Lebanese musician, producer, and sound engineer Fadi Tabbal's work consists of guitar pieces ranging from stripped acoustics to ambient and electronic-inspired treatments. He has released four solo albums since 2013, including The Museum Of Disappearing Buildings (BNSD 023LP) and Music For The Lonely Vol. 1 (2017-2018) and recently spearheaded the Beirut Musicians Fund, set up to aid musicians in Beirut who lost equipment in the explosion at the Port of Beirut. Tabbal is a full-time member of several Lebanese bands including electronic duo Stress/Distress and The Bunny Tylers (with Charbel Haber) and has collaborated with Mike Cooper, Postcards, Sharif Sehnaoui, Kinematik, and Oiseaux-Tempete, to name but a few.

Lebanon's capital city of Beirut sits on one of the world's most turbulent fault lines, with a hostile and expansionist neighbor to the south (the settler-colonial apartheid state of Israel), a civil-war-riven country to the east and north (Syria), and a domestic situation that features a deeply-corrupt sectarian ruling elite, millions of refugees from Palestine and Syria, months of revolutionary protests, and a collapsed economy. Beirut, however, has long been a vibrant and diverse beacon of Arab and Mediterranean culture. Recent decades have seen the emergence of an internationally-recognized contemporary music, art, and dance scene; a vocal LGBTQ+ movement; and an interconnected web of efforts around refugee rights, democratic government, public health, and environmental concerns. Equal parts heartbreaking and inspiring, the city carries on, even thrives, against all odds. The massive explosion at the Port of Beirut on August 4th, which decimated some of the city's most beautiful and progressive neighborhoods, stands indeed as a tragic example of some of the worst ills afflicting humanity in 2020. But it also revealed a few long-simmering reasons for hope: citizens coming together in widespread acts of mutual aid, emphasizing what brings people together over what divides them, and rising up en masse against a corrupt economic system and the geopolitical power structures it engenders. As American cities revolt against totalitarianism and for racial justice, with Portland at the forefront, Lebanon beckons as both a cautionary tale and an example of the persistence necessary in order to take down a dying order in an era of existential threats.

Recorded and mixed between January and April 2020 at Tunefork Studios and at home, Beirut. Mastered by Rafael Anton Irisarri at Black Knoll. Release by Beacon Sound and Ruptured. Includes download; edition of 300.

Fusing spacious electronic minimalism, shimmering guitars, and the empyrean voice of Misty Mary, Portland's WL (pronounced "well") arrive at the end of 2020 with an album of lustrous, crystalline Left Coast pop that is destined to be a trusted companion during the long nights ahead. ADHD is a defining statement of purpose for the group, made during a time of personal upheaval and featuring an evocative song cycle that begs to be listened to on repeat. From the slow gallop of "Show Me" to the all-consuming gale that is "Voices", listening to the album from start to finish is like taking an autumnal walk across one of the city's iconic bridges, a cinematic embrace that feels both protective and expansive. The album's alchemical magic is revealed through the depth of its deceptively simple song structures, with each song blooming into its own mini-cosmos. Ruminative, self-assured, and spun through with warmth, ADHD reveals WL to be in a class of their own. And if "Water's On My Side" isn't the most Portland of songs, we don't know what is. RIYL: Still Corners, Chromatics, Broadcast, The XX. Recorded in North Portland, 2019. Mixed By Spencer Doran. Mastered by Timothy Stollenwerk. Cover art by Jonathan McCabe. Includes download; edition of 500. "WL makes the kind of music that's so visual it doesn't even need the customary accompanying video. Like the Oregon Coast, the band's atmospheric sound is vaporous and brooding." --Willamette Week

"Divine Horsemen were a band formed & led by Chris D between the years 1983 and 1988, while he was on hiatus from the Flesh Eaters. Divine Horsemen (taking their name from one of the Flesh Eaters' most powerful stompers) emerged as a byproduct of Chris' gorgeous solo album, Time Stands Still. He met singer Julie Christensen a few months before the recording, and the mix of their voices was such a perfect pairing of honey and gravel, they knew they had to keep working together. Taking a more measured rock tone (as compared to the raging word-zonk of the Flesh Eaters), Divine Horsemen recorded three great LPs and one EP for SST. They were also an amazingly solid live band, combining Chris' gonzo pulp imagery with those incredible twinned vocals, massive guitar riffs and a truly locked-in rhythm section. The two shows from which this album is harvested were recorded just before the Devil's River album came out in '85, and close on the heels of '87's Middle of the Night. It seems wild to me, listening to this disk for the umpteenth time, how together these songs are as rock-qua-rock monsters. I realize I'm biased and all, but I'd say half of the tunes are nothing less than goddamn classics. I somewhat prefer the later version of the band with Peter Andrus on guitar (he replaced Wayne James, Cam King and Marshall Rohner), but that's just picking nits. The core of the line-up was stable -- Julie and Chris singing, the late Robyn Jameson (the sole holdover from the Flesh Eaters) on bass, Rex Roberts on drums -- and they always sounded real damn good. Sadly, the band didn't last as long as hoped. Chris and Julie got married, but that was a collaboration that burned too hot to last. The band split when the couple did, which ended a truly ecstatic vocal pair-up. Julie went on to work for almost a decade as Leonard Cohen's angelic foil, but I was more excited to hear she was guesting on 2019's boss Flesh Eaters' album, I Used to be Pretty. And her vocal spots at a few of their live shows were spine-tingling. But there's nothing quite like the sound of Divine Horsemen. From the hot rod thuggery of 'Mother's Worry' to the sweet massage of 'Middle of the Night,' their music will take you where you want to go. So, lay back and dig this disk, while you wait for their new studio LP, Hot Rise of an Ice Cream Phoenix, on In the Red. There is also talk of a live tour, which would be fan-fucking-tastic. More than that I cannot say. Selah." --Byron Coley, 2020

Los Angeles based artist Geneva Skeen returns to Room40 with her second full-length edition. Born out of the ashes of 2020's cascade of heartbreak and uncertainty, Skeen unpacks the chaotic and unruly events with agency, heaping the distorted eruptions of her day to day into a soldering pyre of voice, pulsing rhythm, textured electronics, and masked field recordings. This is a reflexive music, made for unlocking the possibilities of the moment rather than being caged in by their particulars.

Poet Aristilde Kirby writes: "Flower branches dowsing rod against their doubles in the wind's aimless static. Spindled fog verglas plants, caressed by white rays of absolute eyelash. [A wisp of fresh respiration] 'The world has no visible order & all I have is the order of my breath,' says the fifth track on Double Bind. [A ribbon of a scream] It has the incandescent & incantation-like quality of the title of Fushitshusha's 2014 album: Nothing Changes No One Can Change Anything I Am Ever Changing You Can Only Change Yourself. [Asemic voices from anywhere] What can you count on these days in 2020, outside of the pacing of your breath as we all struggle to cleave to each passing beat pair & repair? [Spirals of a finger on glass] Between two right hands, neither really righter than the other, we have no choice but to hold on to the you one holds dearest to: the beads of just being. [Sinewaves in phase] When I comb my hair to get ready for the day, I realize that the black static it collects was always meant to fall away. [Synthetic graupel in flames] Here, Skeen specializes in ambient music as the pellucid space of an emotional landscape, limned in Timothy Morton's ethos of dark ecology & Gloria Anzaldua's idea of nepantla. It is equally phenomenological, psychological, spiritual & visceral. If you ask me, Geneva is a poet who works in sound sculpture. She cures slabs of lived time as if flesh marble & makes of her subconscious an underworld for the listener to locate themselves in. [Bats that clamor as strata of bleeding leather] The through-lines of her past works are clear as a fault crack & in this instance, glimmer like quartz veins. [Tiny harmonic partials prick like an ice pick] Skeen knows that to protect the lit wick, you have to cup the darkness. [Anvil & shelves of overcast guitar drop into a weak bell pulse] She knows that to get past a hard period, like timing a total eclipse's black sun, you have to account for every degree, every granular shift, of lost movement..."

"Cassette reissue of a legendary LP, recorded live in Ottawa at the Dominion Tavern on March 23, 2012 during Damo's Canadian tour. Originally released in an edition of 100 on the band's own Birdman Sound label, this set finds the peripatetic Can singer (who, like Chuck Berry before him, tends to play with instrumental backing by local talent) in some of the best company he has yet found. TBWNIAS (in septet format this evening) lay down thick slabs of the distended heavy guitar psych with which they've made their rep. But they're always had underground Germanic influences that surface in their work, so when Damo switches into Tago Mago mode, they are on it, with exquisite Leibezeit drum patterns setting the stage for throbbing strings and a pulse Damo could follow in the dark. Totally improvised, the music and words move like a river flowing through your brain -- sometimes the slowly curling current floats you along like a dream, sometimes the foaming whitewater just about swamps you. But it's a thrilling ride, champ, and now you can have yourself a copy for just pennies a day. If this ain't your lucky say, what is?" --Byron Coley, 2020

Room40 release at 15th anniversary edition of Chris Abrahams's Thrown, originally released in 2005. A note from Lawrence English: "I've written quite often about my first experience listening to Thrown at Chris's place in Sydney. On that initial listening I was equal parts terrified and awestruck. The sensation of sitting there, in low light after midnight, listening with Chris and our mutual friend Clayton after an evening out at a NowNow event, is something I can recall vividly. Thrown is a record that, from the very outset, has roused me in a very direct, particular and profound, sense of affect. Recorded using Dx-7, piano and a positive organ, the album exists in some kind of parallel acoustic dimension where these divergent musical timbres are somehow brought together into a unifying (albeit unsettling) whole. It was the first recording Chris had made like it, and in my opinion, it set a benchmark which has guided his numerous releases for Room40. Now 15 years on from its original release, it seemed like a suitable moment to seed this edition back into the sonic consciousness. Time has cast little shadow on this edition - it still sounds absolutely outside of time. It creates its own microcosm upon each listening and remains one of the records from the Room40 catalogue that deeply resonates for me."

Australia's Chris Abrahams, widely known for his work with legendary trio The Necks, has amassed an impressive solo discography over the past three decades. With four electro-acoustic editions already published by Room40, the label announces Chris's first piano solo for the label. Appearance is two longform pieces for piano that weave and mesh to create a sense of flow and subtle shifting which unfolds into eternal variation.

A note from Lawrence English: "I first met Chris Abrahams sometime in the early part of the '00s. In 2003, I had the pleasure of spending a very late night glued to his sofa, lights diminished, being introduced to his solo work. That listening experience became known as Thrown, a record that to this day haunts me with its electronic timbral shifts and wheezing positive organ textures. Since that release, Chris's work has resided at the very heart of Room40. His music captured across his five solo editions is, I believe, both utterly personal and compellingly diverse. It is music that has been a source of respite, provocation and, most of all, inspiration for me (and many of you I am sure). Over the years, I have gently encouraged Chris to consider making a solo piano recording to compliment the series of electro-acoustic works he has made for us. Appearance is the manifestation of this encouragement. Appearance typifies a very particular approach to piano that Chris has cultivated across three decades. He creates a pairing of rippling cascades of tonality with a macro-minimalist compositional form that invites a sense of perpetual release. Notes cycle and gently coalesce to create weaving melodic patterns that accumulate into a slow unfolding of form, across time. Chris Abrahams' pieces, in many respects, defy an easy categorization. He creates music that is unto itself, but profoundly open to the situations in which is it encountered. It's this porous quality that makes his work so intoxicating. It is a music of moments, cycling in memory and accumulating across time in a way that is without compare. I can't recommend Appearance to you strongly enough."

Repressed; LP version. Obi; includes four-page insert. Wewantsounds present the first official release outside of Japan for The Mystery Kindaichi Band's The Adventures of Kindaichi Kosuke, originally released in 1977. The "imaginary" soundtrack to the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best '70s Japanese Funk musicians, the album is pure undiluted disco funk. Writer Seishi Yokomizo is an institution in Japan. He could be compared to Agatha Christie with his series of novels based on the adventures of detective Kosuke Kindaichi. The fictional character was born in 1946 with Yokomizo's first novel in the series and solved mysteries until the late '70s under Yokomizo's pen before the death of the writer in 1981. Yokomizo's novels have been a prime source for film and TV scenarios, so when, in 1977, Japanese label King Records decided to record a concept album based on the Kindaichi novels, it made complete sense. The writer was slightly surprised though. The concept album was arranged by pianist Kentaro Haneda, a key TV and film composer who has worked on many anime films and is also famous outside of Japan for composing the music for the video game Wizardry. For the album, he assembled a supergroup of some of the best Tokyo funk and city pop musicians. The long list includes jazz pianist Hideo Ichikawa who played on the 1971 Joe Henderson In Japan album, drummer Jun Moriya, who is on Joe Hisaichi's cult Wonder City Orchestra album (1982), percussionist Tadaomi Anai who played with disco singer Eri Ohno, trumpeter Koji Hadori who's featured on Haruomi Hosono's Pacific album (1978). Also present on the album are saxophonist Takeru Muraoka who plays on many Tatsuro Yamashita cult albums including For You (1982) and Spacy (1977), Kimiko Yamauchi (koto) who's on Akiko Yano's landmark 1976 album Japanese Girl (WWSCD 017CD/WWSLP 017LP), and last but not least, French hornist Koji Yamaguchi who plays on Yazuaki Shimizu's Kakashi (1982). Together they lay the funk on ten instrumentals filled with pure disco and funk breakbeats, making the album one of the highly-coveted Japanese LPs on international cratedigger scene. Remastered from the original tapes. Faithfully reproduced original artwork; Artwork by renowned illustrator Ichibun Sugimoto. New introduction by Anton Spice.

2020 restock. Vinyl release. Dieter Moebius and Conny Plank got to know each other through their work on Cluster's 1971 album and remained close friends until Plank's death in 1987. They made a congenial pair as musicians, as amply demonstrated by their first album as a duo, Rastakraut Pasta, originally released on Sky Records in 1980. On this album, drums, electric guitars and bass are the cornerstones of every track; they provide the framework to which Moebius adds fresh color and life with his synthesizers. Thanks to the technical merits of Plank's studio, the keyboards sound barely distinguishable from one another. No samples -- strictly analog from start to finish. Holger Czukay (Can) plays bass on three pieces and his consummate professionalism sees his virtuosity finely-tuned to the concept of Moebius and Plank. Moebius has a predilection for surrealist cascades of noise, heard throughout the album, grotesque yet playful. An enigmatic form of pop music came into being on this LP, a breakneck, elegant mix of diverse elements: a touch of Krautrock, some avant-garde pop, new German electronica, even sporadic echoes of reggae. 180 gram vinyl LP housed in a printed inner sleeve with full-color photos and notes by Asmus Tietchens.

2020 restock, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. Poet, composer, street musician and cosmologist Moondog (Louis Thomas Hardin, 1916-1999) learned rhythm from American Indians and counterpoint from J.S. Bach. Many of his recordings feature instruments he built himself: trimba, yukh, tuji, oo. Sometimes you can hear in the background the streets of New York, where Moondog often slept. In addition, he was blind, due to an accident when he was 15. Sometime in the 1950s, fed up with being mistaken on the street for Christ (his regular busking spot was uptown on Sixth) Moondog put on a Viking costume, with spear and horned helmet; and he dressed like this until the late 1970s (by which time he was working with orchestras in Germany). Moondog's renown was extensive: Igor Stravinsky lobbied a judge on Moondog's behalf. Charlie Parker wanted to play with him, Julie Andrews DID play with him, and he was feted by the likes of Bob Dylan, Marlon Brando, and Steve Reich. Andy Warhol's mother designed one of his covers, and Weegee took photographs of him (included in the booklet). Janis Joplin covered him, Mr. Scruff owes him badly, and Antony and the Johnsons covers his songs. This is the first retrospective of Moondog's music -- 36 tracks from 1949-1995, most of them exceptionally rare, all of them miraculous.

2020 repress. "Hopeton Brown, better known as Scientist, has been a pioneering figure in the world of dub for nearly 40 years. His early love of electronics proved fruitful when (still a teenager) he was hired at King Tubby's studio in Kingston. Brown quickly ascended the ranks and became heir to Tubby's throne, producing imaginative and technically impressive mixes that solidified his forward-looking nickname. Introducing Scientist - The Best Dub Album in the World, his 1980 debut LP, lives up to its boastful title. Recorded with Sly & Robbie at Channel One Studio and mixed at King Tubby's, the album features hypnotic basslines, reverb- drenched keyboards, and fluid, start-stop rhythms. Opening track 'Steppers,' with its well-balanced phrasing and organic contours, shows Scientist's mastery of the studio- as-instrument concept. On 'Scientific,' the effectsladen guitars are stretched to their outer limit to create magnificent, spaced-out textures and muted tension. Introducing Scientist displays the talents of a man obsessed with every element of production, drawing out the very best of the dub form."

Wewantsounds present the first vinyl reissue of Ammar El Sherei's superb instrumental album Oriental Music from 1976. Here, the iconic Egyptian musician and composer revisits six classic compositions by another Egyptian legend, Mohamed Abdel Wahab, in his own hypnotic way. Curated by Lebanese-born Arabic music expert Mario Choueiry from Institut du Monde Arabe in Paris. The late musician and composer Ammar El Sherei was one of Egypt's musical giants. Born in Upper Egypt in 1948 into an upper middle class family (his paternal grandfather had been an MP during King Fouad's reign and his eldest brother became the Egyptian ambassador to Australia) El Sherei moved to Cairo with his family when he was five and attended a special school for the blind (he had lost his eyesight in his early childhood). A child prodigy with a unique gift for music, he got noticed by his teachers who recommended him to the Hadley School for the Blind in America so he could perfect his studies by correspondence. El Sherei quickly learned piano, oud, and composition with unparalleled ease. He began playing accordion in the Cairo bars and clubs and started making a name for himself on the Cairo scene. El Sherei got his first taste of success when he managed to place a song with famed Egyptian singer, Maha Sabry. Following, his ascension was meteoric and he went to become a very successful composer for films and TV series especially. A true innovator who didn't hesitate to bring some western influences to traditional Egyptian music and was one of the musicians responsible for ending the lengthy song trend of the '70s. He embraced modern instrumentations and was asked by Japanese keyboard maker Yamaha Corp. to help develop new electronic keyboards that could handle quarter tone. Early in his career El Sherei recorded albums for Soutelphan, including Oriental Music celebrating the music of another Egyptian legend, composer Mohamed Abdel Wahab, who had co-founded Soutelphan. Here he masterfully interprets six classics from the master including "Ana Wehabieby" (aka Ana Wa Habibi), "Ya Wabour Koly", and the classic "Ahwak" made famous by such talents as Abdel Halim Hafez or Fairuz. Using early electronic keyboards like the Steelphon S900 or the Farfisa as seen on the album cover, El Sherei creates beautifully hypnotic instrumentals that blend together traditional melodies with modern instrumentation, adding jazz and pop elements in the mix. Newly remastered. Comes in original artwork.

LP version. 180 gram vinyl; gatefold sleeve; includes download code. First-ever official reissue of the Ecuadorian composer Mesías Maiguashca's stunning electroacoustic composition Oeldorf 8 on vinyl and CD. Mesías Maiguashca (b. December 24th, 1938 in Quito/Ecuador) is a composer of neue musik, especially electroacoustic music, who studied at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, NY (1958-65), with Alberto Ginastera at the Instituto di Tella in Buenos Aires, at the Hochschule für Musik in Cologne and, after a short return to Ecuador, attended the Internationale Ferienkurse für Neue Musik in Darmstadt and the Fourth Cologne Courses for New Music in 1966-67 where he studied with Karlheinz Stockhausen. From 1968 to 1972, Maiguashca worked closely with Stockhausen in the Electronic Music Studio of the Westdeutscher Rundfunk in Cologne and joined Stockhausen's ensemble for performances at the German Pavilion at the Expo '70 in Osaka. In 1971 he became a founding member of the Oeldorf Group of composers and performers. The Oeldorf Group, named after the small village 40 km away from Cologne where they lived and worked in a rented farmhouse where they set up their own studio for electronic music and studio productions, was a musicians' collective active during the 1970s. Thanks to a long-standing contact with the Westdeutscher Rundfund, the core members of the Oeldorf Group (Peter Eötvös, Joachim Krist, Mesías Maiguashca, and Gaby Schumacher) received commissions for compositions, invitations to perform in the Musik der Zeit concert series, as well as having many of their summer concerts recorded for the late-night broadcasts of WDR3. One of these commissioned compositions was Oeldorf 8: a retrospective portrait of the Oeldorf Group consisting of a series of ten short pieces for four instrumentalists (clarinet, violin, cello, electric organ/synthesizer) and tape which may be played either simultaneously or continuously without a break. It premiered in 1974 at the Darmstädter Ferienkurse and was released on LP two years later. Conceived as a sonic diary with an edge to encompass radical electronic synthesis, the 48-minute composition is a thing of wonder; from the outset, Maiguashca's spoken introduction of the players and concept gets slowly eroded by errant, pointillist electronic sound -- which then lets loose for ten minutes before a swarm of slowly rising held tones comes to the fore. On the second side, the acoustic sounds are annihilated by a rising pulse-wave drone, an almost Roland Kayn-esque climax of raw oscillator gristle. Remastered by Kassian Troyer at Dubplates & Mastering, Berlin.

From Mike Cooper: "Playing With Water is a novel written by James Hamilton-Paterson. I was introduced to his writing by the Australian poet Peter Bakowski who gave me a copy of his book Seven Tenths - The Sea And Its Thresholds; a book that influenced my record Globe Notes and subsequent works immensely. Another of his books Playing With Water: Passion And Solitude On A Philippine Island is about exactly what the title describes it as and provided me with the title. The first edition on my Hipshot c.d.r label in 1999 was titled Kiribati and was dedicated to the people of that Pacific Island nation as I shared their concern, then as now, with the fact of rising sea levels due to global warming which threatens to destroy or make uninhabitable their low lying island homes. That album was the start of a long musical and artistic journey for me . . . Cities such as Venice, Bangkok, Jakarta, London, Manhattan or any coastal, or near a major river, city will be subject to serious flooding and subsidence and may well become uninhabitable in the same way in the very near future. Bangkok was previously known as 'The Venice Of South East Asia' and its now roads were once canals . . . Jakarta is currently sinking at such an alarming rate that the Indonesian Government is building a new capital city in Kalimantan (Borneo) Several of my albums subsequent to Kiribati -- Globe Notes, Rayon Hula, Reluctant Swimmer/Virtual Surfer, Fratello Mare, Raft, Oceanic Feeling-Like (with Chris Abrahams) and now Playing With Water are all conceptually concerned with this same subject. Another conceptual thread connecting them is my concern for the co-habitation of the human and non-human world expressed through my use of unprocessed avian or insect field recordings of song, signs and signals. Climate change, as well as the destruction by humans of the natural habitat of many species, is disturbing the balanced relationship we need to have with nature. Indigenous and small, often nomadic, coastal communities are very aware of this balance and the incursion of the industrial world into their way of life is having disastrous effects which will (if not already) have similar effects and repercussions on ours. There are field recordings on this edition from Pulau Ubin, Ko Phayan, Ko Lanta, Sri Lanka, Bangkok, St.Lucia and Martinique; all places that can look forward to or are already witnessing the Postdiluvian Future . . . My guitar playing here, as always, draws on a number of styles and genres influenced by Hawaiian Slack-key and lap steel guitar."

"Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex -- a name chosen for the ease and speed with which it could be spray-painted onto a wall -- have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration. Originally released in 1982, History Is What's Happening features one of the most harrowing title/cover art combinations in recent memory. What at first glance looks like a firing squad is, upon closer inspection, a concentration camp orchestra. On their second album, The Ex advance into a distinctly more post-punk style: textural guitar shards and tumbling motorik drumming with Bas Masbeck's thunderous bass shouldering much of the melodic load. Railing against political duplicity and the illusory nature of 'freedom' in an age of manufactured consent, G.W. Sok offers some of punk's most bracing and memorable agitprop lyrics. These twenty songs are a quick-moving and caustic trip, a DIY studio rendition of the band's explosive live set from this era. History Is What's Happening remains an important signpost in the history of both Ex-evolution and the cataclysmic '80s. With their sophomore LP, the group would put Holland on the underground music map. Indeed, many now-lifelong fans around the world were just beginning to take notice and get down with the mighty Ex. This first-time vinyl reissue comes with 23" x 16" poster and 24-page booklet."

"Toronto's Badge Époque Ensemble announce sophomore album Self Help out November 20th on Telephone Explosion Records. Recorded live in the months before lockdown, Self Help is an exploratory record that dances across time and genre, guided by fidgety miniatures and jazz inflected collage. While constructed from the inspiration of soul, funk and film music, BÉE mediate those influences having first digested them through the productions of Madlib & the RZA. Throughout, the band pool together their instrumental chops, moving from fluid and serpentine R&B to meditative, minimalistic piano, evoking a contrast of virtuosity and self-surrender. A sticker on the sleeve tells us Self Help 'combines jazz-funk and mysticism,' a signpost to where its musical and spiritual concerns align. The jazz-funk component translates to arresting hooks in sideways song forms: echoes of Gainsbourg spooled through Azymuth-style Brazilian jazz and punctuated by the whip and snap of Steely Dan. 'The Sound Where My Head Was,' the instrumental centrepiece, exemplifies present-wave jazz but also ancient sounds, giving off the mothballed air of a Hiroshi Yoshimura record in a library-music archive. Self Help's mysticism emerges in broad and specific ways, denoting not only a search beyond cliché and intellect but also an inquiry into the beat, the spirit, the one will. This isn't new territory for them: Turnbull -- the artist formerly known as Slim Twig, who writes and performs with U.S. Girls and various other Toronto concerns -- named the group's Nature, Man & Woman EP after the Alan Watts book. Building these songs from his drafts over three weekends at Toronto's Palace Sound studio, the ensemble was free to tap out of the city and into some other place, taking up residence in a collective mind maze. The album produces, in equal measure, familiar surprises and the surprisingly familiar. Intoxicated jazz riffs swerve left at phantom intersections. Rhythms cut loose and tie you in knots. But wired in to each song is a sense of gentle accumulation, making every featherlight flourish weigh a ton. U.S. Girls' Meg Remy brings serenity to 'Sing a Silent Gospel,' and wears its antic melodies lightly. The soul shimmer of 'Unity (It's Up to You)' lets the players pool their R&B chops into something fluid and serpentine while, on guest vocals, the musical performance artist James Baley issues urgent declaratives: 'Water must pool, as a rule, before tasted/Or else the water is wasted.' The words throughout the record complement the ensemble music while riffing on the precarious nature of unity itself. Then, closer 'Extinct Commune' finds Turnbull deserted at the piano, playing phrases of meditative minimalism taking after the composer Joanna Brouk. For all the record's reach, it is these contrasting quiet moments that bring Self Help's communal spirit into focus. A note on personnel: Badge Époque Ensemble now has a seventh member in Karen Ng, the saxophonist and sometime collaborator of Do Make Say Think, Feist, and others. In BÉE, Ng joins Chris Bezant and Giosuè Rosati, her bandmates in the Andy Shauf live band, as well as U.S. Girls co-conspirators Turnbull and Ed Squires, and other Torontonian cross-pollinators listed below. Guest vocalists across Self Help include Meg Remy, who sings with Dorothea Paas on the opener, James Baley, and Toronto singer-songwriter Jennifer Castle on the remarkable 'Just Space for Light.'" --Jazz Monroe

Reissue of the classic 2014 album. Once dismissed around their native Nottingham as "two skip rats with a laptop" the Sleaford Mods have simply knocked all their distractors clear out of the way. From the 2014 press release: "Divide And Exit contains 14 tracks and the result is as immediately in your face as its vicious predecessor. Whilst Fearn's beats and loops will pull you up into the urgency of Sleaford Mods they also allow you to run the gauntlet from deliberate clumsy dance-floor swaggers to full-on punk throwabouts with them. Williamson is let free to spit out his unempathetic litany of bile and anger towards the bloated and tedious. His verbal salvos and side-swipes are often savage and brutal, yet at turns, hilarious, but always spot on as Sleaford Mods rage and despair as the country sinks deeper into a cesspool of its own idiocy. It's an album that doesn't have the privilege of luxury, indulgence or extravaganza and it will strike a resonant chord with many because it simply refuses to compromise."

LP version. 180 gram vinyl; includes download code. Liraz, the highly touted Israeli-Persian singer, returns with a buoyant and border-busting new album. Shimmering electro-pop meets pulsing dance rhythms and retro Persian sonics. Includes clandestine collaborations with Iran-based musicians and composers. For her second album, Zan ("Women" in Farsi), the Israeli- Persian singer collaborated online with composers and musicians from Iran. Everything had to be secretive to avoid the gaze of Tehran's mullahs and secret police. The result is her private revolution, songs with a true message, music to make people dance and smile -- and above all, think. The songs on Zan are the fulfilment of a dream, taking Liraz deep into the soul of the country that fills her heart and populated the stories her parents told her as a child -- but one she's never seen. Her family, Iranian Jews, moved to Tel Aviv in the 1970s. Yet although Liraz was raised in Israel, she's always believed that "my culture is Iranian." The real revelation came when she moved to the US for three years to work as an actress, appearing in several big-budget movies, including A Late Quartet and Fair Game. In Los Angeles she found a huge Iranian community. When making Naz (2018), she wrote and sang in Farsi, the music at times exploring the sounds of pre-revolution Iranian pop music. On Zan, she worked with Iranian musicians, some anonymously, and let her voice and her music resonate further. One of those anonymous players, a female percussionist based in Tehran, features on the opening track, "Zan Bezan," (in English "Women, Sing") alongside Liraz's Israeli band. It's an insistent, catchy piece of electro-pop with heavy musical nods to Iranian pop stars of the 1970s like Googoosh; the message of female empowerment, however, is absolutely contemporary. Another secret Iranian collaborator worked on the powerful earworm that's "Joon Joon," where the dance beats erupt straight from a 1970s Tehran disco, while the big chorus implants itself in the brain and refuses to leave. Zan is an album of contrasts, like "Shab Gerye," the ballad that Liraz knew she needed to include "because the words and music fit so perfectly. It's a love song about reality," or the aching closer, "Lalai." The album continues breaking the walls her mother and aunts began to dismantle. But it does much more: it burrows under borders. It connects countries and cultures. Zan, Liraz insists, is the second chapter of the story that began with Naz. But it's also one that stands alone.

"Black Unity Trio - Al Fatihah quite possibly was the first independently released free jazz record ever. Originating in Oberlin, Ohio as the Black Unity Quartet, and ultimately becoming the Trio (Abdul Wadud, Yusuf Mumin, and Hasan Al Hut), the group recorded Al Fatihah in December 24, 1968 at Agency Recording Studio (which was located upstairs in the building housing the legendary Agora Theatre in Cleveland, Ohio). The album ultimately was released in May 1969 in an edition of 500 copies. The album has been legendary among collectors, producers, and DJs in the past several decades, and has been sampled numerous times on other releases. Much mystery surrounded the origins of the album, as well as the status of the musicians, until 2020 when The Wire published an interview with Hasan. Many underground jazz purists know about the intense, though relatively short-lived hotbed of avant-garde jazz in Cleveland, Ohio during the mid-to-late 1960s. Clubs such as Leo's Casino, Jazz Temple, The Doan Club, Le Cave and a few private clubs saw many young avant-garde jazz acts during this time period. I first learned of Black Unity Trio when seeking out tapes of Albert Ayler playing at Le Cave. From that point forward, I had a mission to seek out the members and see if they would be interested in making a vinyl reissue of Al Fatihah. Most of my efforts ran into dead ends, and it did not take very long to learn that the members, perhaps, were content with letting the record fall into the annals of crate digging history. Then in 2019, I received a phone call from someone referring to himself as 'Ron'; who wanted to bring some tapes by the pressing plant. Whenever I get a call on the subject of tapes, my first question is 'how old are the tapes?'. The caller replied 'late 1960's''. Of course, this perked my interest even more, so I asked what sort of material was on the tapes, to which he replied 'Oh, spiritual jazz''. 'Really?'; I replied, even more interested than ever - particularly since the caller id showed a 216 area code phone number. Then he proceeded to say 'it's called the Black Unity Trio''. I about dropped the phone; 'Are you serious, I have been trying to get a hold of you guys for a year!' I replied. Ron (Abdul) was surprised by that statement. But, it led to months of additional conversations with both he and Yusuf about how to get the record back into the world, and eventually I was introduced to Hasan as well. After many phone conferences, we were able to come to an agreement to reissue this seminal free jazz record via Gotta Groove Records' OHWax series. Yusuf personally brought the original 1968 master tapes to Cleveland in early 2020, and we have been working on the audio restoration and package details ever since. We have spared no expense in making this reissue. Our friend Grammy-Award recipient Paul Blakemore's restoration and remastering work cleaned random ticks from the original source, as well as greatly improved the balance to bring out some of the instrument subtleties which were barely, if at all audible, in the original pressing. We also used Gotta Groove's proprietary GrooveCoated stamper plating technology -- This involves an additional electroforming step in the creation of the metal stampers used to press the grooves into the records. GrooveCoated stampers have a lubricious surface which helps high frequencies in particular to be held more intact during the course of manufacturing, verses traditional stampers. This is a record I am truly proud and excited to be working on, and I look forward to a new generation of vinyl listeners to have access to it." --Matt Earley, Executive Producer.

Beautiful pressing, gatefold sleeve with extensive liner notes. The Black Unity Trio was: Joseph Phillips (Yusuf Mumin): Alto Sax, Ron DeVaughn (Abdul Wadud): cello, bass; Hasan Abdur Shadid (Hassan-Al-Hut, AKA Hasan Al-Hut): Percussion.

Frédéric D. Oberland and Irena Z. Tomazin's Arba, Dâk Arba was conceived as the soundtrack for the eponymous installation piece by the French artist Fanny Béguély. First presented as part of the group exhibition "Panorama 21 - >Les Revenants<" at Tourcoing's Le Fresnoy Studio National des Arts Contemporains in December 2019, Béguély's chemically painted photographs focused on humankind's propensity for self-examination and its attempts to probe the mysteries of the past, present and future. Oberland's heavily processed electric hurdy-gurdy, the "boîte à bourdons," provides the foundation upon which the Borghesia member Tomazin unfolds her gripping vocal magic(k). Their dense mesh of soundscapes and singing mediate between the mystic and the modern, the natural and the all-too-unreal to further examine our persistent desire to decipher the signs we find in nature. As the first collaboration between these prolific experimental artists, Arba, Dâk Arba is as evocative and thought-provoking as the art that has inspired it. It's easy to see why a curious instrument like Oberland's electric hurdy-gurdy would be well suited for the duo's ends, and within its first few minutes the opening track "Grotta" makes it clear that the Oiseaux-Tempête co-founder is more than capable of weaving dark psychedelic sound tapestries with only limited means. The ritualistic energy that Béguély's Arba, Dâk Arba draws on is channeled through abstract drones that mirror the aesthetics of the eight suspended paper rolls the artist's audience were faced with. Even as the sound of the boîte à bourdons becomes more visceral and Tomazin's voice more discernible, "Grotta" remains as intangible as the mythological oracles that had informed the work of Béguély. Shorter pieces like "Amena" or the closing track "Hereafter," though condensed, offer just as much to decipher -- a whole musical world to get lost in. "Fumes" and "Hieromancy" in the second half of the LP are the best examples of how much creative friction lies at the heart of the French experimentalist and the Slovenian singer's collaboration. While in the former song, Tomazin first takes the lead singing uncanny, circular motives before stepping aside so Oberland can let the processed sounds of his hurdy-gurdy evolve into chilling crescendo. Blurring the lines between the physical and psychic as well as the real and the hallucionary with their music, Frédéric D. Oberland and Irena Z. Tomazin's Arba, Dâk Arba is one of the most radical albums in recent years. 180 gram vinyl.

Local Action and Lena Raine present Reknowing -- a multi-disciplinary series of remixes and reinterpretations of the BAFTA-nominated composer's landmark debut album Oneknowing (LOC 016CD/LP, 2019). A multiple-award winning composer, Raine is best known for the soundtrack to 2018's video game Celeste, a break-out indie success story that tackles themes of anxiety, self-examination, depression, and more. Considered one of the great modern game soundtracks, it was recently named one of the best of the last 20 years by Pitchfork. Since Celeste, Raine has rapidly expanded her CV, working on both independent (in-development painting adventure Chicory) and major soundtracks alike (she composed the music for Minecraft's recent Nether Update release), while also releasing Oneknowing, her 2019 debut LP that Noisey described as "taking her soundtrack sensibility into luscious new realms, positioning her as one of the most exciting modern composers." A year on from Oneknowing, Local Action present Reknowing, a companion piece that sees the album re-interpreted by a carefully selected international group of artists, composers, and soundtrackers. Three of electronic music's finest current artists feature in Yamaneko, Ziúr, and breakout techno star Anastasia Kristensen, as does one of video game's most respected modern composers in Yasunori Nishiki (best known for his work on Octopath Traveller and the recent Final Fantasy 7 remake). Elsewhere, Finnish composer Jukio Kallio, who contributed to Raine's Celeste soundtrack, emergent TV and film soundtracker D'Anthoni Wooten, and the mysterious lycopene complete the package, offering seven unique takes on one of music's most exciting creatives.

Mood Of Departure presents Roadmap, the 50th release of Ornaments. Roadmap crosses borders, forests, mountains, and deep atmospheres on a trip of the finest electronics from the past and today combined with recordings of destructions. 180 gram clear marbled vinyl; stamped sleeve with inside-out printed cover.

2020 repress, from 2008. "... 'Chemistry' is one of the immediate tunes that you can't help but fall in love with -- an undeniable synth hook merging effortlessly with 'Boom, Bip, Geetar Compounds' from Adi Dick. Andreya Triana, Vito Money and Om'Mas Keith, meanwhile, repeat an idea over and over: 'The chemistry was meant to be,' a line as simple as the sentiment it's trying to express. Parrish builds, builds and builds until you find yourself in another register altogether and ready for a house track to send you into orbit. 'Untitled One' doesn't have the strike-you-down-where-you-stand appeal of 'Chemistry,' but it's one of those aforementioned growers. Piano, guitar, bass and drum all futz around in an attempt to establish a groove, but it never really grows into anything until Parrish takes things down and transforms what had been shards of piano into a coherent lick. At that point, things congeal into something akin to a funk march. This is Parrish at his most psychedelic -- helped in no small part by the noodling guitar -- and it's just as complex as anything that Villalobos has put to wax. Stunning." --Resident Advisor

Limited repress available now.Theo Parrish releases triple-LP Wuddaji on Sound Signature. Features "This Is For You" with Maurissa Rose.

2020 repress; LP version. There's a myth about music critics according to which they are frustrated wannabe performers. Evidence to the contrary: Vivien Goldman. The London-born, New York-based Goldman is one of the foremost chroniclers of the perfect storm of reggae, punk, hip hop, and Afrobeat, but between 1979 and 1982, she was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, covering Goldman's first three musical formations; first as a member of experimental British new wavers The Flying Lizards, next as a solo artist with her single "Launderette" featuring post-punk luminaries, and then as half of the Parisian duo Chantage with Afro-Parisian chanteuse Eve Blouin. Goldman's eclectic musical crew included PiL's John Lydon, Keith Levene, and Bruce Smith; avant-gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; Viv Albertine, then of Goldman's good friends The Slits; and dubmaster Adrian Sherwood, who produced the majority of these tracks. Goldman sang in a lilting, clear-toned soprano honed during childhood. She began her singing career in the late '70s, doing backup with Neneh Cherry and Ari Up (The Slits) on Sherwood records by reggae artists including Prince Far I. Goldman was grooving to the innovations of dub. The contrast between Goldman's high, lilting tones and the deep rumble of the bass is a hallmark of all her work, giving a haunting frisson of sex and alienation to songs like The Flying Lizards' "The Window." Reggae had been her London soundtrack, but after moving to Paris in the early '80s, she absorbed music from Africa, an interplay audible in exultant Chantage tracks like "It's Only Money," a mix of steelpan, African soukous guitar, and sobbing Romani violin riding ferocious funk. As the 1990s began, Goldman moved to Manhattan and became New York University's "Punk Professor," teaching original courses on punk, Bob Marley, David Bowie, and Fela Kuti. But she never stopped singing and writing songs. Chicks on Speed released a later cut, "7 Days," on their 2006 Girl Monster compilation (COSR 033CD). Her house 12" records with artists including Berlin's Moritz von Oswald are compiled on LPs. Goldman has also co-written tracks with Massive Attack, Coldcut, Ryuichi Sakamoto, and Luscious Jackson. Early in 2016, she performed dub readings onstage with Boston's Berklee Marley Ensemble. Her multimedia beat goes on.

"Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex -- a name chosen for the ease and speed with which it could be spray-painted onto a wall -- have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration. Disturbing Domestic Peace, The Ex's debut album, appeared mere months after their first single, 1980's 'All Corpses Smell The Same'. Originally released on the band's own Verrecords (they made up different label names with each record), the LP falls squarely within a punk idiom and, at the same time, shows this influential Dutch group's restless energy. Terrie Ex's guitar serves up vectors of percussive pulse, fraying the edges of the music's squared-off rhythms. Vocalist G.W. Sok -- an anarchist Dziga Vertov with a mic -- observes, declaims and condemns across a set of interrelated political concerns that would return in Exmusic for years to come. While The Ex channel the poise and principled attack of Crass or Flux Of Pink Indians, they create a unique declamatory sound all their own -- trailing brilliant flashes of color in the wake of punk's monochrome palette. Offering ten songs in only twenty-two minutes, Disturbing Domestic Peace lays bare a vivid snapshot of a truly singular band who (at the time) were just finding their feet. This first-time vinyl reissue comes with bonus 7-inch, insert and 20-page booklet."

Tokyo Dreaming is a superb selection picked from the highly collectible Nippon Columbia label and its Better Days sub-label. Wewantsounds have teamed up with journalist and Japanese music expert Nick Luscombe. The selection mixes electro, synth-pop, funk, and ambient and includes many sought-after rarities and hidden gems which have never been released outside of Japan and the set has been newly remastered by Nippon Columbia. Nippon Columbia, one of Japan's oldest music labels is also one of its most collectible thanks to its sub-label Better Days which, in the late '70s, became a hotbed for Tokyo's new generation of pop artists eager to experiment with ambient, electro, and funk. Armed with a string of new Japanese-made synthesizers and drum machines that would soon take the world by storm, they made cutting-edge music, which has since become highly sought-after by a new generation of Japanese music lovers. Nick Luscombe, who has long been a leading advocate of Japanese music from this era, has handpicked a selection of some of the sharpest music released on these labels at the time. Tokyo Dreaming starts with "The End of Asia" by Ryuichi Sakamoto from his 1978 ground-breaking debut Thousand Knives Of... (WWSCD 024CD/WWSLP 024LP, 2019). The track became a staple of Sakamoto and Yellow Magic Orchestra's live shows and was even re-recorded by the group for their 1980 album X Multiplies. The track is followed by Mariah's cult Armenian folk flavored synth pop classic "Shinzo No Tobira" (1983). Chika Asamoto's "Self Control" (1988) and Jun Fukamachi's "Treasure Hunter" (1985) are perfect songs in the synth-pop canon, while Yumi Murata's rendition of Akiko Yano's "Watashi No Bus" and Hitomi "Penny" Tohyama's "Rainy Driver" both from 1981, move closer towards the slicker, funkier sound of city pop. Tokyo Dreaming superbly showcases the breadth of '80s Japanese music and the way electro pop was a playing ground for musicians to experiment with many styles, as showcased by Akira Sakata's dub-infused "Room" from 1980, Kazumi Watanabe's discoid "Tokyo Joe" (1980) and Juicy Fruits' techno pop song "Jenie Gets Angry". The selection flows effortlessly between many shades of synth and ends with two cult classics in the form of Yasuaki Shimizu's "Semi Tori No Hi" and Shigeo Sekito's ambient-jazz masterpiece "The Word II" from his highly sought-after album Kareinaru Electone (The Word) Vol.2 (1975). Tokyo Dreaming showcases the groundbreaking sounds of a city turned giant sonic lab which was restlessly inventing the music of the future. Album designed by famed London-based designer Optigram. Also features Yumi Seino, Kyoko Furuya, Kazue Itoh, Haruo Chikada & Vibra-Tones, and Colored Music.

Following the success of Live In Helsinki, this LP continues our documentation of the band's 1969 prowess, showcasing live sets from Oslo and The Hague recorded for Norwegian and Dutch TV respectively. Of the eleven tracks, seven were never recorded on a Fleetwood Mac studio LP. They range from Danny Kirwan's mournful "One Sided Love" through to an ebullient "Tallahassee Lassie". The final track is a lengthy "Rattlesnake Shake" which, as Mick Fleetwood explains in the sleeve notes, indicates the more improvisational approach the band would adopt. This LP captures the band as they evolve from a straight blues band towards something more innovative. All tracks recorded at Congresgebouw, The Hague on 28.02.69 for Dutch TV, except side two tracks three to six recorded at Njardhallet, Oslo on 03.11.69. Despite careful remastering, the tracks from The Hague tend towards the trebly; the Oslo tracks are of better quality but are not soundboard recordings.

Beat Records presents the definitive edition of Ennio Morricone's wonderful score for Lucio Fulci's Una Lucertola Con La Pelle Di Donna (1971). One of the most valuable soundtracks composed during a period of great artistic fertility, it was created by the popular Italian composer for this morbid thriller by one of the greatest Italian directors ever, appreciated and recognized throughout the world. Long out-of-print, this double-CD edition offers around 90 minutes of music from the maestro's most beautiful soundtrack from one the most iconic artistic crossroads of the early '70s: Fulci and Morricone. This release features a 12-page booklet lavishly illustrated by Alessio Iannuzzi, liner notes by Andrea Morandi (CIAK Magazine), and two CDs to evoke in the sitting room of your memories the charming and evocative curves of Florinda Bolkan, this time with a nice street view of the early '70s revealed by this musical and cinematic masterpiece. Edition of 500.

LP version. A longtime dream has been to capture Yawning Man performing in the very environment that so inspired their music. The opportunity arose in 2020 from the challenges artists and musicians faced during the Covid-19 pandemic, social distancing forcing artists to creatively adapt to alternatives to express themselves musically and visually. Yawning Man's answer to this calling is Live At Giant Rock. This cinematic concert experience is intimately and beautifully captured by videographer Sam Grant in the environment that inspires Yawning Man's spacious, expansive and cinematic music. Filmed live in the early morning hours of May 18th, 2020 in the visually stunning, and mysterious landscape of Giant Rock. In the spirit of Pink Floyd's Live at Pompeii the performance is shot on location with no audience, just the band performing their instrumental meditations in the rugged beauty of the Mojave Desert. Giant Rock in Landers California has attracted Native American nomads, scientists, UFO researchers, and travelers from all over the world, drawn by its magnetic spiritual energy.

Magic Box present reissue of The Beat of the Earth's self-titled album, originally released in 1967. Recorded by the legendary, enigmatic Phil Pearlman (and a few friends) as an art project whilst at University of Southern California, this pioneering improvised psychedelic album has been compared to the Doors, the Velvet Underground, and others. Only 500 copies were manufactured back in 1967, and distributed via hitch-hikers, making original copies almost impossible to obtain. This vinyl reissue comes with an insert offering background information about the album.

All you need to know is Anthroprophh release records on Rocket Recordings and every so often they release one and with German Oak, you are getting a release that is both unique and very special. Side one is a 17-minute freak out/meltdown/brain buzz of a mother fucker -- Imagine a star collapsing in upon itself and you'd have the sound of "German Oak". Side two is four tracks all melded together -- two tracks of hypnotic minimal electronic bliss melded into a Tacoma-like finger picking hoedown before the final two track brings in the spirit of Skip/Syd/Roky for a hauntingly mesmeric end.

Let's go far out in the Far East with Far East! Far Out! Whatever your take, just make sure that before you don't, you witness the rampant fuzz guitar, high impact adrenalin, and drama of the intoxicating sounds from Asia and beyond. Rubble presents a prized collection of bizarre 1960s Eleki, Pop-Yeh-Yeh, Group Sounds, and A-Go-Go scenes from the Far East. It defies western convention and twists it with the same tools into something otherworldly. You have to hear it to believe it! Featuring over 150 tracks of wild garage punk, exotic beat, and raucous psychedelia with a good dose of "what the hell is that!?" So before you open your mind, open your ears! Six-CD box set with 80-page, full-color perfect bound booklet.

Features The Golden Cups, The Beavers, Edwards, The Tempters, The Mops, Jackey Yoshikawa And His The Blue Comets, The Carnabeats, The Outcast, The Trailers, Danny Diaz & The Checkmates, The Astro-Notes, The Mystics, The Spiders, The Voltage, The Golden Cups, Teddy Robin & The Playboys The Kontinentals, The Thunderbirds, Sanisah Huri & The Terwellos, The Downbeats, The Cyclones, Koes Brothers, The Savage, Yuzo Kayama & The Launchers, The Gullivers, Sakura & The Quests, The Straydogs, The Swallows, Kassim Slamat, Anders Nelson & The Inspiration, Blue Comets, Usha Iyer & The Flintstones, Mike & Herb & The Silver Strings, The Cougars, The Menace, A Halim & De Fictions, Sound Of Six, The Impian Bateks, A. Romzi & The Hooks, Calcutta 16, D'acrobats, The Jaguars, The Van-Dogs, The Somers, 4-9-1, The Sharp Hawks, The Youngers, Les Kafilas, The Quests, Terry & The Blue Jeans, The Phoenix, The Dynamics, The Wild Ones, Swing West, M Said & Les Ramaja, Ismail Haron & The Guys, The Fingers, Mayuzumi Jun & The Ox, The Black Jacks, Samurai, The Skeletons, Powerhouse, The Taxman, Zoo Nee Voo, Mod East, The Bee Jays, Dara Puspita, The Spirits, The Jets, Jefridin & The Siglap 5, Naomi & The Boys, The White Kicks, Tokyo Beatles, The Jacks, Yuya Uchida & The Flowers, The October Cherries, The Happenings Four, and The Helpful Soul.

Survival Research present a reissue of Horace Tapscott's Songs Of The Unsung, originally released in 1978. Distinguished Los Angeles-based jazz pianist Horace Tapscott is probably best-known as the founder of the Pan-Afrikan People's Orchestra of PAPA, also known as The Ark, though he began his career as a trombonist, working with Lionel Hampton and others during the late 1950s. The 1978 solo album, Songs Of The Unsung, released in small number on pianist Toshiya Taenaka's Interplay label, features Tapscott alone on piano, delivering a superb set of freely interpreted jazz tunes, including an unfettered reading of Lester Robertson's "In Times Like These" and Cal Massey's "Bakai," along with two of his own heartfelt originals. Licensed from the Horace Tapscott Estate

2020 repress. "Bruce Haack's 1970 electronic acid rock masterpiece is back into production! The Electric Lucifer is the third album in the ongoing Telephone Explosion X Bruce Haack series (previous releases include Haackula & The Electric Lucifer Book II)."