Throughout his career, Roger Semsroth has followed a deep intuition for experimentation in sound, wrapping club music around eerie microtonal motifs and industrial sensibilities. This new work for Tresor takes a step forward, as the first true techno album from Sleeparchive, where his previous LPs have exhibited themselves more conceptually, or under different names and his Nord Vest label. Semsroth has been active in electronic music since the late '90s. He received initial attention first for his electro productions under the alias Skanfrom and the '80s minimal synth inspired Television Set. These projects echoed his love for these sounds, which the East Berliner had steadily immersed himself with after the end of the GDR. Upon hearing the bleeps of Mika Vainio and Plastikman, he began to engage with his strain of techno. Over the last decade, he has focused on his Sleeparchive alias, which dates back to 2004. Alongside close friend DJ Pete, he performs live techno as TR-101. His relationship with Tresor began in 2011, first releasing the Ronan Point EP (TRESOR 243EP) and following up with the crucial A Man Dies In The Street series in 2013 (TRESOR 260EP, TRESOR 264EP). With this new album, Sleeparchive's impact on the techno sound is ever more relevant. Awaking in constant locomotion, locked-in, unrelenting, and dry. Sleeparchive's churning loops etch visions of tight minimalism at times densely frenetic and others serenely galactic. This predilection continues throughout the four sides on the album, eschewing conventional arrangement styles with gradual probabilistic change. Tracks such as "Needle" and "Peccant" offer up precise, sinewy techno. "Leave" recalls the Detroit sound of Terrence Dixon, with its cascading synth tones and droning atmospheres. The album closes with a different version of "Trust" to that found on 2019's Revised Recordings EP released on Tresor (TRESOR 309EP), with its now-familiar nerve-inducing pizzicato strings even more at the fore with its mechanic delivery. 180 gram vinyl; includes download code.

Double LP version. Jim O'Rourke (of Gastr del Sol and Sonic Youth fame) plays a lot with Japanese free jazz legend Akira Sakata in various formations. Together with Italian composer and pianist Giovanni di Domenico and the drummer Tatsuhisa Yamamoto they form this powerful band. Their second release combines contemporary avantgarde and free jazz in a beautiful way. Personnel: Akira Sakata - sax, clarinet, voice; Jim O'Rourke - double bass; Giovanni Di Domenico - piano, Hohner pianet; Tatsuhisa Yamamoto - drums. Recorded at Hoshi to Niji studio June 30th, 2018; Recorded by Jim O'Rourke.

LP version. Kanaan from Oslo, Norway is back with their second album in 2020. Following the impromptu Odense Sessions with Causa Sui guitarist Jonas Munk released in February (EPR 057LP, 2020), Double Sun is a different beast all together: Treading the same path as their 2018 debut Windborne (EPR 050CD/LP, 2018), Double Sun is a studio effort in the best sense of the word. Perfectly balanced on the edge of dynamic improv, throbbing beats sizzled in scorching fuzz and topped off with deeply layered soundscapes. This album sees Kanaan reach a new plateau. Kanaan presents a unique perspective to psychedelic rock, painting with a wide palette that includes jazz and post-rock. Double Sun devotes as much energy to sonic color as it does to groove and energy. The spirit of experimentation is everywhere: From the savory, pastoral sounds of opening track "Worlds Together", to the soaring exploratory paths of the two-part title track. In the creative process, Kanaan dived deep into the possibilities of the studio, adding intricate layers and twists and turns to these tunes: acoustic guitars, percussions, and synthesizers embrace and enhance the Norwegian modern-day version of a power-trio.

LP version. Includes download card. Lascelle "Lascelles" Gordon -- the driving force behind Vibration Black Finger -- astonishes yet again with a magnificent second album. Once more his inspiration is drawn from the obscure spiritual jazz collectives of the 1970s where he employs a vast array of like-minded collaborators to create a listening experience infused with an ever-present undercurrent of personal expression and cultural empowerment that's as enriched with ideas as it is progressive in its form. Having earned his chops as founding member of the Brand New Heavies, Campag Velocet, and Heliocentric World, Lascelle's latest album Can You See What I'm Trying to Say bursts with energy and vivid contrasts, flowing effortlessly between beat-laden grooves, oscillating improvisations, soulful recitations, audio verité, and moody atmospherics. The album drops like a post-hip-hop reimagining of foundational genres, with a prayer to the future. "Can You See What I'm Trying to Say" is a quote from Marion Brown, the great alto saxophonist's explains Gordon. "The album was put together over the last three years, not in the conventional way of going into the recording studio with musicians, but starting from ideas I had on various formats (cassettes, mini disc, DATs & reel to reel). I also used field recordings. I did a lot of home recording with long time musical friends Ben Cowen and Diana Gutkind, some of them going back 20 years. The voices of my nieces (heard on 'Law Of The Universe') were recorded 25 years ago. 'Only In A Dream' and 'Empty Streets' are the only songs that were recorded live in the studio. "Empty Streets"opens the album, with vocalist Ebony Rose turning in a thoroughly haunting vocal performance. Following "Empty Streets", some instrumental interludes segue into a dimensional drift of beats, space synths, horns, and electronics; there's a vocal reprise of "Acting For Liberation", sung with gusto by Maggie Nichols, and then there's the album's momentous finale, "Only In A Dream", which takes off as an ominous drone before a delicious bassline from the late Ken Kambayashi transforms it into an intense, soaring epic which finally descends onto another world. In a career spanning several decades, Lascelle Gordon remains an omnivorous musical force, whether as DJ, collaborator, or radio broadcaster. As amply demonstrated on Can You See What I'm Trying to Say, he refuses to rest on his laurels and continues to impress with music that is as rich, vital, and contemporary as anything he's done before.

On her sixth album, the French electroacoustic composer Bérangère Maximin explores the idea of a kaleidoscopic world -- a sonic aggregation of living creatures, plants, minerals, nature, and buildings, using various sound objects, small percussions, synths, electric guitar, voice, and electronics. Working out of her private studio since 2008, Bérangère Maximin has developed her own approach to sound art and electronic music, composing dense, immersive pieces with immediate impact. On five albums -- released to critical acclaim on Tzadik, Sub Rosa, Crammed Discs, and Craig Leon's Atlas Realisations label -- she has revealed a taste for mixing disparate sounds together with a sense of detail, effusive, lyrical playings with the digital material and tight nuanced writing. Bérangère Maximin's music engages the listener in consideration of space and textures, the sound ambivalence and its independence from its original source being at the center of her work. During her career, the French composer has obtained commissions and residencies in National Music Research Centres such as Paris's Ina-GRM, Stockholm's EMS and received a grant from the "Villa Medicis Hors Les Murs" program in New York City (Cultures France). She has performed in notable festivals, venues and concert halls from Paris's Présences Electronique festival, London's Hayward gallery, NYC's Roulette, Hamburg's Elbphilharmonie's e-Phil series to major international festivals in Eastern Europe. Beside her solo performances, she also regularly shares the stage in duo with Fred Frith. Land of Waves: three words evoking territories of plains and curves connected with each other by canals, footpaths, tunnels. The four parts of the album lead the listener into a hybrid land where the jungle meets the city -- a succession of reliefs, surfaces, textures, layers create a large mosaic as if on a concrete wall which seems solid and definitive but is in fact penetrable, alterable. For Land of Waves, Bérangère Maximin took inspiration from recordings she did in various city parks, abandoned properties and limits with the suburbs during her travels in Europe, the diversity of sources, the variations of events and the contrasts between day and night they offered, and reinterpreted them in the studio. 180 gram vinyl, double LP; includes download code.

It is 1971. South Africa is struggling with a myriad of political and cultural problems. Mandela is in jail and the United Nations has declared it supports isolating South Africa for its apartheid policies. The state-controlled South African Broadcasting Corporation has an almost complete monopoly on what is being played on the radio, and the advent of television wouldn't be seen in South Africa for another five years as such things are seen as a threat that would undermine the proud Afrikaans tradition and spread communism and immorality. The stain of apartheid also means that most of the music being aired on the radio comes from exclusively white artists and the majority of accessible music comes from the States and the UK, with many people not realizing that local exports like Manfred Lubowitz (later known as Manfred Mann) actually come from South Africa. Despite such a tumultuous social and political backdrop, or perhaps because of it, music remains an escape for much of South Africa's youth and local scenes do spring up. This is the setting in which a band with the unusual name of Humphrey is born. The album was recorded over two weeks, and upon its release is met with rave reviews and nominated for a SARI award. Naturally, a single -- "Down Down" b/w "In The Morning" -- is released, but is met with a surprisingly lackluster response. Humphrey seemed to fade into obscurity not long after the album came out. Until, that is, Notes On A Journey's own Stefan Leisering stumbled across the album in Johannesburg, while touring South Africa with the Jazzanova live band. The Anglo-American folk, pop, rock, and psych influences on Humphrey are undeniable, something about these influences finding a voice at such a particular time and in such a particular place makes this album truly unique. The record seems almost polarized in nature, the saccharine melodies of the harmonized vocals and the band's pop sensibilities are kept from becoming throwaway bubblegum tunes by the songs unexpected psych elements, chord changes, and arrangements that bring a touch of darkness and mysticism. An early '70s South African pop psych gem, NOAJ reckon you'll be delighted it's getting another chance to shine. 180 gram vinyl; Old School Tip On cover; includes download card.

Double LP version. Includes printed inner sleeves. On The Corner Records announce the release of Dialectic Soul, the debut album from one of Cape Town's most cutting-edge, visionary artists and musicians, the drummer Asher Gamedze. This is jazz at its most spiritual, most progressive, and most appealing form. As Asher himself says: "Dialectic Soul is about motion and a refusal to remain static or stay still. It's the commitment to be continually moving." Recorded live over two days at the Sound and Motion Studios in Cape Town with renowned musicians -- Thembinkosi Mavimbela (bass), Buddy Wells (tenor sax), Robin Fassie-Kock (trumpet), Nono Nkoane (voc) -- Dialectic Soul is breathtaking in its musical vitality and expression of soul seeking truth. By incorporating the concept of the total art for this project, it fits perfectly within On The Corner's aesthetic of music, art and vision for creative innovation. Label art director Victoria Topping created the sleeve design working with Asher's drawings and concept. Asher continues: "My composition 'state of emergence' introduces the themes that constitute the album; free drums representing autonomous African motion, the saxophone reflecting deeply and honestly on the violence of colonialism, the teachings of Coltrane, Steve Biko, Makeba, and Malcolm X and others inspired the music's positive manifestations of resistance. Fundamentally, it is about the reclamation of the historical imperative. It is about the dialect of the soul and the spirit while it moves through history. The soul is dialectic. Motion is imperative. We keep moving." Gamedze is best known for his work with Angel Bat Dawit on International Anthem.

LP version. Orange vinyl; edition of 500. The career of Acid Mothers Temple has been an interesting and varied one. With well over 200 releases to their name since 1996, the band have certainly put in the hard yards. Recent times have seen a resurgence in their underground cult popularity. Between Autumn 2014 and December 2015, core AMT members Tsuyama Atsushi (bassist/vocalist) and Shimura Koji (drums) left the band. Original members Makoto Kawabata and Hiroshi Higashi took this as their chance to create a new line-up and that this was a good chance to refresh the band with new members. The last Acid Mothers Temple album released by Riot Season was Reverse Of Rebirth In Universe in 2018 (REPOSE 073R-LP) which was incredibly well received. For that album the newly settled line up featuring new boys Wolf (bass), Satoshima Nani (drums), and Jyonson Tsu (vocals) re-recorded old AMT classics and a few new jams. The album and subsequent world tour were incredibly well received, not only by long time AMT diehards but also a whole new crowd who were discovering the band for the first time, either via the album of the show, which included the band's first appearance at Glastonbury Festival in summer 2019. Chosen Star Child's Confession is the latest studio album from the band which should be considered the genuine "first album" of this new line-up with the added presence of Geoff Leigh (ex Henry Cow). In the band's own words: "We had recording session with Geoff Leigh (ex Henry Cow) at the beautiful Sam and Rachel's recording studio in London in July 2018 (with work completed back in Japan in 2019). It was the first year of the new vocalist Jyonson. We recorded some our standards and classics also new jam session. We found many musical direction, daydream psychedelic, dubby jazz groove, Si-Fi trance, experimental exotic chaos, etc... it's the truly beginning of Acid Mothers Temple's new era!"

A fresh new studio album by the powerful Russian free jazz band, now with a fourth player (guitar and electronics). Personnel: Anton Ponomarev - alto sax; Dmitry Lapshin - bass guitar; Felix Mikensky - guitar, electronics; Yaroslav Kurilo - drums.

Press about their last album, Sunstroke, (TROST 176CD/LP, 2018): Jazz and Blues Blogspot: "It is a reverent and thoughtful performance, with powerhouse electric bass at its core, leading to a fast and furious conclusion." Jazzwise: "Moscow based power jazz trio Brom are a group that push against musical boundaries and allow such diverse genres as rock, noise, free jazz and improvisation to leak into their ever evolving sound." Jazzword: "The antithesis of polite chamber jazz, this fiery Sunstroke should provide pleasure for those who prefer their jazz (rock) blistering without succor, no matter the temperature."

Three unheard 1960s and 1970s reels from the unreal and unreleased Basil Kirchin Tape Archive. Sublime pastoral jazz, autistic children screaming, spooky vocals, experimental tape manipulation, and much more from the master of such things. The three parts of this new Basil Kirchin album come from three very different tapes from his archive. All parts were unreleased until now. "Pat's Pigs" actually sounds like a Basil bird recording, slowed and treated, mixed with simple improvisation. But it could well be pigs. Pat's pigs. This whole tape recording may have been an early experiment towards what was to become Kirchin's Worlds Within Worlds Parts I and II (JBH 080LP). A lot of Basil's work was headed in that direction. "Electronic" is not that electronic. There are elements of the classic Basil Kirchin drone sound here, mixed with multiple and treated recordings of the autistic children of Schurmatt, along with Esther, his wife, singing. Esther worked as a nurse with the children, Basil got to know many of them, and became fascinated by the extreme musical noises they would make with their voices. This recording is not necessarily for the faint hearted, but makes for extraordinary listening, based on the fact this would have been made and mixed, simply as a classic and progressive Kirchin experiment, back in the late 1960s/early 1970s. This also has untreated elements that would eventually contribute towards Quantum, his preferred version of the WWW concept. "The Suspended Fourth" comes across like a soundtrack. It has a very distinctive and pastoral Kirchin style leitmotif that repeats along its glorious and slightly disturbed 21 minutes. It's very well produced, possibly built up and improvised over a few days. The tape itself states that this is The Suspended Forth with a subtitle: "The Musical Study Of A Mind, Part 1 Schizophrenia". It therefore could be something to do with a soundtrack he was asked to make for a mental health conference for psychiatrists at Earls Court in the late 1960s (see States Of Mind, -- the British jazz musical line seems like it could well be the very same). The original title for this album and the artwork come from an empty tape box from the archive, which sums up all sorts of things about Basil, his music, and the tape archive all at the same time. More reel discoveries will follow. Full color sleeve with sleevenotes.

After a long hiatus the noisy and most telepathic Montreal impro trio Jane & The Magik Bananas, led by Sam Shalabi (Land Of Kush, Karkhana, Dwarfs Of East Agouza) returned with a shifted focus exploring rhythm in a global sense. Live compositional practice, with rhythm and polyrhythm as the structuring principle, lead the group to different kinds of Western/non-Western tuning and micro tonality. In a certain way they play in the Western tradition of Ornette Coleman's Prime Time Band, Harry Partch, and Captain Beefheart. Various "world music" traditions boiled together in the groovy crucible of improvisation. An album that will certainly delight friends of the Dwarfs Of East Agouza. Personnel: Michel F Cote - drums, amplified percussion, feedback; Alexandre St-Onge - electric bass, electronics, voice; Sam Shalabi - electric guitar. Limited edition released; part of Unrock's Saraswati Series.

Following the reissue last year of Fairuz's classic 1979 album Wahdon (WWSLP 022LP), Wewantsounds pursue their exploration of great Lebanese music with the first vinyl reissue of Fairuz's highly sought-after LP Maarifti Feek, originally released in 1987. Recorded in Beirut around 1983-84, the album features the diva's superb voice combined with Ziad Rahbani's jazz and funk orchestration, making it one of the most in-demand albums on the Arabic funk scene. One of the greatest singers of the Middle East, Fairuz started her career in Lebanon in the '50s and quickly established herself as the most renowned Diva in the Arabic world, playing the most prestigious venues in the world. At the end of the '70s, Fairuz was at a turning point both professionally and personally. Her husband Assi Rahbani, who, with his brother Elias, had penned her biggest successes, has suffered a stroke a few years earlier. This setback ultimately led to both the demise of their marriage and the end of their professional partnership. Enter Ziad Rahbani, Fairuz and Assi's son, a young musician, playwright, and producer who had cut his teeth writing a handful of Fairuz's song -- including her 1973 hit "Sa'alouni El Nas" -- at just seventeen. Ziad Rahbani swiftly took over from his father and uncle as the singer's musical director and composer and this fruitful association, which started in 1979 with the album Wahdon, broke many new grounds for Fairuz with funkier rhythms and edgier lyrics. It was recorded at the same time as Rahbani's own 12" Abu Ali (WWSLP 027LP) which became a sought-after disco classic in its own right. The association between the two continued with a second album, Maarifti Feek ("Our Encounter"), recorded between 1983 and '84 in Beirut but only released in 1987. The album was another groundbreaking mix of influences ranging from the traditional arrangements of "Oudak Rannan" and "Ma Kdirt Nseet" to the Brazilian flavor of "Version 1" via the synth funk of "Ouverture 83" and its follow-up "Reprise 83". Also featured on the album is a beautiful remake of Joaquin Rodrigo's "Concerto de Aranjuez" in the form of a tribute to the Lebanese capital, "Li Beirut." This blend of Oriental grooves with jazz and funk orchestrations by Ziad Rahbani is a unique document of Fairuz's career development in the '80s and explains why Maarifti Feek is such a sought-after album. Remastered from the original tapes.

LP version. Includes download code. John Andrew Fredrick has written and released seventeen The Black Watch albums, creating sparkling, literate, jangly-distorted indie rock since the LA band's inception in 1988 (as well as four works of comedic literary fiction and one book on the early films of Wes Anderson). For this record, Fredrick had the idea of letting producer-friends Scott Campbell, Rob Campanella, (producer for The Brian Jonestown Massacre, Beachwood Sparks, Dead Meadow), and Andy Creighton be his band and record the album. "I have had, I think, too much control, musically speaking, in the past," Fredrick says, "and the thought of experimenting this way was really thrilling." The result was far from a failure, in fact this approach may have yielded The Black Watch's best album in years.

Dominique Grimaud makes you listen to the The Beatles, The Rolling Stones, Pink Floyd, and many more artists from the 1960s, like you never hear before. The title says it all: 19 Feedbacks. French multi-instrumentalist and sound-experimentalist Dominique Grimaud dives into his adolescence and the 1960s, when he discovered music that he could identify with and that would stay with him for his whole life. But 19 Feedbacks it's not just about memories or music, it's about feedback. The beginning of the use of feedback on pop and rock songs throughout that decade and beyond. It helps -- of course it helps -- that Dominique feels and knows what he's talking about. He lived those years. He knows the energy and the momentum and the historical breakthroughs that were made every time a rock band pushed the boundaries of commercial approval. He uses samples of feedbacks from that era and builds beautifully enigmatic sound-pieces around them. Some of those samples/feedbacks will be very recognizable. It's not worth telling because it will spoil the experience of listening and dive into 19 Feedbacks. It's better if the listener isn't expecting them and enjoy the ways Dominique explores them and reintegrate them into modern experimental music. Although it carries that experimental side, 19 Feedbacks normally feels as a freeform library music. Tracks like "Out Of The Sand" and "Green And Blue" carry a beautiful ambiguity of handcrafted electronic sounds thought for an electronic library of sound, to be or not to be used for a movie, radio or television. While others, like "Soft Voice" or "18 Tides" dwell along the ambient spectrum. Some tracks carry a more electronic momentum. Dominique adapts the 19 Feedbacks to fit different styles and he wasn't trapped in the gimmick side of working around such specific samples. It's a brave new world of sound escapades and sonic ventures. You never thought you would hear the Beatles, Stones, Captain Beefheart or Pink Floyd sound like this. All songs by Dominique Grimaud. Artwork by Evan Crankshaw. Vinyl cut at Dubplates & Mastering Berlin.

Fantôme Phonographique present a reissue of Chaino And His African Percussion Safari's Jungle Echoes, originally released in 1959. The African American bongo player known as Chaino released a series of sublime exotica albums during the 1950s, based around themes of "savage Africa," supposed tribal mating rituals, voodoo practices, and other concepts of exotica excess. Born Leon Johnson in Philadelphia in 1929, he was raised on the south side of Chicago and began making a name for himself as a bongo player on the Chitlin Circuit of nightclubs catering to a black clientele. In 1957, he was discovered by the nightclub singer and producer Kirby Allan (AKA Sidney Allen Pitmann), who travelled extensively in African earlier in the decade and who was seeking someone that could emulate the ceremonial rhythms he encountered in Kenya and the Gold Coast. In a peculiar marketing strategy, Allan recast Johnson as Chaino, "an orphan from a lost tribe in Africa who was taken in by missionaries and brought to the US." Together they produced eight albums, typically with Johnson playing every instrument himself, with added shouts, whelps and pseudo-African language. Jungle Echoes, first issued in 1959 on the Hollywood-based Omega Disc, is a thoroughly mesmerizing example of Chaino's over-the-top brilliance.

"An incredible, primitive and ecstatic teenage garage rock explosion from the suburbs of 1968 Orlando, Florida. With an instrumental line-up consisting of just guitar and drums, this is a version of rock & roll as raw and naked as only a duo can manage. Think Half Japanese, the Work Dogs, the Bassholes and so on -- Two Much are cut from the same wicked cloth. I remember a cassette of some of this material circulating around sub-underground Boston back in the 1980s. Might have been around the time Robin Amos's post-Girls band, Shut Up (with Glenn Jones), was finishing up their run. Robin was a well-known player on the scene both as a musician and a recordist, and people were jazzed to check out his teenaged roots. But the pummeling racket created by this two-man demolition squad -- with Robin on drums and his buddy, John Chadwick, on guitar and vocals -- was way too much for the squares to handle. None of the era's hep new wave labels knew what to do with the tapes either, so back into storage they went. But Robin was pleased with the results of the Girls' Punk-Dada-Pulchritude LP (FTR 220LP, 2012), and a year or so ago he asked if we'd be up for giving the tapes a listen. My faulty memory banks recalled a band that mostly did covers (their versions of 'Break on Through' and 'Lucy in the Sky with Diamonds' are both stuck deep in my brain.) But Robin assured us that Two Much did mostly originals, and lo and behold -- when the files arrived they were rich with crazy tunes the pair had written themselves between the ages of 10-12 (Johnny) and 12-14 (Robin). Amazing! Many bands then only had one 'original,' and it was usually a dull blues readymade. Two Much had tons of short tracks that spoke directly to the heart of junior high desire, and also managed to create a distorted, 6+ minute, political opus called, 'State of the Union '68.' That track is so far from what you'd expect that it kinda DESTROYS in all imaginable ways. Plus, in 'Who Says,' you get to enjoy the immense pleasure of hearing a 12-year old sing, 'Most of my life I've been working/Slaving my life away/Working in the king's mine fields.' Insane! Two Much's one session was recorded by Robin's dad, in their living room, right before John Chadwick and his family moved from Florida to California. Sadly, John and Robin fell out of touch over the years, but the sound of Two Much is an eternal beacon of teenage truth & justice. Burning in the dark suburban night of pre-Disney Orlando. We should all have back pages like this!" --Byron Coley, 2020 Edition of 200.

Peter Marshall (aka Kendrick Andy) features on an album originally released in 1995 and features reggae and roots vocal tracks, produced by Martin Campbell/Top Beat and co-arranged by Kendrick Andy. The album is also in the showcase format and features respective dubs of each vocal track. The basic rhythms were originally recorded at Channel One JA in the mid-1970s and all vocal tracks were voiced at Channel One (UK) in 1995. All tracks have been re-mastered by Alien Dread, at the newly fully refurbished AD studio. LP version features 12 selected tracks from the CD version and is in showcase format.

2020 repress. As composer, musician and initiator of the San Francisco Tape Music Center which he cofounded with Pauline Oliveros and Ramon Sender in 1961, Morton Subotnick (born 1933) has propelled the progress of electronic music in several significant ways. From 1963 on he worked with Don Buchla on the development of the early synthesizer Buchla Series 100 before moving to New York where the artist-in-residence at the newly established Tisch School of the Arts of New York University was enabled to set up his own studio. That's where Subotnick's most popular work Silver Apples of the Moon was commissioned by DECCA as the first electronic composition ever that was especially conceived for a vinyl release (in opposition to the common practice of performing live). Until the current day, this seminal album has not lost its visionary power and has long been considered one of the essential milestones in electronic music with a great impact on later generations of artists, starting from the cult formation Silver Apples to Laika, who titled their debut Silver Apples of the Moon, too. Now for the first time since its original 1967 release, Subotnick's masterpiece (which was selected for the Library of Congress in 2009) has finally been made available on vinyl at last: a new audiophile 180 gram LP that was carefully remastered for vinyl.

2020 repress. On his debut album Scattered Memories, the composer, musician, and true master on the Iranian spike fiddle kamancheh Saba Alizadeh blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran. Born in Tehran in 1983 as son of the world-renowned tar and setar virtuoso Hossein Alizadeh, Saba Alizadeh studied the Iranian spike fiddle with Saeed Farajpoury and Keyhan Kalhor, plus photography and later experimental sound art with Mark Trayle at the California Institute of the Arts, Los Angeles. His musical activities that lead him all around the globe for performances (amongst others, at Carnegie Hall) branch into two different areas: on the one side Alizadeh is a highly-reputed virtuoso on his traditional instrument, on the other he likes to approach music from a more experimental/technological aspect in his electronic/electro-acoustic pieces. This not being enough, he founded Noise Works in 2014, a platform and label for organizing experimental concerts and for the transfer of knowledge of music technologies among young Iranian musicians which makes him a central figure at the forefront of the current, very vivid Persian music scene that gained a lot of attention through artists like Siavash Amini, Porya Hatami, and of course Sote who included a track by Alizadeh on the compilation Girih: Iranian Sound Artists (2018) that he had curated. In 2018, Alizadeh self-released his debut Scattered Memories on CD in Iran which now, in a reworked version, sees its deserved worldwide release on vinyl. Over the course of ten tracks, Alizadeh melts his two musical worlds into one: tradition meets modernism, eastern sounds meet western production, folklore meets contemporary electronics. An album that will appeal to an open-minded "world music" audience as well as fans of current streams like ambient or drone in its most subtle forms. 180 gram vinyl; Includes download code.

An exhilarating new 70-minute mix compilation showcasing "The Juiciest New UK Garage". The Kiwi Sound represents the third in Kiwi Records' mix series. The compilation includes the scene's biggest commercial hits, alongside some of its most iconic underground anthems -- not to mention a scattering of unheard exclusives from Kiwi friends and family. Expect to hear AJ Tracey's inescapable Platinum smash "Ladbroke Grove", Sammy Virji's addictive "Find My Way Home", Mind Of A Dragon's club-busting "Wheel Up", and Conducta's very own "Vitamin C". "It was important for me to collate the full spectrum of garage that's been breaking through over the past couple years, and to bring it to a wider audience. As well as the more familiar tunes, I wanted showcase other pockets of the scene bubbling away and shine a light on new producers pushing the sound forward." --Conducta Also features Coco & J'Danna, Yemi, Y U QT, Prescribe Da Vibe, Wiley, Sean Paul, Stefflon Don, Idris Elba, TC4, Kamakaze & Massappeals, Morgan Munroe, Bushbaby, Sharda, Jarreau Vandal, Movement & Reece West, Kobe JT, Higgo, MPH & Hans Glader, Smasher, Kitson, Jaykae, Local, Hamdi, Harry Tremlett, Salute, Tuff Culture, Skelecta, Morenight, SMOAD, Kara Marni x Champion, The Phat Controlla, and Jorja Smith x Preditah.

From its creation in the late '90s until its closure in 2009, the Toytronic label witnessed a digital revolution that transformed the record industry, turning glitch into a production tool for a whole generation heir to the of bleep 'n' bass sound. Thanks to their impeccable A&R credentials, its head honchos, Martin Haidinger and Chris Cunningham, created an incredible IDM label catalog, as well as producing their own material under pseudonym Abfahrt Hinwil. Their only album to date Links Berge Rechts Seen (Toytronic, 2002) was released as a compilation featuring tracks from their brief career that over the years has become a benchmark for the Toytronic sound. This album included their first -- and only -- three releases signed to Expending Records and Toytronic, and also included two previously unreleased songs: "Planquadrat" and a hidden track at the end of the CD version. Lapsus presents Links Berge Rechts Seen, which will be released on vinyl for the first time as part of its Perennial Series. Originally released on CD in 2002. The collector's format double-LP is accompanied by a double-sided lithographic print, which includes a unique and exclusive interview from Martin and Chris, talking to prestigious electronic music journalist Philip Sherburne; marbled vinyl (solid silver & black) double-LP.

Frustrated with UK club music's current fixation with tempo, London based artist Kouslin's 2020 Vision EP delivers four cutting-edge, high energy clubs tracks that hover around the 100bpm mark. Drawing on both dancehall influences and the productions of artists such as Harmonic 313/Mark Pritchard and The Bug, Kouslin carves his own vision for a new decade in UK club music where fine-tuned low frequencies and a slower pace can deliver maximum impact. When he's not working at London's Phonica Records, Kouslin runs the Le Chatroom record label and has a regular slot on London's Balamii radio. This 12" vinyl release comes with full color artwork reverse board sleeve with artwork from Tess Redburn. Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

2020 repress. An entirely improvised live album recorded in one take in the inner city of Johannesburg, featuring some of the city's finest experimental musicians, namely Siya Makuzeni (vocals, FX, trombone), Nosisi Ngakane (vocals), Joao Orecchia (synthesizers, electronics), Waldo Alexander (electric violin with FX pedal), Gontse Makene (percussion), and Ariel Zamonsky (upright bass). In the context of this improvised album, the term "spaza" not only refers to the name of the outdoor gallery in Troyeville, Johannesburg where this project was recorded in the autumn of 2015. No way. In South Africa, "spaza" comes heavy with meaning. It could refer to an informal neighborhood store usually attached to someone's house, operating out of a shack or a repurposed shipping container. It has come to signify an entrepreneurship spirit, especially in South Africa's black townships where restrictions to business ownership meant that only a few could attain that privileged societal status of legitimate business owner. But in contemporary South Africa, spazas are also contested territories, given continental migratory patterns that have seen the country attract millions of political migrants against the backdrop of the remaining economic and spatial legacy of apartheid. Spazas have emerged as sites of war, bloodshed, wailing, and despair as financially disempowered South Africans routinely mete out their frustrations on those spaza store owners that they consider "foreigners" and "outsiders". But spaza can mean something else entirely. Perhaps obliquely, there are musical references to be grasped at. Spaza, the term, the recording, and the location, evokes a spirit of musical independence, a looseness, a jam session, a collaboration, a coming together of great minds at the corner to shoot the breeze, or let off a seriously considered prognosis. In this sense, Spaza, the album, is a conceptual coalescence of space, the body politic and an approach to music making. Helmed by the arbiters of spontaneity, Mushroom Hour Half Hour, this loping, expansive recording brings together musicians already adept at creating on the fly and playing in unlikely set-ups with their instruments of choice. Spaza is at once opaque, direct and an unyielding morass of joy melding with pain, furtiveness caressing boldness. This could be the sound of the city turned inside out, ruminating on its troubled history and uncertain future, the sound of celebration and pensiveness. The results, while shaped in the milieu that is Johannesburg, are that of continental astral travel, a sonic reading of the city's dreamscape.

Restocked. "This three-disc set marks the first appearance on disc of the music of the African-American composer Julius Eastman (1940-1990), who died fourteen years ago under unexplained circumstances and whose musical legacy was thought lost. This comprehensive and definitive document, which comprises almost all of Eastman's signature works, will undoubtedly be a revelation for those who have thus far been unable to hear his work. In his book American Music in the Twentieth Century, composer/author Kyle Gann briefly sums up Eastman's work and its importance: 'Born in New York, he graduated from the Curtis Institute in composition and was discovered by Lukas Foss, who conducted his music, including Stay On It (1973), one of the first works to introduce pop tonal progressions and free improvisation in an art context... Applying minimalism's additive process to the building of sections, he developed a composing technique he called 'organic music,' a cumulatively overlapping process in which each section of a work contains, simultaneously, all the sections which preceded it. The pieces he wrote in this style often had intentionally provocative titles intended to reinterpret the minorities Eastman belonged to in a positive light: for example, Evil Nigger, Crazy Nigger, and Gay Guerrilla (all circa 1980). These three pieces, all scored for multiple pianos, build up immense emotive power through the incessant repetition of rhythmic figures.' Eastman was an energizing underground figure, one whose forms are clear, whose methods were powerful and persuasive, and whose thinking was supremely musical. His works show different routes minimalism might have taken, and perhaps some of those will now be followed up. This set of discs is a bold beginning to restoring to history the works of one of the most important members of the first post-minimalist generation."

"The title of this recording has multiple meanings for its composer, Larry Polansky (b. 1954). These are the generations... is a translation of the Hebrew title for the second work on the program, Eleh Tol'd'ot, the first words of the thirty-fifth verse of the first book (B'rey'sheet) of the Torah. Beyond referencing Polansky's Jewish heritage, the phrase reflects this particular collection of works on several levels. The compositions included stem from different generations of Polansky's musical output: Some were composed in the 1980s while he was teaching at Mills College in Oakland, California (Eleh Tol'd'ot, Sacco, Vanzetti); some while living in New Hampshire when he was a Professor of Music at Dartmouth College (Glockentood II, 22 Sounds-); and others are recent compositions completed in Santa Cruz, California, around the time of Polansky's retirement from the University of California, Santa Cruz (five songs for kate and vanessa, kaddish (ladder) canon). The performers on the recording are similarly of different generations. Some have known and worked with Polansky since the 1980s or earlier; others are much younger and began working with him as graduate students within the last few years. Moreover, some of these works use some form of algorithmic composition while others use more conventional approaches to composing music. In some pieces, the musicians themselves must enact some kind of procedure to generate the sounds or structures they are to play. Finally, the works presented here demonstrate Polansky's deep understanding of the history and techniques of experimental music in the United States. Within these compositions one can find compositional approaches that span styles from the ultramodernists in the early twentieth century to advanced computational algorithms not yet possible in that era. Through these works Polansky somehow manages to integrate older and newer styles of experimental composition into a cohesive voice that despite, or perhaps because of, its eclecticism and diversity is unmistakably the music of Larry Polansky."

LP version. Blue swirl vinyl. A major retrospective of late '80s psychedelic garage rockers Hangman's Beautiful Daughters. A mainstay of the indie and C86 scene, the London-based band were signed to Dan Treacy's Dreamworld Records. Treacy, the genius behind The Television Personalities, played a major role in the band's birth, contributing a few songs and as producer. "They all looked dead cool: Gordon played chiming 12-string guitar licks which sounded like a dirty version of Roger McGuinn's sound with the Byrds, with his long blond fringe making him look like a tougher cousin of Brian Jones. Emily [Brown] had a sensuous, husky alto voice, and looked fine with her long wavy auburn locks, suede fringed boots and mini-skirts. Phil [King] was taciturn and nonchalant; impenetrable with his shades and dark bowl-haircut and like a cuter version of Bill Wyman. Ray [Philpott] was an accomplished, energetic and handsome drummer with a ready grin and long parted wavy chestnut hair. Sandy [Fleming] was an exuberant presence, with her raven-black short spiky hair, skinny legs and leathers; she played choppy rhythm chords on a sunburst pear-drop Vox guitar, and added her voice to the mix. There weren't many women making rock music in those days, so it was very distinctive to have two women at the front." Hangman's Beautiful Daughters were described at the time as like a cross between The Jefferson Airplane, MC5, and The Velvet Underground. Touring regularly across the UK and mainland Europe, they released the EP And Love is Blue, the singles "They Fell for Words like Love" and "Darkside", plus the album Trash Mantra (1987). All of these recordings were also repackaged and released in Germany and the US. A further EP was recorded for Dreamworld but never released, with two songs from that session, "If It Means Anything" and "King of Sweden", getting their first airing on the new release. Equally adept at producing hard charging rockers or more languid, opiate-tinged soundscapes, Hangman's Beautiful Daughters were part of the DIY culture that helped shape British guitar music. Their complete recordings remastered; Includes two previously unreleased tracks. The album comes with a deluxe 12-page booklet, featuring never-seen before photos and a history of the band written by Jowe Head, of Television Personalities and Swell Maps fame.

LP version. Rune Grammofon introduce a new name to their roster. Master Oogway are four young musicians aged between 23 and 26. They met at the Norwegian Academy of Music in 2015 with a common desire to play vibrant, improvised music with strong themes and room for spontaneity at a high energy level. Like many players on the young, Norwegian progressive jazz scene their instrumental skills are already highly developed but never used to show off. Earth And Other Worlds is the quartet's second album, their debut was released on the Clean Feed label in 2018. Their new effort is more dynamic and varied and shows more mature and accomplished songwriting, not to mention the stronger group interactions and the impressive solo stretches from sax player Lauritz Lyster Skeidsvoll and guitarist/composer Håvard Nordberg Funderud. While it's fair to say that they operate in much of the same musical landscape as Bushman's Revenge or Kokofant, it's equally fair to note that their general approach and attitude comes with a slightly stronger emphasis on jazz. Håvard Nordberg Funderud finished his bachelor at the Norwegian Academy of Music in 2018 and has also studied in Gothenburg and Copenhagen. He is involved in several projects, but Master Oogway is his priority. Lauritz Lyster Skeidsvoll and Karl Erik Horndalsveen have both finished their education at the same academy as Funderud. Martin Heggli Mellem is currently finishing his bachelor at the jazz program at NTNU in Trondheim. Personnel: Håvard Nordberg Funderud - guitar; Lauritz Lyster Skeidsvoll - saxophone; Karl Erik Horndalsveen - double bass; Martin Heggli Mellem - drums.

LP version. Rune Grammofon introduce I Like To Sleep to their roster. Taking their name from a Thelonious Monk quote, I Like To Sleep are three young Norwegian musicians, all 22 years old. Nicolas Leirtrø and Øyvind Leite first met in high school in Trondheim before they joined up with Amund in a youth big band. It soon became apparent that they shared the same musical background centered around '70s progressive rock, classical music, jazz, and improvisation. Soon after the trio was formed, first for fun, but soon with higher ambitions, they won the prestigious "Young Jazz Musicians of the Year" award in 2018. Daymare is the trio's second album, their debut was released on the small All Good Clean Records label in 2017. While their debut showed a lot of quality and promise, their new effort is a huge step forward on all accounts, especially considering their young age. The lazy way would be to place I Like To Sleep with certain other Rune Grammofon "power jazz" groups, but their unique instrumentation, natural openness and youthful curiosity place them apart from the rest. All three members are currently in the middle of their jazz studies at NTNU in Trondheim. They are active as composers, freelancers and in other projects, including concert booking on the city's vibrant music scene. In case you recognize the name, Amund Storløkken Åse is the son of Ståle Storløkken who as a member of Supersilent appeared on Rune Grammofon's very first release back in early 1998, and later on several more records with Supersilent, Humcrush, Elephant9, and a couple of times with Motorpsycho. The circle is closed. Personnel: Amund Storløkken Åse - vibraphone; Nicolas Leirtrø - baritone guitar; Øyvind Leite - drums.

Less of Everything. The title of Es's first full-length LP could be interpreted as a manifesto pledge, an outright demand or a purely literal sonic descriptor of the London quartet's glacial form of punk rock music. This tension between intent and interpretation has been a fundamental element of the group's output from their formation. Es is Maria Cecilia Tedemalm (vocals), Katy Cotterell (bass), Tamsin M. Leach (drums), and Flora Watters (keyboards). Their 2016 debut EP, Object Relations, released on influential London punk label La Vida Es Un Mus, was described as 'mutant synth-punk for our dystopian present' (Jess Skolnik, Bandcamp, Pitchfork). The band has since become a vital presence in London's underground DIY music scene, as well as having toured the UK with the Thurston Moore Group in 2017. After a period with members split between Glasgow and London, Es recorded Less of Everything with Lindsay Corstorphine (Sauna Youth, Primitive Parts) in Tottenham in 2019. As in Object Relations, the dynamic between Cotterell's bass and Watters's keyboard is at the heart of Less of Everything's sound: intertwining sub-zero melodies, gothic anarcho-punk influences (think Kukl, Malaria, X-Mal Deutschland) and some kind of entirely unlocatable aquatic component. When combined with Murray Leach's precise drumming, the outcome is original and immediately recognizable. Es are a group who know how to leave space, how to strive for minimalism without sacrificing aggression or dynamism. This dynamic provides the perfect backdrop for Tedemalm's relentless, pointed vocal style. While comparable 'cold' sounding groups might affect an impersonal, safer mode of lyrical or vocal detachment, Tedemalm's strategy is to 'push the lyrics as far as I can thematically until they become absurd -- overly dramatic ... while still being sincere in the feeling they're trying to invoke. I try to apply as much emotion as I can.' The result is something intense but nuanced, confrontational but complex." --Owen Williams, 2020 180 gram, transparent vinyl; edition of 500.

Double-CD version of Mike Cooper's now classic 2018 release Tropical Gothic -- now released with a bonus live performance recorded at London's Café Oto. On Tropical Gothic, Mike Cooper studies different approaches to his method of uniting guitar and field recordings into a constant stream of sound, where he delivers chaos and melody -- not necessarily in that order. A series of shorter pieces open the album. Each of them offering a myriad of images and sensations, between the enigmatic and terror ("The Pit"), joy, happiness, and freedom ("Running Naked"), or pure contemplation ("Onibaba"). The album closes with its 18th minute magical piece "Lelong & Gods Of Bali". A mix of ambient exotica music, silent film soundtrack, and distorted rhythms that dance around Mike's guitar. It keeps reinventing and transforming itself throughout those eighteen minutes, summing up the dexterity and muscle of Mike Cooper's music of the last two decades. Tropical Gothic - Live At Cafe Oto was performed as a live improvised version of Mike's release of the same name. Joined on stage by Clive Bell and Sylvia Hallet and performed alongside three of Mike's videos -- "Ko Lanta", "Walking In Ubin", and a mash up containing excerpts from some of Mike's favorite "tropical gothic" films -- Onibaba (1964), Opera Jawa (2006), Kwaidan (1964), Tabu (2012), and White Shadows In The South Seas (1928). Both Clive and Sylvia play an array of Asian and "exotic" instruments; both are improvisers and have been playing together on and off over many years. Sylvia had collaborated with David Toop on his opera Star Shaped Biscuit, a work that might also be considered tropical gothic and Clive Bell, an international traveler, writer, and expert player of the Japanese shakuhachi flute, as well as other Asian blown instruments, is very familiar with Mike Cooper's musical excursions into ambient/electronic/exotica. Personnel: Mike Cooper - lap steel guitar, iPhone, Zoom sampletrack, Kaos Pad, Mini Kaos Pad, Mini Disc, Pitch Shifter Delay, Video; Sylvia Hallett - violin, bowed bicycle wheel, saw, sawn-off lampshade, jaws harp, mbira, delay pedal, pitch shift pedal, looper pedal; Clive Bell - shinobue, shakuhachi, khene, pi saw flute, Cretan pipes. Recorded Live by James Dunn at Cafe Oto on September 28th, 2018. Disc 1 mastered by Rashad Becker. Disc 2 mastered by Emmet O'Donnel.

Fantôme Phonographique present a reissue of Om Kalsoum's La Ya Habiby, originally released in 1963. A titan of middle eastern music, the contralto singer Om Kalsoum (or, Umm Kulthum) was hailed as "The Voice of Egypt" or "Egypt's Fourth Pyramid," and as she reportedly sold over 80 million records worldwide during her lifetime, she is one of the most popular singers of all time. Born in a small village in the Nile Delta, either in the late 1890s or the early 1900s, she joined her father's family group at an early age and as a teenager, was taught classical Arab music by singer Mohamed Abo Al-Ela. The composer Zakariyya Ahmad convinced her to move to Cairo in the early 1920s, where the composer and oud player Mohamed El Qasabgi introduced her to the Arabic Theatre Palace, where she enjoyed her first taste of success, leading to her breakthrough in the early 1930s and subsequent tours of the middle east; appearances in local films and the regular broadcasts of her live concerts allowed her to surpass her rivals. At home, her peak period is seen as the 1940s and '50s, yet she continued to record enthralling work in the '60s and '70s, including "La Ya Habiby," an epic song of heartache, composed by Riad El Sombati, with lyrics by Abdelfatah Moustapha, first recorded in 1963. Kalsoum has since been cited as an influence by Bob Dylan, Robert Plant, Bono, and Jah Wobble, among many others.

Function is an aesthetic exploration of digital audio at an elemental level: a sequence of quantized amplitude values. The entire sonic material in this series are generated through a custom-designed program that takes a mathematical function as input, and based on a set of pre-defined criteria, outputs the function as a digital waveform. Accordingly, each track in this series is named after one mathematical function, where the function itself is used as the only sound-generating engine. These raw sonic materials are then processed through a number of common audio effects, and organized and structured into a compositional form. Function builds on an ongoing investigation into realization of Brutalist aesthetics through sound and audiovisual media. Through a reductionist approach towards its distinctly digital sonic structures, the work embraces the crude limitations of its medium as the primary aesthetic construct. It uses mathematically constructed tonal and rhythmic structures to allow for a celebratory exposure of its "anti-beautiful" raw material. In doing so, it projects an uncompromising clarity of structure, a conscious negation of interpolation, and a steadfast refusal to hide the machine's footprint. Mo H. Zareei, aka mHz, is an Iranian electronic musician, sound artist, and researcher, based in Wellington, New Zealand. mHz is the acronym for millihertz. Using custom-built software and hardware, his experiments with sound cover a wide range from electronic compositions to kinetic sound-sculptures and audiovisual installations. Regardless of the medium, Zareei's work aims to highlight the beauty in the basics of sound and light production and reductionist audiovisual elements that draw inspiration from physical and architectural principles. Over the course of his PhD, he developed a portfolio of works focused on the intersections of sound art and Brutalism. His Brutalist Noise Ensemble has been featured on platforms such as Creative Applications, Streaming Museum, and Fast Co. Zareei has presented his work at international venues and festivals such as SETxCTM Festival (Tehran), New Zealand Festival (Wellington), the International Symposium on Electronic Art (Vancouver), and New Interfaces for Musical Expression (London), to name a few. His installation "Rasping Music" was the recipient of the 1st prize in Sound Art category of the international Sonic Arts Award 2015 (Italy).

Electronic music visionary Rodriguez Jr. presents his third album Blisss on the revered Berlin-based label Mobilee. The LP sees his creative imagination run free and results in his most inspired work to date. Rodriguez Jr. has championed a captivating sound of melodic house and techno that cannot be pigeonholed, his vast experience of electronica making him the world-renowned producer and live performer he is today. In 2017 he released the stunning Baobab album, the follow up to his impressive debut Bittersweet (MOBILEE 013CD, 2011) and Blisss is the next exciting chapter to be unveiled. Inspired by the deep rooted and wide-ranging influences of Olivier Mateu including the literary atmospheres of Modiano and monochromatic paintings of Pierre Soulages, Blisss rewards fans both old and new alike. The album also sees a new pop influenced side of Rodriguez Jr. on two tracks, collaborating with Nouvelle Vague singer Liset Alea, creating beautiful moments of serene disruption. Transparent blue vinyl; gatefold sleeve, 4c printed inner sleeves.

Originally released in 1985 on Creation Records and arguably one of the best from that era. This version is backed with "Your Door Shines Like Gold" which appeared on the 12" but not the 7". Color vinyl; includes postcard and poster; edition of 800.

Radiation Records present the first vinyl reissue of Mood Of Defiance's Now, originally released in 1982. Southern Los Angeles experimental punk band Mood Of Defiance was formed in Hermosa Beach in 1981, spinning off from a short-lived synthesizer project called Kindled Imagination, formed in nearby San Pedro (home to The Minutemen) with drummer Richie Wilder of Saccharine Trust. Teenaged lead singer and band originator Rachel Morgan, who was known as "Screaming Bitch Rachel" and later, Hatha Watha, formed MOD with Wilder, recruiting initial guitarist TA Black and bassist Kevin Ball from a music press advertisement. Debut demo recordings (eventually issued as In A Box) featured this line-up but after Black and Ball quit the band, they were replaced by Danny Dean Philips and Gary Kail from the band Anti, moonlighting in this side project for debut album Now, released on Philips and Kail's aptly-titled New Underground label in 1982; other band members featured on the disc include drummer Thaddeus. Opener "Divided States Of America" set the disc's defiant punk tone, though "Sticky Lips" and "Girl In A Painting" are less caustic, with broader musical dexterity and post-punk rhythmic references. An important piece of southern California punk history, back on vinyl after 38 years. First 150 copies are individually numbered and on clear vinyl; Includes full reproduction of the three original inserts in a poster insert; Edition of 500.