Field Records present the first vinyl edition of John Elliott's previously cassette-only album titled Gold Fiction Loop Garden from 2016. Aside from curating the Spectrum Spools imprint and taking part in the bands Emeralds, Organic Dial, and Outer Space, Elliott has put out two absorbing solo albums over the last ten years. His solo works as Imaginary Softwoods fit in the tradition of kosmische greats without ever delving into pastiche. This third album from Elliott features a collection of short loops, recorded live to two-track digital using analog synthesizers, Mellotron M400, and multiple arrays of configured FX processes in Cleveland, Ohio. The nine tracks are widescreen meditations on pastoral ambience. Gently rising and falling chords, mellifluous pads that slow fall from the sky and ever evolving patterns of melodic beauty range from innocent and youthful to more somber and reflective. It is a beautifully absorbing listen that is perfect audio therapy for the mind.

Float presents the next release from drummer and composer Andrea Belfi following on from his 2017 debut album Ore. Strata is an organic evolution of the unique synthesis of hypnotizing drumming and ensnaring electronic patterns Belfi has become renowned for. Strata's inception is due to Belfi's playful experiments with Gnawa rhythms -- a music tradition from North Africa that draws from ancient African spiritual and religious songs -- with which Belfi created basic guide tracks that were later expanded upon. Strata's remit expanded from these core rhythmic ideas into a mini-LP, spread across six tracks spanning 25 minutes. The introductory track, "Shale", consists of melancholic synth counterpoint and soft drones. The title track "Strata" kicks in with suspenseful bleeps and restless hi-hats before pacey drums ramp up the tension toward explosive highpoints. "Fault", a short interlude, features more meditative moments. Notably, this track sees Belfi playing a self-built trimba, a triangular percussion ideated by legendary street musician Moondog. "Outcrop" is built around a pulsating electronic dub beat. The drop of a syncopated kick and mounting polyrhythms underpin the solemn "Ravine", before the album comes to a close with "Plateau", a driving and sinister conclusion that revisits elements of Strata and the trippy momentum of the Gnawa rhythms. The internal structure of Strata is fittingly built on layers of repetitions and variations across all tracks: "Shale", "Strata", "Fault", and "Plateau" share the same harmonic and melodic structure, while "Outcrop" and "Ravine" are both explorations of the traditional song formula. All tracks except for "Plateau" -- which can be understood as a techno remix of "Strata" -- were recorded as live studio takes incorporating the sound quality of the studio space. The album was recorded by Simon Goff at Vox Ton in Berlin and mixed by Rocco Marchi at Obst und Gemüse in Bologna. Capturing the impetus of Belfi's formidable live performances, Strata's skillfully builds up momentum to its explosive final release.

"Twenty-four years ago back in 1994 the first To Live and Shave in L.A. CD 30-Minuten Männercreme was released. Jim Magas, the indie buyer at the local Ann Arbor Borders Books and Music convinced myself and pal Andrew W.K. to buy it... telling us that it's some of the most fucked up music we would ever hear. He wasn't wrong, it blew our teenage minds... we had NEVER heard ANYTHING that sounded like this... and it remains one of the most influential music releases of my life. It was and is one of the most psychedelic things I've ever heard. It was a maximalist blast of pause-button tape 'loops', doubled up rock crooner vocals, noise guitar blasts (supplied by Harry Pussy's Bill Orcutt), recorded and mixed with mind scrambling hi-fi clarity, by Tom and long-time Miami underground music beacon Frank Falestra, aka Rat Bastard. Before that monumental album was recorded, TLASILA's main man Tom Smith had recorded 4 songs to be released as a 7 inch back in 1992. The label, afraid of the new name wanted to release the record under Tom's previous moniker Peach Of Immortality. This wouldn't do as it was a new beast all of its own. Alas, the release was shelved... until now. The Side A of this LP contains the complete unleaded 4 song 7 inch, recorded by Tom in his very first of many projects with longtime collaborator Rat Bastard. Tape loops of dollar bin garbage reworked into disorienting alien rock music with freak-pop hooks. I challenge you to find me another recording project as freaked out and unlike anything as this. Go for it! No hyperbole... This is the unheard blueprint recordings of one of the most creative projects in the history of underground music. The B-side of this LP is unreleased dub experiments Tom was doing through the years 1977-1980 and available only on this vinyl, and not available with the digital download." --Aaron Dilloway, May 2019

For Fans Of: Harry Pussy, Sonic Youth, early Severed Heads, The Hanatarashi, Aaron Dilloway, Evil Moisture, Tod Dockstader, J Dilla, Giorgio Moroder, Public Image Ltd, Pussy Galore, Death Mix-era Bambaataa, Doris Wishman, and Captain Beefheart.

2019 repress. Honest Jon's presents a collection of music from '60s and '70s West Africa that is heavily influenced by Latin sounds from the era, representing a mutual cultural exchange that would have a permanent impact on the evolution of each region's trademark sound. Much of what makes modern Latin music so irresistible came from Africa in the first place. When the first waves of African rhythms, reconstituted in the Caribbean, returned home on radios and records, Africans -- especially in West and Central Africa -- received them with great enthusiasm. Staid dance bands that replicated European music soon began to swing as Caribbean accents settled in their rhythm sections. By the 1950s, Africa had produced its own Calypsonians, and more than one African musician changed his name to give it a Latin flavor. Some even composed songs in Spanish, while others wrote nonsense lyrics that only sounded like the real thing. No band mixed local and Latin styles more successfully than Orchestre Baobab and its leader Balla Sidibe. The mesmerizing "On Verra Ca" finds Baobab leaning in the direction of the stuttering mbalax sound that Youssou N'Dour carried to great popularity. Other Senegalese bands followed the trend, like the Rio Band, Orchestre N'Guewel, and Laba Sosseh from Gambia (like his compatriot Amara Toure) who styled himself as a salsa singer after his hero Johnny Pacheco. From Benin, Gnonnas Pedro sang in every pop style imaginable, but he seems especially at home in an Afro-Cuban embrace, as you will hear on the 1977 recording "Adigbedoto." The closing track also comes from Benin, a 1976 recording by the celebrated Orchestre Poly Rythmo -- though the singer, Pierre Tchana, hails from Cameroun. "Quiero Wapacha" features another Camerounian singer, Charles Lembe, and also from Cameroun is legendary African Jazz saxophonist, Manu Dibango, who is featured here alongside Le Grand Calle and Cuban flutist Don Gonzalo. Orchestre OK Jazz recorded any number of Afro-Cuban inspired sides: "Micorrason" is one of the band's earliest songs, recorded soon after their formation in 1956. There is no better evidence of the push-me-pull-you, back-and-forthing between two cultures than the Afro-Latin compilation we have here. All the flow from an unparalleled period of exuberance and creativity after World War II had ended and before homegrown tyranny had yet to descend on the land. It was Africa's moment, optimistic and free. You can hear it in the music. --Adapted from text by Gary Stewart, author of Rumba On The River: A History of the Popular Music of the Two Congos.

Hot Casa present a reissue of Manu Dibango's African Voodoo, originally released in 1972. A fantastic and rare album by the Afro soul maestro. These files were recorded in 1971 at Pathé-Marconi studio (Boulogne-Billancourt) for professional sound illustration intended for the cinema, television, and advertising. At the time, jazz musicians were interested in and experimented with all genres, and started to convert solely to what soon to be called "rare groove", somewhere between soul, jazz, and Afro funk with a hint of Latin clave. These tunes have not aged and the sound will be considered as "huge" by many cratediggers. These recording were not supposed to reach the club or radio audience, they were freer sessions, a moment for the musicians to open their imagination and test their "Afro something", like Manu Dibango liked to say. These recording sessions included the best of the French soul scene at the time: Yvan Julien (trumpet), Slim Pezin (guitar), Jacques Bolognesi (trombone), Lucien Dobat (drums), Emile Boza (percussion), Manfred (bass), and the conductor himself at the vibraphone, marimba, saxophone, organ. This album is a wonderful return to the future and should satisfy the need of the Afro soul aficionados. Mastering by The Carvery. Replica; vinyl-only; 180 gram vinyl; includes interview by Jacques Denis; limited press.

LP version. Tropical red vinyl; includes printed inner sleeve. On the eve of her 80th birthday, Dona Onete, the grande dame of Amazonian song, returns with her third album Rebujo, a love letter to her hometown of Belém, situated deep in the Amazon. Rebujo brims with two music styles born in Belém: carimbós, influenced by African grooves, and bangues, a ska-type rhythm. Plus, there's a cumbia, brega ("romantic" music) and samba. Since the release of her 2017 album Banzeiro (MAIS 034CD/LP), Onete has become a superstar in Brazil -- she composed and sung the theme song for one of Brazil's biggest soap operas (A Força do Querer), been awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture, and her video for "No Meio do Pitiu" has an impressive 9.2 million views on YouTube. Outside of Brazil Onete has performed at Roskilde, Womad (UK, New Zealand, and Australia), Gilles Peterson's Worldwide Festival, and TFF Rudolstadt, and she is a global spokesperson for indigenous cultures. RIYL: Soundway Records, Analog Africa, Calypso Rose, Oumou Sangare. Mastered at the Carvery.

"Recorded in a Toronto apartment in 1985, Cumulus is an ultra-rare private-press ambient cassette release which was circulated amongst a small group of friends within the avant-garde theatre scene at the time. Brent Snyder's interest and discovery of Frippertropics and Brian Eno inspired him to set up a 4 track tape recorder in the corner of his dining room to create the two slowevolving guitar loop-based pieces that make up Cumulus. The A side, 'Excursion', drifts between subtle dusty peaks and valleys in an almost Basinski-esque way, while the subtle hums and textures of 'Cumulus' gently levitates above the earth and settle into sublime tones similar to Steve Roach Structures From Silence and Brian Eno Apollo: Atmospheres and Soundtracks. Credited as Music For Relaxation, Cumulus is the perfect music to encourage subconscious change, decrease blood pressure or pet the cat on the couch to. Recommended if you like: William Basinski, Brian Eno, Robert Fripp & Steve Roach."

"In C is a musical piece by the composer and performing musician Terry Riley. As one of the first minimalist compositions and a masterpiece of this genre it's a response to the modern music that dominated the scene in 1968. The piece inspired a lot of famous composers, like Philip Glass and Steve Reich. In C consists of repeating cells and different rhythms, loosely based on the musical structures he had heard and loved in north African music. 53 short musical phrases are what the compositions are made of. The thing that makes In C so enduring is that, once all concept is stripped away, it's a seriously hypnotic piece of music. For listeners with a sympathy for minimalism it's a wild and impressive work, full of energy. 180 gram audiophile vinyl. PVC protective sleeve includes insert. 50th anniversary."

Sensational early-seventies funk bomb by Muhavishla Ravi Hatchud and The Indo Jazz Following. Super-rough organ funk, like a dream combination of Mingus, Jimmy Smith, and Zigaboo Modeliste from The Meters -- plus Ravi's ramped-up sitar, like a tripping, undercover Bo Diddley. The first in a new series of Outernational 45s. Limited edition, numbered.

Disco beat steppers from Sharon's super sexy disco mischief on a love-to-love summer beat, followed by Usha's 24-carat version excursion from way out East on a "Don't Stop Till You Get Enough" back beat. Super disco, heavy duty. Individually hand-numbered 45 floor fillers with an Outernational twist.

Unsurprisingly for a creator as prolific as Muslimgauze's Bryn Jones was, when he was asked for a contribution for any sort of group project, he would tend to provide more options than necessary. In the case of longtime label Staalplaat's 1996 compilation Sonderangebot, where Jones would find himself in the company of everyone from Charlemagne Palestine to Reptilicus, the selected track was the characteristically head-spinning "Kaliskinazure", nine minutes of insistent digital percussion bouncing the listener back and forth between samples of wailing women's voices and a trebly, blurry little whirr that traces the percussion. It's distinctive enough even among the vast Muslimgauze corpus, but as the continued excavation of DATs Jones submitted to his labels continues, sure enough there's more to that track's story, too. An extended "Kaliskinazure" makes up the second of four tracks on Babylon Is Iraq, although it's been lost to the mists of time whether an outside editor excised the more drifting, less needling coda that makes up the extra six minutes found here, or whether Jones simply submitted both versions of the track at different times. This more complete version of "Kaliskinazure" is surrounded by shorter tracks, with the opening "Kaliskinazure _ Momada" sounding not very much like either track it references (instead being a barely-there wisp of far-away sampled wind instruments and what sounds like treated cymbal sounds) and the title track constantly coming to a full, roiling digital boil. The lengthy "Momada" closes out the album with a different, more tersely internal arrangement surrounding the same percussion pattern that will be familiar to any Sonderangebot fans, although the way the quieter atmosphere transforms the feeling of that rhythm indicates once more than Jones's way of reconfiguring his pieces over and over was perhaps more purposive and even more effective than he's sometimes given credit for. The result is a fascinating expansion on one of Muslimgauze's strongest stand-alone moments, as well as a fitting tribute to an artist who would never give you a track if an album would do. such strong powers of suggestion. Cover made of 1mm thick bleu cardboard, sewed, text silver glitter screen-print, black image, name, and side lines are lasercut -- All done by hand! All tracks written, performed, mixed by Muslimgauze. Recorded, engineer, mixed by John Delf. Unreleased material. Edition of 500 (numbered).

"Former lead singer and main songwriter for the roots Reggae trio Foundation back in the late 80's, early 90's, Keith Foundation is releasing Hi Yo, his first solo album. Arranged by Robbie Shakespeare, this decidedly roots Reggae LP contains 6 songs in what the Jamaicans call the 'discomix' format: each song is followed seamlessly by its dub version to showcase the Black Disciples' artisan-like musicianship in a dub style and complement Keith's superb vocals. Recorded at Anchor in Kingston, Hi Yo features the nucleus of the legendary Black Disciples (Burning Spear, Justin Hinds, Ken Boothe...), reunited for the first time in 40 years: Robbie Shakespeare (bass, guitar), 'Horsemouth' Wallace (drums), 'Chinna' Smith (guitar), and Robbie Lyn (keyboards). Hi Yo was recorded in just two days the old school way, with this dream team playing live in just one raw take on a Monday, while the vocals were finalized the following day. The album was then mixed and dubbed by sound wizard Gaylard Bravo with Guillaume Bougard."

Full title: A Loss Permitted To Open Its Eyes For But Three Hours And There Glimpsed, Finally In Focus A Mystery That Begs Earnestly, "Ask Me Nothing" Now, Once More The Problem Is Yours Alone. Experimental music pioneer Keiji Haino, one of the most mysterious and influential figures to emerge from the Japanese psychedelic underground, teams up with Charles Hayward, British drummer and founding member of This Heat and Camberwell Now, on a new live album released on ThirtyThree ThirtyThree. A Loss Permitted... comprises a live recording of the duo's improvised performance at the Copeland Gallery in London in July 2016, presented as part of ThirtyThree ThirtyThree's performance series Japan: London. The result is fascinating: a mix of air synths, distortions, improvised Japanese poetry and warped guitar sounds. Sedate harmonica and guitar sections give way to cosmic din or an equally unnerving silence, in a performance All About Jazz described as having "no sense of logic, only silence where the tension seemed to build, then finally release". It's not the first time Haino and Hayward have worked together -- Hayward's rare album Double Agent(s) (1998) documents their improvisational sparring live in Japan in 1998. Both are restless collaborators: Haino has played with Derek Bailey, Tony Conrad, Jim O'Rourke, Pan Sonic, and Stephen O'Malley, as well as in his own groups Fushitsusha, Nazoranai, and Nijiumu, among others; while Hayward's collaborators have included Fred Frith, Thurston Moore, and Laura Cannell. A Loss Permitted... sees these two visionary musicians revisit their partnership, creating a sound that is at turns contemplative and ferocious -- and always completely compelling.

Any trademark, any defining trait is a double-edged sword: it is, of course, the catchy part, the kind of stuff people will remember, but in turn they tend to miss some of the other feats, some of the actual details and intricacies. Look at Schnitt, a truly unique duo hailing from Augsburg in Southern Germany. Comprising Moritz Illner and Markus Christ (formerly Kitty Empire), who've been adding to their sizable arsenal of sonic tools (e.g. trumpet, bass clarinet, prepared flugelhorn, Rhodes, pedals, turntables, drums) since 2012, the former is responsible for the band's signature "shtick": His sole instrument is actually a vinyl-cutting machine. A contraption that allows them to go massive, to go meta: live-cutting his multi-instrumentalist partner's live parts to then add them as samples, in order to create even richer, thicker walls of sound, wilder improvisations. It's a spectacular approach -- because it's probably the most haptic and Rube Goldbergian way to manually pull off what a sampling device normally does. No wonder they picked it as their name: "cut" translates to "schnitt" in German. And yet, apart from how they do it, there's a lot more to discover on Wand, the group's sophomore offering (its first for Alien Transistor) -- because after all it's about how they sound, part sonic installation, part beat-based exploration at the intersection of postrock, jazz, minimal music and noise. Starting off as an incremental brass collage, opening/title track "Wand" sees Schnitt create crisp and scratchy units of sound, which are then aligned and rearranged along the track's steady groove. With "Unwucht" -- meaning dynamic unbalance -- things indeed go off-kilter for a static-filled moment, yet there's always a way out: There's the laid-back minimalism of "Raus", some improvised contortions ("Torso"), wonderfully catchy lacunas between interlocked brass melodies ("Konstrukt"), and wild excursions even amateur bass-clarinetist André 3000 would endorse ("Tumult"). Almost radio-friendly and cinematic: The duo's delicately moving "Saum", the perfect cut for nighttime cruising. Elsewhere, there's more steady beats that almost feel like a reprise to the hey-days of Mo'Wax and the '90s: the thumping bass drum of "Splitter" is complete with a shimmering, slow-moving hint of a tune on top, or the jazzed-out, head-nodding crackle of "Fragment". So naked, so banging. Schnitt have created an album that's 100% deep cuts. Includes download code; edition of 300.

Lars Dales and Maarten Smeets, aka Detroit Swindle, make their Aus Music debut with the Rhythm Girl Swing EP. The classy duo continues the sonic exploration heard on their superb 2018 album High Life (HEIST 001CD/LP) and deliver three electronic cuts varying from warm and soulful to raw and pumping.

"No idea how to categorise this! I would have called it experimental dancehall but irel.ier who made it says it's not! Besides i don't care how you call it -- it bangs! When I played it out in Pudel (Hamburg) people were losing their shit and someone screamed in my bleeding ear 'MASTERPIECE!!' so let's just call it that! We made 300 copies. They feature a beautiful image of your inner ear Haeckelified by some naive AI and the title (gang guan li) skilfully handwritten in Chinese calligraphy on the flip in iridescent colours."

Down At Dawn present a reissue of Clifford Brown's New Star On The Horizon, originally issued as a mono 10-inch on Blue Note in 1953. This improved reissue features four bonus tracks on the B side. From the original liner notes: "The date took place just a week before Brownie took off for Europe, as a member of that vast edifice built by the master of multiple decibels, the Lionel Hampton orchestra. Like Gigi Gryce, the alto saxophonist and fellow-Hamptonian whom Brownie pressed into service for this session, the young hornman found the occasions for expressing his individual personality few and far between in so large and monolithic an organization. The opportunity to record with a small, compact group, aimed at the creation of originality and relaxation rather than intensity and consternation, was a welcome change of setting for the two eager youngsters. A third Hampton star also helped to mold this date. He had also been installed for some time in Hamp's trumpet section, but is perhaps known better as an arranger, and it is in the latter capacity that Quincy Jones, a new star from Boston, contributed two originals, 'Wail Bait' and 'Brownie Eyes', for the Brown session. Completing the front line is Charlie Rouse, a tenor man whom most fans will remember from the famous Tadd Dameron conclave that produced 'The Squirrel', 'Our Delight', 'Dameronia', etc. Charlie has also been heard in the orchestras of Duke Ellington, Dizzy Gillespie, and others."

Endless Flight welcome a new artist. Attari is Brussels based artist and running very cool private club. Title track "Meridian" is melancholic deep house tune -- it's a favorite release of the label's this year. Both tracks on the B side are dark new wave disco style tunes.

2019 repress. Faitiche presents a long-lost vinyl album. Since 2003, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks, "Moiré (Guitar & Horns)" and "Poren", B-sides from Tendency EP (2000).

"Don't be misled by the title, though for there isn't a finger-snapping rhythm bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm." --Alternative Press

"The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people's arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas." --ATM

"Jelinek's sound evolved out of his dislike for (and inability to play) keyboards." --RPM

"Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub techno framework. . . . Jelinek might as well have sampled a horn player's hissing intake of breath - it would have been 'jazz' enough for his purposes." --The Wire

"It's a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm." --Pitchfork

"All you need to know is that these onomatopoeic non-specific songs . . . are warm, paradisiacal creations." --NME

"Listen carefully and you'll hear textures slowly unfolding and mutating. Presuming you've not fallen asleep of course." --iDJ

"At times, it's all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness" --DJ

"Loop-Finding-Jazz-Records is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along." --Boomkat

Double LP version. Digital Kabar: Electronic Maloya From La Reunion Since 1980 is a compilation of electronic music from Reunion, an island in the Indian Ocean. Combining tropical sounds, sunny moods, and créole dialect, Digital Kabar features mostly unknown artists from the island. It is the perfect summer-opening compilation for both rare groove diggers and DJs in search of the best tropical beats. Formerly clandestine, today manifest, both sacred but also profane, sometimes meditated, very often improvised, the Kabar transpires in the daily life on Reunion, getting rid with insolence of any label that dares to try to impose itself. The Kabar is a fleeting but bubbling manifestation of an identity and a local culture that is still difficult to define. A moment of life and sharing where handcrafted instruments, neighborhood meetings, ritual dances and lyrical demands are mixed, a meeting. Born from the musical union of maloya and electronic music, Digital Kabar is a compilation at the crossroads of cultures, porous to all sound experiences. It's also the result of a friendship resulting from InFiné heading to the Les Electropicales festival, the fascination of a small team dedicated to the independent musical cause of a musical scene and its diversity. A musical electronic snapshot from an exotic and unknown part of the globe, half of the tracks on the compilation have never been officially released. Features: Patrick Manent, Boogzbrown, Loya, Jako Maron, Sheitan Brothers, Ti Fock, Boogzbrown & Cubenx, Force Indigène & Jako Maron, Agnesca, Zong, Labelle, Psychorigid, Salem Tradition, J-ZeuS, and Kwalud.

LP version. Includes download code; Edition of 300. A masterclass in nuance, interpretation and the purifying power of the human voice, Standards Vol. V represents another captivating chapter in the career of a singular figure in contemporary music, Bill Wells. For his fifth album as the mischievously named National Jazz Trio Of Scotland, prolific jazz outsider Wells posits yet another collaborator in the diffuse light cast by his tender chord shifts and understated arrangements. Where Standards Vol. IV (KK 106CD/LP, 2018) spun around the vocal talents of Kate Sugden with contributions from Gerard Black and Aby Vulliamy, the voice on Standards Vol. V is that of Black, whose other musical activities include the band Babe, François And The Atlas Mountains, Rozi Plain, and Charlotte Gainsbourg. For much of Standards Vol. V, Black's unstained tenor is the paint with which Wells fills the canvas on songs including four originals -- among them the beatific wordless chorale "Gradual Inclination" and the contrasting "So Much Power," an energetic stomp propelled by keyboard brass and drum machine -- and versions of songs from the musical Fiddler On The Roof and George and Ira Gershwin's Of Thee I Sing ("Sunrise, Sunset" and "Of Thee I Sing" respectively). As ever with Wells' work, whether under the NJTOS moniker or his own name (which typically appears alongside those of collaborators including Yo La Tengo, Jim O'Rourke, and Annette Peacock), the melodic and lyrical elements are embellished with jazz-accented piano, samples and keyboards, with minimal rhythmic accompaniment other than electronic percussion. Adding to the intrigue on Standards Vol. V are a new arrangement of the Scots/Irish ballad "I Know Where I'm Going" (from which Michael Powell and Emeric Pressburger took the title of their 1945 film of the same name), an entirely new musical interpretation of "Sigh No More Ladies" from Shakespeare's Much Ado About Nothing and the album's appropriately named finale, "A Quiet Goodbye," with words by Aidan Moffat, Wells' partner on Everything's Getting Older (2011) -- winner of the inaugural Scottish Album Of The Year award -- and follow-up The Most Important Place In The World (2015).

Leipzig's DJ Balduin proclaims to produce music that creates "states of hypnosis with an occasional, gentle 'hands-up-face-slap' every now and then" which perfectly sums up Lost Cat, his first release for KOMPAKT. "E.W.B.A." features a classic rave synth meeting an infectious open snare to break through the beat. The kick drum thud of "Sheee" seems to be all too menacing at first, but surprisingly learns how to open itself into a gorgeously seductive uplifting house tune. "Lost Cat And An Untied Shoe" brings that beat back with soaring synths and a playful natural bass line.

LP version. Includes download code. Mikko Singh has been living different musical lives from the start. With Cloud Formations, his third album under the Haleiwa moniker, Singh eschews the guitar-dominated sound of his first two LPs for lush but grainy textures. Inspired by bands and songwriters like Animal Collective, Real Estate, and the late Jay Reatard, Cloud Formations is a hopeful record whose experimental approach to rock music calls to mind the experimental pop of Morr Music label mates like Sequoyah Tiger or even Stereolab's motorik-driven post-rock. It's a fusion of fuzzed-out sounds, washed-out sentiments and far-out songwriting -- perhaps the only shoegaze record you can actually take along to the beach. Ever since he first picked up the classical guitar at age nine, Singh has pursued many different ambitions. Having moved on from skate punk and hardcore bands to instrumental indie rock, Singh even released an album of subtle piano compositions on the 1631 label alongside artists like Dustin O'Halloran and Hauschka. As an album dedicated to new beginnings, Cloud Formations proves to be the perfect synthesis for all of these ambitions. 0After the release 2015's Palm Trees of the Subarctic, Singh began experimenting with his collection of vintage and analog synthesizers, exploring different ways of using the guitar and putting an emphasis on his bass playing when composing. While some of the songs on Cloud Formations were initially conceived in 2015, he recorded and produced the album between 2017 and 2018 in what he calls a "long and continuous process". Apart from some drum recordings (provided by his long-time friend Johan Nordlund of the Swedish hardcore band This Gift Is A Curse), Singh maintained full creative control of the album, tweaking the nine songs in his own Stockholm studio. He paid more attention than before to the subtleties of sound design and their emotive qualities; the result is a dense, at times psychedelic and intimate album, abundant with passion and optimism, despite its name, which may at first indicate the opposite. Singh wants to express hope on Cloud Formations, an approach that becomes tangible from the very first seconds of the anthemic opener "HKI -97". Between the fuzzy ambience of "Ka'a'awa Surfin'", the title track's hypnagogic mid-tempo grooves, to the relentless drive of "Swell" or "Crossroads", and the eerie final track "Cold Concrete", this album is to be understood as a celebration of different musical lives becoming one.

2019 is Mule Musiq's 15 years anniversary. They're releasing twelve 12-inches with Stefan Marx's artwork to celebrate. The ninth release is from one of the best newcomers in the modern deep house scene, Chaos In The CBD. These two new songs are ambient break beats tracks. It's a kind of their new style. If you like Boards Of Canada or Global Communication, you will love it.

"First Utterance is the debut album of the progressive folk band Comus. It was released in 1971, with the opening song 'Diana' being released as a single. The album was notable for its unique blend of progressive rock, folk, psychedelia, and elements of paganism and the macabre. The overall thematic tone of the album is of vulnerable innocence facing abusive power, the songs dealing with violence ('Drip Drip'), rape ('Diana', 'Song to Comus'), and insulin shock therapy ('The Prisoner'). These themes contrast starkly with the acoustic sound of the record, featuring acoustic guitar, violin, flute, and lyrical, almost Arcadian, female harmonies. 180 gram audiophile vinyl. Includes insert. Including the single 'Diana'."

"Ananda Shankar was a Bengali musician best known for fusing Western and Eastern musical styles. Ananda Shankar is the debut album by the Indian musician, the son of dancer and choreographer Uday Shankar and the nephew of Indian classical musician Ravi Shankar. It was released in 1970 and was among the first works in the rock genre by an Indian musician. Consisting mainly of instrumental recordings featuring sitar and Moog synthesizer, it includes a cover version of the Rolling Stones' 1968 hit song 'Jumpin' Jack Flash' and a thirteen-minute Indian-style piece titled 'Sagar (The Ocean)'. In the decades since the LP's release, 'Jumpin' Jack Flash' became a popular club hit, while the album has been recognised for its influence on world music fusion, particularly the East-West styles developed in the UK. It is one of the albums featured in Robert Dimery's book 1001 Albums You Must Hear Before You Die. In 2005, his song 'Raghupati' was used in the game Grand Theft Auto: Liberty City Stories soundtrack."

Musique Pour La Danse present Coil's unreleased soundtrack for the VHS only, pre-internet, sexual education documentary entitled The Gay Man's Guide To Safer Sex released in 1992. Members for this project were John Balance, Peter "Sleazy" Christopherson, and Danny Hyde. The OST, to quote John Balance's interview for Compulsion Online, "is [a] slightly new age-y, progressive house type thing". Another way to approach it is as a delightful collection of Balearic beats, smoking jazz not far removed from Badalamenti's work with David Lynch, somewhat of an ambient house album for your home listening and early morning sunrise dances, Coil style. Taken from the original masters provided by Danny Hyde, The Gay Man's Guide To Safer Sex features a new sexy edit of the main theme. Bonus tracks "Nasa-Arab" and "Omlagus Garfungiloops" are taken from the 1992 CD-only release Stolen And Contaminated Songs, both being original versions of the radically reworked (for the OST) "Nasa-Arab 2" and "Exploding Frogs" in order to balance the whole album and extend the listening pleasure.

Repressed. Outernational Sounds presents a cornerstone document from the Los Angeles jazz underground, Flight 17 -- the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott. Available on vinyl for the first time in 40 years. The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people. Horace Tapscott's Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn't have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn't ring bells like Monk or Tyner, there's a reason why: in an industry dominated by record labels, a band that doesn't record doesn't count. And the Pan-Afrikan Peoples Arkestra didn't record for nearly twenty years. But recording success was never their concern -- they weren't about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker's title track to the laidback summertime groove of Kamonta Lawrence Polk's "Maui", or Roberto Miranda's up-tempo Latin jam "Horacio", Flight 17 showcased the radical voices of the Arkestra's members. Led out by Tapscott's hard-swinging piano, this is the first flight on wax of the West Coasts' foundational community big band -- energized, hip, and together. Contains two tracks previously only available on the 1997 CD edition: "Coltrane Medley" and "Village Dance", recorded live at the Immanuel United Church of Christ. 180 gram vinyl pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.

Double LP version. Rotorelief present a reissue of Alésia Cosmos's Aeroproducts, originally released in 1985. Includes bonus material. In the '80s, Alésia Cosmos was one of those pioneering groups that invented a handful of things: uprooted electro, pop-shifted, funk. With some synths, rhythm boxes, magnetic tapes, crazy guitars, and hallucinated voices, AC rocked the underground for four years, with two albums, playing live in France and Europe. The dazzling epic of the magic combo has become legendary in the margin of new European music. The first LP, Exclusivo!, was self-produced in 1983 and marks the beginning of the association between Bruno de Chénerilles, Pascal Holtzer, and Marie-Berthe Servier who constituted the hard core of Alésia Cosmos. Forming an underground label, mail order, and radio station, the three musicians were also activists in the musical underground so fertile in the '80s. In 1985, the second album Aeroproducts was published by the Swiss label Hat Hut Records. Recorded, produced, and designed by the group, the object to the three photos captured in the windows of the Musée Zoologique de Strasbourg, was not quite a double-LP, because it contained only three sides of recorded music. In early 2017, the Californian label Dark Entries reissued Exclusivo! Rotorelief engages in a longer process of new production from the second album Aeroproducts. In 2018, the rediscovery at the end of the archives of the group of intact multitrack analog tapes coming directly from the studio sessions used for Aeroproducts allowed a remixing, a new mastering, with some new versions and bonus tracks, produced just before or after the period of activity of Alésia Cosmos.

Continental is the new full-length solo record by Milan-based multi-instrumentalist Nicola Ratti, following recent releases on Where to Now? and Room40. Conceived of by Ratti as a "series of big rooms or places to get lost in, full of small details and characterized each by a single flavor or perfume," it is a surprising and vibrant collection of music. Working with a palette of spare, expertly deployed percussive synthesis techniques, Ratti's work here is both labyrinthine and concise. These eight tracks are able to evoke spaces real and imagined with startling efficiency and clarity. Sprawling old world libraries, cliff caves inhabited by dripping water and rock doves, an automaton nearly slipping its axis but recovering just in time and finding a new sense of purpose in the process. Ratti forms the duo Bellows with Giuseppe Ielasi. "Cuarto" features Dale Cornish. Includes download code; first edition of 300.

Japanese house music legend Yukihiro Fukutomi's debut single on 1992. First time reissue. Released after being forgotten for a long time, probably because very small production and released in only Japan. Four different versions of pure jazzy deep house masterpiece.

The Kioku EP is Wata Igarashi's third release on The Bunker New York, showcasing considerable emotional range that speaks to his long career as a sound designer. All four tracks feature a cinematic, expansive quality that make it easy to imagine how each could fit specific moments across the arc of a party. Different aspects of the music are carefully balanced and combined: seemingly simple patterns in the foreground are animated by precise intensities at play in the background.

Four tracks of mystifying explorations, with international rhythms and tones divided by the micrometer. Musci on Acid.

Twenty-five years after its initial release, and accompanying the re-release of Internal Empire (TRESOR 027CD/LP), Tresor present a 180 gram pressing of Robert Hood's Master Builder. "25 years ago, I was faced with the challenge of following up on Minimal Nation. I cancelled all my tour dates for that summer, setup my studio in the living room and began to work on Internal Empire. My intention was to create something distinctively different. Looking out my living room window in Detroit watching people go by gave me a new perspective. It made me look at the world within myself." --Robert Hood

2019 repress; 3LP version. In between the re-releases of the two legendary Drexciya albums released on Tresor in '99 and '01, the Berlin techno institute is proud to re-present Transllusion's The Opening of the Cerebral Gate. For the first time, music fans will be able to experience the whole journey on vinyl. The 3LP package includes the vinyl version of the album as it was originally released plus a bonus 12" featuring "Look Within," "Unordinary Realities," and "Do You Want to Get Down (Vocal De Void)" -- for the first time available on wax. Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub-label Tresor dedicated to a more abstract and experimental electro sound, The Opening of the Cerebral Gate was conceived as the second part of the so-called Drexciyan Storms -- a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album Harnessed the Storm being the first). This phase marks a groundbreaking time for the duo, their cosmos breaking wide open, right at the dawn of a new technological era in electronic music production. All this is deeply reflected in Transllusion's first album. Thematically, The Opening of the Cerebral Gate saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game. The album is chock full of hypercharged arpeggios and driving pulse patterns, Morse-like tones and chord stabs, huge, uber-booming tympanic kicks and grainy snares, (see openers "Transmission of Life" and "War of the Clones"). On the other end of the stylistic spectrum it features sweeter tones and moments of sheer, staggering beauty ("Dimensional Glide" or the CD's centerpieces "Look Within" and "Unordinary Realities"). In between, all kinds of alien electro funk shadings are to be found, every single track so well-executed, making it impossible to pick a highlight.