Out of print for nearly a decade, Cold Spring presents a new, limited vinyl edition of T × R × P's most-revered album, originally released 2014. Trepaneringsritualen explores themes of religion, magic and the hidden realms of consciousness, taking its musical cues from the old school of ritual ambient and death industrial. Rhythmic and seething at times, and oozing forward with a creeping sense of desolation at others, Trepaneringsritualen conjures forth bleak but mesmerizing visions of the end-times. Perfection & Permanence: a hymn to Isis; a further exploration of the duality of the holy harlot, the black skinned Magdalen, mother and concert of the Christ; Yeshua Ben Yosef, son of MAN; the shameful dead, those who sold their brothers, condemned to forever roam the earth; to transgress the abyss, to mortify flesh, towards cosmic renovation. It is lonely, it is awful; on the verge of physical death, but still unable to understand; absolute perfection may be attained through WILL. A conversation with angels, in archaic tongues; Eiríkr inn Sigrsæli sold his blood and kin to desert rats for corporeal power. Ceaseless, blood-churning, terrible; an incoherent accusation by the mirror image, he whose blood was shed to atone another man's sins. Without bloodshed there can be no salvation.

CD in matt digipak, with all artwork remaining true to Z'EV's original concepts. Early hallucinatory ritual percussion works from the much-missed rhythmajik master Z'EV. This legendary album by Industrial pioneer Z'EV was originally released in 1986 (LP, Dossier), now finally available with the state-of-the-art remastering it deserves. Also included is the bonus 20-minute track "Titan Night," recorded at Berlin Atonal in December 1983, now available here for the first time on any format since the original 1984 split LP with Psychic TV (who performed their iconic set at the same event). Z'EV performed on all-steel, custom-made percussion instruments, designed to activate the acoustics of the space.

"Each track finds Z'EV creating moody and atmospheric percussion based compositions. If you're familiar with Z'EV's work you'd say these tracks are a bit more primal, stripped back, and unmanipulated. Each track takes in a set pattern of percussive elements, which he investigates over the track's length, and these move from forceful battering onto more moody drifts, and in between the two... a worthy work from this most respected and unequalled artist." --Musique Machine

"On Stash, the absolutely energy-drenched second album from BCMC, the guitar and keys duo soars through waves of pleasant rhythmic turbulence on the way to show listeners just what they got. Needle down: increased activity dubs and baubles the sonic surface of BCMC's Stash planet. Waves from Arabian, Indian, Flamenco and Soul groove in alliance under the expanse of an all-world flag, representing a borderless pursuit of cosmic music moments in the hand, of/by/for all the people of folk, rock and jazz, psych, west coast psych, prog, DIY, experimental, traditional, programmatic, impressionistic, liturgic, electric! Maybe it's in the DNA between Cooper Crain on organ and synth and Bill MacKay on guitar -- BCMC's groove-based understanding/space-based alignment of purpose is two-headed (four-handed) intuition in music, aurally forming whenever playing, composing, improvising, or all the above. Stash is part guitar and keyboard recital, part unbridled electroacoustic assembly of spontaneous international deep and wide sounds. Happening between them, somehow. Like the time: guitar and keyboard pushing, then pulling back in space. The sound of two people agreeing on this. Patterns emerge, units form, and then, we feel BCMC alive in the wide-open air of the room. Also in Stash: written things, shorter strands, riffs, prog/funk/church organ breaks, psychedelic blues-rock soloing on synth. Echoes of Floyd/Doors/Deep Purple/Iron Butterfly/Velvets/Can wove into a jangly nest, then trembled with an occasional British folk peregrination. Insistent chord/rhythm discovery: jam it out. Having taped, take a second pass in places. Improvisation, layers, inner-player dialogues revolve the flow, open it up. Drop the needle down into Stash anywhere. You find one sonic widescreen or another in time. Vivid, judiciously-tripped minimalist songs; tropical soundtrack capacity and time, horizons and water flown in from the border, fine frontier and mellow high. Stash was recorded on half-inch 8-track tape by Greg Norman at Electrical Audio, then recorded more and mixed to 1/2" 2-track tape at Sweat Loge by Cooper and Bill. Stash's different textural feel is down to wondering about, then dialing details in the sound, getting good signal in a few good spaces with a few new (old) machines in the chain. And in the mix, not a digital module was stirring: Stash is straight AAA, student!"

LP version. Justin K Broadrick (Godflesh) and Mick Harris (Napalm Death) drop militant, hard techno on this split LP. This new album doubles the track count (and runtime) of the duo's last collab. The stalwart Birmingham have connected again as JK Flesh and Monrella to deliver the warehouse- destroying hard techno album Shouting The Odds, five years after their last EP, See Red. Featuring four tracks from each artist, Shouting The Odds invokes both the feeling of listening to late night pirate radio and sweating in a darkened warehouse as the rafters shake, complete with the perfect amount of analog wow and flutter. Brimming with gnarled, unrelenting kicks hovering between 130-140bpm, the split format deftly showcases both artist's individual strengths, while displaying undeniable commonality. Broadrick's side leans traditional hard techno, filled with mesmerizing, minimal synth arpeggios and contrasting toplines, all aligned and maligned by shrewd transitions. Harris' section presents more experimental and house influences, using bright, distorted synth hits and a touch of forlorn melody. The tracks take on a life of their own through expert use of filters and just the right amount of delay, stutter, and glitch. Never before has an album filled with such shining, shimmering synths been so black and threatening. JK Flesh and Monrella have hard techno down to a science.

2026 restock. "One of the most revered, reviled and talked about records in all Australian music history, I'm Stranded by The Saints finally gets the vinyl box set treatment. A joint collaboration between In The Red, Universal Music Australia, and spearheaded by Feel Presents and Saints founder Ed Kuepper, the deluxe edition of I'm Stranded features four vinyl LPs covering all the band's studio and live recordings from 1976 thru 1977 and includes: the iconic debut album remastered for vinyl for the first time in over forty years; A five-song live performance from Paddington Town Hall Sydney 3/4/1977, appearing on vinyl for the first time; A full live performance from the Hope & Anchor Front Row Festival, London November 1977, appearing on vinyl for the first time; All three tracks from the 1977 This Perfect Day 12-inch single and all four tracks from the 1977 1-2-3-4 double 7-inch single; The previously unreleased 1976 demo mix of the full I'm Stranded album. In addition to all that vinyl, the set also features a twenty-eight page 12"x12" photo essay of the band covering their origins from 1973 through the end of'77, an authorized band history, an 8"x10" 1976 promo photo, and a I'm Stranded sticker."

Repressed! LP version. Forest Green biovinyl. Includes Poster 30x60 cm, printed inner-sleeves. Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music's most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique's instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit -- intimate, grounded in friendship, both earthly and cosmic -- and part of a greater continuum, reflecting the solace and transformative power of artistry across generations. Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the "musical telepathy" that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument's evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience. The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present. Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach -- transforming life into music, observing, feeling, and creating -- continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.

Ramping up the intensity, Joe Milli returns to Livity Sound with a spring-loaded EP of upfront club workouts that once again split the difference between techno propulsion and UK Funky swagger. Milli's previous release, Deep Forest, carried a dubby atmosphere on top of its bassweight rhythms. On this new four-track EP, the shroud lifts and he leans in on raw, impactful drums and sparse sound fields. Zeroing in on stark, heads-down production for the club, the Repetitions EP offers a different slant on Milli's emergent, sharply executed sound.

2026 repress. Since hard-snagging ears and feet in 2023 with 12"s for FELT and his own label, Guy Brewer's Carrier has become the go-to project for those who had almost given up on chasing this sort of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years his unpredictable variations within a style have kept listeners all tip-toed and seat-edge with organizations of a finely chiseled percussive palette and smoldering ambient noise that distills the salient aspects and spirits of D&B, dub techno, and electro-acoustic music with utterly unique traction. In effect, he's enacted a clear leap of imagination and proprioception from previous work issued as part of Commix and solo as Shifted that only continues to reveal absorbing new fissures and hallucinatory psychoacoustics on this first album detail. Previewed at Berlin Atonal '25, Rhythm Immortal now sees Brewer tilt the project into slower, resoundingly atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style 'n pattern of his incredible sound. At the album's poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg's on a preceding 7" single to ideally model his sound's mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to "Offshore," whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context it's perfectly adaptable to bodies supine or in motion.

Merzbow (aka Masami Akita) is an animal rights activist, writer, and musician, an iconic figure in international noise scene. Renowned for his pioneering contributions to the noise music genre, Merzbow has solidified his position as one of its most significant and recognizable figures. From his groundbreaking utilization of tape loops to craft expansive industrial landscapes in the late 1970s, to his transition to laptop-generated static noise at the turn of the century, Merzbow has consistently pushed the boundaries of sonic experimentation. Modern Obscure Music now presents Merzbow's debut release on the label, Tsubute Mosaic.

Modern Obscure Music presents The Bubble of Love, a new collaborative album by Pedro Vian together with Ustad Nawab Khan and Naved Nawab Khan -- the 9th and 10th generation of a distinguished santoor lineage from Rajasthan, India. Recorded during an intense week of sessions at Pedro Vian's studio in Barcelona, the album captures a rare and concentrated encounter between traditions, generations, and sonic languages.

Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis. Five years in the making, Music For Tombak & Synth bridges heritage, technology, and personal identity. The project, initiated in 2019 during Peyghamy's master's thesis research on contact microphones, was conceived as a means to reconnect with his Persian roots while exploring experimental sound design. In the album, Peyghamy seamlessly blends the traditional Persian tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape that bridges live improvisation and studio production. The album's genesis traces back to Peyghamy's exploration of improvised electronic music and his desire to craft a performance-ready setup. Over several years, the project evolved from capturing the energy of his live shows into a fully composed studio work. Music For Tombak & Synth stands as the first record where Peyghamy unites his dual identities as a live performer and producer, resulting in a body of work that reflects his deep connection to family, memory, and cultural heritage. The album features personal elements such as his father's voice reciting the poetry of Ahmad Shamlo on the track "Dar Shab ,در شب" collaborations with long-time friend Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph taken by his father, Khosrow 'Payram' Peyghamy, picturing both his parents and grandparents. With this release, Peyghamy moves beyond conventional boundaries of "traditional versus contemporary" or "acoustic versus electronic," instead offering a nuanced exploration of identity through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and musical influences that define his experience as a French-born artist of Iranian descent, unable to visit his home country. Music For Tombak & Synth invites listeners to engage with a deeply personal narrative, rooted in both cultural history and sonic innovation.

Munich's machine enthusiasts 9ms return to Squama with their third album Lunch. More heterogenic than its predecessors, the album incorporates Dub-infused IDM, cinematic slow jams and off-kilter drum workouts giving the daring DJ plenty of material to treat dancefloors and listening rooms alike. On their previous albums Pleats (2021) and II (2023) Florian König and Simon Popp mapped out the musical symbiosis between man and machine, using motion sensors to translate their bodies' movement while playing drums into sound. On Lunch the conceptual centerpiece is the pendulum. Neither man, nor machine, its steady movement is converted into analog voltage with what's called a gyroscope, allowing it to trigger and control any parameter in the duo's setup. The album was conceived over the course of a year in weekly morning sessions that had to be wrapped up by lunch due to family obligations. The temporal limits, as paradoxically is often the case, turned out to be quite liberating and resulted in a more playful and fearless process. "We worked pretty efficiently, but since there was no deadline for the album to be finished, the whole process felt very light." The duo also freed themselves from the limitations of having a recording setup that's reproducible for touring. "We didn't think about the live aspect at all this time." So for every session they would choose from a wide array of instruments and machines, an abundance that has inspired the record's artwork, overflowing with words from the list of gear used on the record. Sonically, 9ms keep on forging their own niche with thick, compressed drums set against wide stereo-processed soundscapes and a genuine curiosity that's pleasantly contagious.

LP version. Though vaguely considered along the lines of noise, space rock, dream pop and psychedelic, The Telescopes have consistently expanded boundaries, coloring outside the lines with possibility. This house has many rooms, embraced across genres, influential to many, all embracing, in an orbit of its own. Static Charge is The Telescopes' 19th studio album since the group's inception in 1988 -- and their seventh release on Tapete Records. After a three-month tour of the UK and Europe, the all-embracing sounds of The Telescopes return with a lean blitz of seditionary hits. Take a jolt of Static Charge and step beyond the realm of natural vision. Stone age beats, outsider sounds, low end disturbance unite in resistance to the new weirdness of existence. The Telescopes experience is known for having an ever-revolving line up that can vary between one and twenty people. On this album, The Telescopes are a four-piece consisting of The Telescopes founder and protagonist Stephen Lawrie on guitar and vocals, Darrell Carter on guitar, Robert Prest on bass with John Lynch on drums and percussion. Interesting facts: John can also be found playing with The Jonny Halifax Invocation. Darrell releases great music under the name of Fromme and Robert's father used to fly Fela Kuti around in a private jet. The album was written, recorded and produced within a two-month period from November 2025 to January 2026 at Stephen Lawrie's Butterfly House studio in Shropshire. The whole album was recorded mostly live with the only overdubs being vocal harmonies. There are seven songs in total.

2026 repress. "Beacons of Ancestorship is Tortoise's sixth full-length album released in June of 2009. Having sold through multiple vinyl pressings upon release it has been unavailable for a few years. We are happy to bring it back as part of our 20th anniversary. Pressed on high quality virgin vinyl and presented in an old-style tip-on gatefold jacket with artworked inner sleeve and MP3 download coupon."

2026 restock; LP version. Obi strip; Includes two-page insert. Wewantsounds present a reissue of Akiko Yano's Tadaima., originally released in 1981. The first release Wewantsounds' ambitious program to release Akiko Yano's albums outside of Japan Tadaima. ("I'm home" in Japanese) is Yano's fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the '70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early '80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima.", "I Sing", "Harusaki Kobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura -- aka King Terry -- who revolutionized underground manga in the '70s with his "heta-uma" (bad-good) style, as showcased on the album's striking artwork. Tadaima. is the perfect entry point to Akiko Yano's unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.

"Record Time is a print-only music magazine that focuses on obscure, unusual, forgotten and neglected records, not collectibles or rarities, but great records that can be had without shelling out max cash. Contents for #4: The turmoil of the Gibbs family and the wonderful run of Bee Gees records when the brothers were at their personal worst; a hip hop through the Roxanne Wars, the longest running answer song spree ever; the splendid freakiness of Kentucky's Sapat; The Frost and their horny masterworks; Finnish trash Smack's hard rock perfection; guitar instro whizz Travis Wammack; a primer on the romantic darkness of the Mexican Bolero; Golden Earring and their struggle to crack the USA; the great '90s garage punk label Bag of Hammers; the Allman Brothers Band on the skids; anti-punk songs by bitter old rockers; Japanese '70s teen idols Chaco & Hells Angels; steel band funk; country studs do rock and roll; Rocketship goes ambient; wretched music biographies; power pop zines; 12x4 with Scott Derr, Erin Yanke, Joan Toledo, and Jello Biafra; and more! Contributors include: Pete, Fred de Vries, Stella Beratlis, Owen Maercks, Johnny Sunshine, Eric Davison, Laurent Bigot, William Tutton, Mike Trouchon, Eric Friedl, Jay Hinman, Bob Beatty, Ryan Wells, and others. Perfect bound, 112 pages."

Double LP version. Angriff auf's Schlaraffenland: Ein Deutschpunk-Mixtape ("Attack on the Land of Milk and Honey: Punk in Germany from Then to Now"). The first singles that were later categorized as punk appeared in 1976. This makes for a fitting 50-year anniversary, which Tapete Records celebrates with a compilation. "Punks are the old farts of today," Vomit Visions already noted back in 1980. And doesn't that essentially say it all about punk -- the historicization of the genre, its musical conservatism, and the hype around milestone anniversaries. Punk bands are still being formed in Winnenden, Limburg, and Hoyerswerda -- just as they were in 1978, 1983, and 2013. And like this musical journey through time, they care little about neat definitions of Deutschpunk. Instead, this compilation opens itself up to different styles and voices of punk with German lyrics. What unites the songs is that, on the one hand, they are rooted in punk, and on the other, in the German language -- yet they create something of their own. In their most compelling moments, they struggle as much with the German language as they do with punk itself. Like any good mixtape, this compilation is based purely on musical aspects and pays no attention to release years. Featuring The Shocks, S.Y.P.H., Östro 430, Carambolage, Toxoplasma, and more.