A three-way force of nature from Cairo, Egypt described by those who've been caught in the eye of their storm as one of the most exciting live propositions on the planet.

"Islam Chipsy's performances have been the stuff of legend outside Egypt for several years now, thanks to the circulation of various still breathtaking YouTube clips of his group EEK... in unbridled hyper-kinetic flow at gigs, weddings and street parties, as well as a series of international shows spoken of evangelically by those lucky enough to have seen them... They push at boundaries of dance-based music that are widely known and understood... It is astonishing, exhilarating, inventive music by any measure" --The Wire.

"You best get up off your ass to dance or get the hell out of the way!" --Alan Bishop (Sublime Frequencies/Sun City Girls)

"Bordering on overwhelming... The beats are played at hyperspeed by two drummers who can switch styles and tempos without dropping a beat, adept at providing a rigid framework for a virtuoso keyboard player whose individual technique includes firing out bewilderingly fast blasts of tone clusters deployed by punching, slapping and karate-chopping his keyboard at such a frightening speed that his hands become a blur of movement. A truly unique experience." --The Guardian

LP version. Windborne is the debut album from young Norwegian power-trio Kanaan. With components from jazz, fusion and post-rock they have created six extended pieces of blazing free-form psychedelia. While the band is rooted in the same spirit that gave birth to Mahavishnu Orchestra and Larry Coryell's The Eleventh House in the 1970s, there's a distinctive modern flavor to Kanaan. Their Scandinavian genealogy is apparent as well; their intricate song structures seems to be branching off the same stem as Motorpsycho, Papir, and Jaga Jazzist. Opening track "A. Hausenbecken" feels like a sudden blast of refreshing Nordic air, with rolling guitar leads and growling Fender Rhodes. But Kanaan aren't afraid to get deep and heavy; the B-side dives into straight-up Sabbath territory, with "Act Upon The Mundane World" and "The Groke", before ending the album with the abstract, free-flowing title track "Windborne".

Oneknowing is the debut artist album by acclaimed composer and producer Lena Raine, most recently known for her multiple award-winning soundtrack for the video game Celeste. Based in Seattle, Raine has been composing soundtracks for games and media for 12 years, her breakout moment coming with her work on the classic PC game Guild Wars 2. Her most celebrated work, however, has come in the form of 2018's Celeste soundtrack. A game based around themes of anxiety, self-examination and more, Celeste is considered by many to be the key indie game of 2018, and has won multiple awards for both game and soundtrack -- something which Raine painstakingly developed in tandem with the game's design team since its origins. A flagship year for Raine was capped off in December, where she performed live with soundtrack legend Hans Zimmer at The Game Awards, the video game industry's flagship annual award show (Celeste was nominated for four awards, and won two). Although she's released several non-soundtrack releases, both under her real name and her Kuraine alias, Raine considers Oneknowing her debut artist album -- a ten track set that ranges from distorted paranoia to ambient pop, brought together by the shimmering melodies that make her soundtracks so memorable. An album that draws from "personal experiences, important places, dreams and the lack of dreams," Oneknowing's tracks are also threaded together by Raine's own vocals, sung in a language unique to the album and manipulated by the software Vocaloid. In Raine's words, "I have nostalgia for my voice as it sounded when I was younger. I can't de-age my voice, but I was able to use software and tweak its settings to a point that it has a similar quality to my voice from back then". At times ("Tsukuyomi," "Light Rail") her vocals lean towards traditional pop structures, while on tracks such as "Wake Up," they're repeated, chant-like, to create a hypnotic effect. As well as vocals and software, Raine plays Rhodes piano, zither, and various hardware synthesizers on Oneknowing, while Michaela Nachtigall contributes violin and viola to various tracks. A succinct but expansive record full of detail, Oneknowing represents Raine's most personal and realized original material yet, while showing a different side to one of the most unique and accomplished composers of the modern era.

"Dreams of India & China is the first retrospective LP of artist and sailor, Rip Hayman. Recorded from 1975-1986, the two side-long works were collaged from a dozen hours of tape recordings (which had lain dormant for over 30 years). It ebbs as the tides; pulsing from one location to the next in a faint stupor, Dreams turns to be an autobiographical sound map. Audio capsules of Hayman's installation performances, private experiments, and every ethnographic voyage in between are charted. Outdoor recordings canopy over indoor recordings, thatching surreality. Tonal quilts lap over "Dreamwaves" on the first side: an all-night sleep concert hosted by Rip as the sandman. Whispers of recounted dreams, birds and trees, organ waves. The second side traverses more saturated memories: bicycle spokes ripping against half-speed piano, bleeding cymbal dances over saxophone gusts, the tumbling of Rip's body affixed with bells and metal. Hayman was a collaborator in New Wilderness Foundation, Ear Magazine, and The Land (a parcel in upstate New York to where John Cage, John Lennon, David Tudor, and more would escape the city in the 1970s). He is the owner of the oldest bar in NYC, The Ear Inn. Focusing on nautical inventions and intentions these days, Rip has veered away from composition; hopefully that will change. For now, let us enjoy the sea-faring sound journeys of his past. Dreams of India & China charters a beautiful confusion -- come aboard and push off into his waters." --Sean McCann, February 2019
"Captain Rip Hayman is a traveller: on the seas, across the lands, and in the realm of music. He has been around the world 51 times to date. Like the proverbial cat, Rip has lived many lives and beaten death more than most. Rip's playlist here is a mix of his compositions and music gathered in his travels. The sounds of the world are all music to the Captain's ears." --Charlie Morrow, December 2018
Edition of 500, includes 12-page color booklet with essays and photographs.

We Release Jazz presents its fifth release, the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26-minutes+ jazz adventure -- Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous "Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes on which you can hear a shorter studio version of "Showbiz Suite" (1971), 1973, and their final self-titled album (1974). Born in 1942 in Ixelles, the multifaceted Marc Moulin had one of the most fascinating careers in the history of Belgian music, from his jazz roots and Placebo to founding electronic disco pop band Telex ("Moskow Diskow", "Rock Around The Clock"), producing a vast array of French and Belgian hits (notably for Philip Catherine and Lio), pioneering downtempo and electro jazz with three albums on Blue Note, and exploring other avenues of expression such a radio hosting and comedy. He sadly left us in 2008. His incredible legacy shall live on. 180 gram vinyl mastered at half speed; housed in a 350gsm sleeve with UV coating and an obi strip.

2019 black vinyl repress; available on 180-gram vinyl (no longer comes with download code). This the first time that this title has been available on vinyl. At the risk of belaboring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music to be released in 1996, The Brian Jonestown Massacre parallels the prolific and effortless brilliance of The Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning -- rarely are bands quite so productive, or quite so consistently amazing. Thank God is The BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Since 1995, The Brian Jonestown Massacre has released numerous albums, first for Bomp!, the label that gave them their start, and later for TVT and Tee Pee. The BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the band's name combines the name of Stones founder Brian Jones with a reference to cult leader Jim Jones -- but his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

"The French film composer Francois De Roubaix recorded compositions for a lot of movies. One of them is the Belgian cult horror classic Daughters of Darkness. The soundtrack to the erotic vampire film consists of a lot of different musical elements and is a seductive score. It's one of Francois' finest pieces of music. The colourful compositions supports the love story and the different ways the vampires interact. Years after its recording Hip-Hop producers used samples from the score in their songs, among others Lil Wayne. The movie has been voted by authors, directors, actors and critics as one of the top horror films of all time. According to the critic Geoffrey O'Brien: 'Daughters of Darkness leans flamboyantly toward the artistic end of the Lesbian vampires spectrum, with Delphine Seyrig sporting Marienbad-like costumes and the Belgian director conjuring up images of luxurious decadence replete with feathers, mirrors, and long, winding hotel corridors. At the film's core, however, is a deeply unpleasant evocation of a war of nerves between Seyrig's vampire and the bourgeois newlyweds into whose honeymoon she insinuates herself. The package contains an exclusive poster + printed innersleeve."

RSD 2019 release. Richard Pinhas, the founder of '70s legends Heldon, is one of France's best-known experimental musicians and is a key figure in development of rock music fusing with electronic music. Live At Bam Balam is solo guitar and processing as well as drone electronics with the use of a Metatronic Delays system: no re-recording. This brilliant collection of solo improvisations was recorded in Bordeaux (France) on April 16th, 2016 and April 21st, 2018. Limited edition vinyl-only release.

OFFICIAL RSD 2019 release. Beacon Sound present a reissue of the 1993 album Euphoria by UK duo Insides (previously Earwig). Euphoria sits at the crossroads of a very exciting time in the early 1990s when artists like Seefeel, Moonshake, and Aphex Twin were mining emerging technologies and pushing British music in new directions. A leftfield electronic pop album without peer, Euphoria incorporates programmed beats, elements of neoclassical minimalism, and the soothing voice and acerbic lyrics of singer Kirsty Yates into a memorable and masterful collection of songs that sound Like nothing else, either then or now. Reviews at the time reference composers like Steve Reich and Brian Eno as well as groups like My Bloody Valentine and AR Kane and describe it as being both "danceable" and "ambient". Originally released on 4AD offshoot label Guernica (Unrest, Bettie Serveert, Spoonfed Hybrid), it made many year-end lists in 1993 and demands rediscovery and reappraisal in 2019 given our current era of genre-splicing experimentation. Licensed from 4AD and remastered by Julian Tardo from HD audio files transferred from the original tapes, the LP will feature the original packaging as well as a new insert with press clippings from the era and liner notes by Simon Reynolds, who coined the term "post-rock" while writing about the group in 1993. Limited edition of 2000; gold-foil numbering.

From Simon Reynolds liner notes: "Those who heard the record back in '93 may not be able to escape their own wistful hankerings for the early Nineties and its lost promise, it's true. But if you're listening to Euphoria for the first time, I think you will be surprised how modern it still sounds in 2019, an astonishing twenty-six years after it came out."

RSD 2019 release. White vinyl. Additional contribution from Toshimaru Nakamura (no-input mixer) recorded by Steve Bates and David Sylvian, Montreal. Tubular bell and concert bass drum recorded by Matthew Sansom, Surrey University, 2006. Original text by Bernard Marie Koltès. Compositional structure by Mark Wastell. Mixed and mastered by Rupert Clervaux. Personnel: Rhodri Davies - lap harp, table harp, vibraphone, radio; David Sylvian - voice, vocal treatments, electronics; Mark Wastell - tam tam, cracked ride cymbal, chimes, Indian temple bells, singing bowls, metal chain, tubular bell, concert bass drum. Voice recorded by David Sylvian, Los Angeles, USA. Instrumental parts recorded by Rupert Clervaux at Studio 3, London.

RSD 2019 release. "By the mid-70s many established and independent gospel artists started creating records with a tight four-on-the-floor beat that touched both churchgoers as well as patrons of the drug-fueled establishments of the '70s. Second instalment of Greg Belson's Divine Disco -- for this collection he dug deep into his crates to undercover the rarest independent and private press gospel disco records ever recorded. Many tracks are under the radar or recently discovered such as Harrison Jones's 'On that Other Shore', Converters' 'I've Been Converted' and the super limited self-released 45 by Mr Jesse R. McGuire, 'Jesus Is On the Mainline'. Only 50 copies were ever pressed. This volume even includes gospel disco from the UK with Paradise's brilliant 'Keep the Fire.' This compilation also includes remixes and edits by Steve Cobby (who was a member of Fila Brazillia) and the Divine Situation production duo of Greg Belson and Paulo Fulci."

Stephan Laubner, better known as STL, is regarded for his unique twist on dubbed-out house and techno sounds. "Lost Harbour" leads Take Your Seats EP with textural field recordings, crunchy distorted rhythms, and an amalgamation of snaking bass, synth, and piano lines, intertwining and unfolding throughout. "Mr. Sinister" switches the vibes over to menacing bass swells, fluttering subs, gritty percussion, and an underlying tension before "Sensimilla" edges into more ethereal territory with spiraling dub chords, shuffled hats, and winding atmospherics.

Barbara Proksch (born 1943 in Berlin, living in Salching, Lower Bavaria) is a German visual artist. After having studied lettering and illustration, she first worked in graphic design and theatrical painting before in 1982 deciding to become a freelance artist, concerning herself mainly with drawing. Her works are characterized by her long-lasting fascination for letters and geometrical figures. Another thread of influence stems from her background in theatrical painting: the body language and the physical aspects of painting. From the beginning, a further aspect has drawn her attention, namely the sounds that occur while drawing and writing, and the way they influence the resulting work. She noticed that the sounds made by the tools she uses feed back into her drawing process, and that just like speech and writing -- in a linguistic sense -- cannot be decoupled from each other, drawing and listening cannot either: Eye and ear become partners, drawing becomes a performance with the specific tools and materials used as musical instruments. This observation has led to the development of her group of works called Opto_Phon, a name which, from the 1990s onwards, Proksch uses for performances that draw upon this synaesthetic process: Usually, Proksch works on large sheets of paper mounted like drumheads and treated with various tools (scrapers, brushes, pens, knives, twigs, etc.), the sounds amplified through contact microphones. The early Opto_Phon performances were made with herself standing in front of the paper sheets, visible to the audience while drawing. Later, she decided to stand in the back of the paper with a spotlight behind her, so that light shines through it while it is being cut and ripped. Side A of this LP contains excerpts from Opto_Phon performances, the first made in a church in Cheb, Czechia, in 2003, led by the strong echo emerging in the hall, the others recorded in her studio. They are contrasted on side B with a very different performance that is, however, conceptually related to Opto_Phon: While travelling on the Trans-Siberian Railway, Proksch experienced a similar synaesthetic process while listening to the repetitive rattling of the train and watching the landscape passing by. In 2010, this experience was transformed into a sound piece for amplified sewing machine. Full-color sleeve with printed inner sleeve and insert, containing images of optophonic tools and drawings, and extensive liner notes; Edition of 300.

Ernstalbrecht Stiebler (b. 1934) is a German composer of minimalist and reductionist contemporary music. Since the early 1960s, he has been developing a unique compositional style that draws on minimalist structures and repetitions, though not in any way related to the so-called minimal music, but rather influenced by minimalism in visual art and characterized by long static tones that slowly change and evolve over the course of a piece. Stiebler has composed for solo instruments as well as for different chamber musical and orchestral line-ups. Many of his ensemble pieces are built around long tones coming together in specific intervals, often alternating between dissonance and harmony, sometimes involving microtonal structures. Often, the single instruments are hard to distinguish, instead the musical space opened up by the complex harmonies, disharmonies and pulses of interference becomes the focus of listening. This double-LP collects four live recordings of pieces journeying "between the tones" ("Zwischen den Tönen"): "Intervall 19" and "Slow Motion", composed in 1997 and 2003, respectively, are apt examples of Stiebler's style employed for chamber ensembles, with static tones putting every tonal nuance under microscopic view, and slow movement allowing for observation of the slightest variations. The third piece, "Zwischen den Tönen" (1997) is an anomaly in his oeuvre in that it makes use of his distinct techniques but is written for women's choir. The edition is rounded off by a recent recording, "ortung" (2018), again for chamber ensemble, that displays a newfound ease and compositional intuition that has become apparent in his recent work. All recordings are previously unreleased. Single sleeve with two printed inner sleeves; Liner notes in German and English by Matthias R. Entreß and Ernstalbrecht Stiebler; Edition of 300.

From the liner notes by Matthias R. Entreß: "With great concentration the essence of sound becomes clear in Stiebler's late work, here in the heyday of his advanced age, and this has brought his music to the listeners and locations of the alternative avant-garde of noise, ambient and the real-time music scene, in which a culture of heartfelt dedication to sound has long existed. The fact that Stiebler's initiation of precise listening also constitutes a challenge to the cultivation of classical music (he is a great admirer of Mozart) has not yet been properly recognized."

RSD 2019 release. When braving the oblique corners of Jean-Claude Vannier's vault, few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire ("The Black Beast"). Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller, captures the revered composer and arranger of Serge Gainsbourg's Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas, and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Maté alongside drummer Bernard Labat (Mad Ducks), and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between the Jef Gilson groups and France's signature "cosmic" revolution.

See Through is a new collaboration between Aidan Baker (Nadja), Faith Coloccia (Mamiffer, Mara, Sige Records), and renowned percussionist Jon Mueller. The project was brought to life through Baker exploring textural rhythms created by sampling small, sharp and abrupt sounds on the electric guitar and then sequencing them in a drum machine to form the bedrock of the tracks. Mueller then added his particular, signature brand of intricate, hypnotic percussion to the mix and the compositions began to grow and take shape. The pair agreed that the pieces needed a more human touch and Coloccia was invited onboard, contributing processed vocals via looping, tape manipulation, and microphone feedback. The result is an other-worldly record that seamlessly flows from beginning to end, immersing the listener in waves of ambient movements and soporific beats. There is a trance-inducing aspect to this work, deserving to be consumed in one sitting and allowed to manifest itself for the duration. The trio have crafted a piece of work that stands up to the quality and integrity of their combined back catalogs and indeed adds something completely new for fans to discover and devour. Personnel: Aidan Baker - guitar, FX; Faith Coloccia - vocals, FX; Jon Mueller - drums, percussion. Mixed by Randall Dunn at Figure 8 Studios in NY. Includes download code. Color vinyl; edition of 300.

RSD 2019 release. Long-time, hidden gem and one of the pivotal releases that shaped what would later on become the "Sound of Cologne". Originally released in 1993 on CD at the opening of the Delirium Recordshop in Cologne -- the birth house of Kompakt. Now available for the first time on vinyl! Released under their monikers The Bionaut (Jörg Burger) and Mike Ink (Wolfgang Voigt), Music For Stock Exchange marks one of the many highlights evolving from this artistic relationship. Ethik perfectly showcases the pair's very own take on electronica/IDM that soon led into their Harvest releases as Burger/Ink, The Bionaut, and The Modernist. 25 years after its inception, Ethik sounds strangely contemporary and will delight the old and surely find many new friends. 180 gram vinyl.

RSD 2019 release. Mannequin Records start a series of re-presses dedicated to the legendary Nocturnal Emissions, one of the best kept secrets of the industrial genre since the 1970s. Led by Nigel Ayers and Caroline K, the band was one of the first to use tape cutting, avant-garde art, and underground video works to create a stage experience that was being cultivated by like-minded artists like Throbbing Gristle, SPK, and Cabaret Voltaire. Originally self-released in 1985 for Sterile Records, Songs of Love and Revolution is the Nocturnal Emission's most successful album ever. The release marked the end of a period of more "conventional" songwriting and instrument use for Nocturnal Emissions. The first couple of albums were brooding, bleak affairs that called to mind a more sedate version of SPK. Then came a few albums that were firmly song-dominated. SOLAR was the last of the bunch, and was the most explicitly "message"-oriented and political. Songs of Love and Revolution was a big step forward for the band, having a full-color cover and turning the NE sound further towards electronic pop music. Classics such as "No Sacrifice" and "Never Give Up" have made this an essential album for every fan of electronic music. As Nigel himself reminds, "they were buying lots of equipment at the time and seemed to have naturally acquired some skill over the years so they thought, 'Let's make some pop music.' He continues: "The Miners' Strike was on and there were riots down our street in Brixton. I was convinced there was going to be a revolution. But it would probably have been quite unpleasant. All these old punks and hippies preaching revolution, I don't think we were really prepared to live with the consequences. If we actually had a revolution in this country, it would be like Iraq or something, or Syria. But we were having horrible times with Thatcher. All we could do in that sort of milieu was imagine what the alternative would be like."

LP version. 140 gram vinyl; 350g inside-out sleeve; Includes insert with liner notes in French and English. Mental Groove Records and Musée D'ethnographie De Genève present Soothing Songs For Babies (Berceuses Du Monde), curated by Madeleine Leclair, head of the MEG's department of Ethnomusicology, and Olivier Ducret of WRWTFWW Records and We Release Jazz. An inspiring collection of carefully chosen lullabies from all over the world, that will please both young parents and their children, as well as (world) music enthusiats looking for a peaceful and captivating listening. Lullabies exist in almost every culture in the world. While they relate to the world of childhood, they also evoke the privileged relationship established through music between an adult and an infant. The lullabies presented here were recorded at different times and come from eighteen countries in Europe, Asia, Africa, Oceania, and America. They share certain musical characteristics that can be identified from one piece to another: simple melodies, a sequence of short patterns repeated several times in succession, an overall melodic contour following a descending line. All the lullabies presented here come from records published with a copy kept in the Archives Internationales De Musique Populaire (AIMP) of the MEG. For fans of labels like Ocora, Smithsonian Folkways Records, Buda Music, Nonesuch, and traditional forms of music, ambient, (ethno)musicology, and children.

OFFICIAL RSD 2019 release. If one is aware of high prices on online music sites or is a part of any worldwide record collectors' circles, albums from groups such as Ithaca and Agincourt might sound familiar. Producers, composers, singers and multi-instrumentalists Peter Howell and John Ferdinando are two English musicians who started their partnership in the mid-1960s. From 1968, with the release of their soundtrack for the play Alice Through The Looking Glass, until the release of a project called Friends in 1974, they put together a total of five albums, Ithaca (1973) and Agincourt (1970) being the two most expensive and collectable of all of them. Incredibly rare and highly sought-after for years, the records contained a magical world brimming with folk music, soft psychedelia, psych-pop and progressive overtones; their music is absolutely exquisite and truly unique. It is predominantly folk, but very far from its traditional format. The longer one listens to their legacy, the longer one is going to find peculiar elements of classical gestures plus many flourishes of soft psychedelia, idiosyncratic progressive overtones, acid-folk and a taste that one is always entering the enchanting toy world of psych-pop. It does make total sense that the word "cult" is frequently applied to describe their creations. On Ithaca, Agincourt And Other Psych-Folk Fairy Tales (a 21 track double LP accompanied by a 19 track CD of totally distinct material), one also has the chance to read their own words. Both of them were interviewed for the liner notes, where they reveal their secret influences and their simple but unexpected ways of creating and composing. Be subtle, be daring, and be immersed in the magic world of Peter Howell and John Ferdinando.

RSD 2019 release. "Sho is Funky Down Here and The Grodeck Whipperjenny are a pair of albums that are the result of an unlikely but highly productive musical relationship between James Brown, a superstar at the creative and commercial peaks of his long career, and David Matthews, a then young arranger-musician whose limited professional experience had little or nothing to do with the funk and soul of his collaborator. James Brown's psychedelic album, created by his then-bandleader David Matthews, and issued at the same time as Matthews' classic The Grodeck Whipperjenny. Underground, fuzzy, rambling psych-funk. The genesis of Brown's 'Talking Loud And Saying Nothing,' a 1990s hip hop sample staple, informing A Tribe Called Quest, Large Professor, Brand Nubian and others. Both albums were lacquered directly from the original master tapes at Capitol Studios. This is the first official reissue of both of these rare titles. Each album contains an extensive booklet with full annotation, liner notes by Brown historian Alan Leeds and never-before-published photos."

RSD 2019 release. "Produced by the legendary Patrick Adams, the studio-bound disco unit Cloud One made its debut in 1975 with the spectacular Atmosphere Strut. At a time when most music was recorded with a full army of studio musicians, Cloud One records were mostly played, arranged and mixed in their entirety by Patrick Adams himself! The ability to 'work on his own' allowed the music to feel more experimental than the work he did on major labels at the time. While there's been other compilations, this is the first official P&P collection dedicated to the work of Patrick Adams as Cloud One. Spaced Out compiles the best of Cloud One's output with songs from their Atmosphere Strut LP, their Funky Disco Tracks EP and a number of known 12" singles, as well as some hard-to-find titles like 'Patti Duke', 'Don't Let My Rainbow Pass Me By', and 'Flying High'."

RSD 2019 release. Destroy All Monsters began life as an experimental rock group in early '70s Ann Arbor, the brainchild of University Of Michigan art school weirdos Mike Kelley, Jim Shaw, and Niagara (Lynn Rovner), and filmmaker Cary Loren. Following many incarnations, lineup changes, and the breakup of Niagara and Loren's romantic relationship, the group solidified in the late '70s around Niagara on vocals, and Detroit legends Michael Davis of The MC5 on bass, and The Stooges' Ron Asheton on guitar. Though they never released a proper album, the group's singles are certified punk classics and the band has since achieved massive cult status, counting Sonic Youth among their legion of fans. Presented here is one of their first three singles. Color vinyl; Editions of 500.

Society's Rejects is 21 tracks of singles rounded up from one of the UK`s first wave of hardcore punk bands, the Mau Maus. Formed in Sheffield in the early '80s, they released a string of hard-hitting EPs on the Pax and Rebellion labels, including Society's Rejects (1982), No Concern (1982), Facts Of War (1983), and Tear Down The Walls (1984), all of which hit the UK Indie top ten. This set includes all the tracks from those four singles plus "Give Us A Future" from the Punk Dead - Nah Mate, The Smell Is Jus Summink In Yer Underpants Innit (1983) compilation on Pax. Each track is a prime example of fury delivered with intensity and passion. Includes A4 booklet with lyrics, reviews and archival materials.

Joyrobix is Brummy-abroad Joe Snape's flooring return to Slip: a songbook of nimble, aching pop that wrings raggedy solace from dejection and displacement. Begun as a danceable re-fix of pieces for chamber ensemble toured the last three years, production on Joyrobix stalled sharply in 2016. Instead of a self-confident exercise in documentation, the record twisted into a darker, more lyrical original: a period portrait of dislocation and burnout following Snape's move to the US in 2015. There's still plenty of fun to be had. Between the adult contemporary guitars, gospel grooves, and Broadway melisma, the tropes of a musical America are present, correct, and indefatigably up-tempo. But even at his most playful, Snape sounds like a musical mind running on fumes, the optimistic experimentalism of 2015's Brittle Love audible only through a weary cloud, and the black dog never altogether quieted. Nor could it be: Joyrobix sounds like a working-out -- here manic, there taciturn -- of a new world dream gone sideways. Features Jesse Chevan on drums, Will Gardner on saxophone, Suze Whaites on oboe, J. Louise Snape on cornet, Owen Roberts on bass clarinet, Weston Olencki on trombone, plus Laurie Tompkins and Suze Whaites on vocals. Artwork by Suze Whaites. Mastered by Giuseppe Ielasi. RIYL: Kim Hiorthoy, Tunng, Múm. Edition of 300.

RSD 2019 release. Nicknamed the Primdufs, the group have a passion for the obsolete French "valse musette". But their take has nothing in common with the smutty chords of popular balls and singalongs in little town halls. This is "bal musette" with balls, it's genuine, virile, and authentic. Though these noble savages like rummaging around in 1920s Paris, they don't shy away from including rhythms from all over the planet, rhumba from Zaireto, gypsy jazz, Hindu waltzes or Argentine tango, blues, "paso doble" or "chanson réaliste". It all began in 1986, when Dominique Cravic, "ukukeke" champion and a renowned guitarist who learned from jazzmen like Lee Konitz or Larry Coryell and also played with Georges Moustaki and Henri Salvador, met a certain Robert Crumb. Yes, the legendary comic book author from the great days of the US psychedelic underground in the '70s, the creator of Fritz the Cat (1972) and Mr Natural in person, the same man who also created the cover for Cheap Thrills (1968) by Janis Joplin. Crumb plays banjo and mandolin, collects 78s of blues, jazz and musette. The two cronies then composed their own made-to-measure orchestra, alongside many famous names including accordionist Daniel Colin, clarinetist Bertrand Auger, saxophonist Daniel Huck, bassist Jean-Philippe Viret or singer Claire Elzière (sorry, it's impossible to name them all). This great group has recorded four albums since 1986 (all with sleeves drawn by Crumb), some including guest stars such as Pierre Barouh, Jean-Jacques Milteau, Allain Leprest, Sanseverino or Olivia Ruiz. For thirty years, the Primitifs du Futur have carried the torch of musette to the four corners of the earth, from fiestas to festivals, and today release a double vinyl, entitled Résumé Des Épisodes Précédents which brings together the best of their adventures. It is a refreshing and heartening cocktail of "world tribal musette", as they call it, which, in these electro digital times, has a rejuvenating effect, a magic swing potion. Double-LP with 20-page booklet with all Crumb previous artworks for the band's albums plus unseen photos. Edition of 1500; No repress.

"The Primitifs Du Futur travel on sound waves back in time to the early twentieth century and make the world seem like a far better place than it ever actually was. I can't get the band's music off my turntable or out of my head. Accordion, mandolin, harmonica, saxophone, musical saw, and beautiful haunting melodies--what's not to love? Even their sad songs make me happy." --Art Spiegelman

OFFICIAL RSD 2019 release. "Folk and Pop Sounds of Sumatra Vol. 2 expands our presentation of the world's least-known, outstanding musical improbabilities. From the infectious trance beat of Sumatra's Folk Dangdut music, featuring Rabab (violin) or Saluang (flute), to the highly-refined and glorious Orkes Gambus (Orchestral Arabic music with 'Gambus' literally meaning 'oud'), said to have been brought to the island by Islamic settlers from Yemen, the 18 tracks featured here will instantly convince the listener of the expressive beauty and diversity this wondrous Island has to offer to the world music theater. Most of the musicians on this release are 'Minangkabau' or 'Minang' people who are devout followers of Islam as well as the world's largest Matrilineal society (a Minangkabau child is the descendent of his/her mother, not father). The other styles present are: Sitogol (storytelling in vocal style), Pop Minang music with Talempong (small, rounded gongs played with mallets), Tari, and Traditional Minang (music for ceremony and dance) and one brilliant track of Western pop. The music in this collection is from the 1960s through the 1980s and is all but forgotten by many Sumatrans who seem to prefer a more contemporary sound. Many of the older cassette tapes have disappeared from the markets and shops and are now thought of as antiques. As in many other countries around the world, modern technology has eclipsed the need for full ensembles/more organic forms of these pseudo-traditional styles. Keep in mind that this is not a document for the mere purpose of preservation, although it may serve as such. This is among the very best music you've never heard and you need to hear it now!" --Alan Bishop, November 2004 Features Syamsudin, Gumarang Sakti, Iswani Ismail, Elly Kasim, Umni Nadra, Fetty, H.J. Zahara, Mukhsin, Haba Haba Group, Minang Traditional Group, Muchlis, and Ahmad Baki/Halimah Fadil. Compiled by Alan Bishop. Originally released in 2004 on CD, first time on vinyl. Limited edition double-LP; full color gatefold featuring original cover art and liner notes.

Space Pirate Captain Harlock was originally a manga comic series created and illustrated by Leiji Matsumoto, which debuted in 1977. The comic was adapted into an anime television series in 1978 directed by Rintaro and produced by Toei Animation. The soundtrack to this series was composed by Seiji Yokoyama and is perhaps his best-known work. Symphonic and tense, the music perfectly complements the show, where Captain Harlock denies defeat and leads an outlaw crew aboard his starship Arcadia to undertake daring raids against Earth's oppressors during a low time for Earth's population, in the future of 2977 AD. A great and rare anime soundtrack, highly sought after by collectors both of anime and Japanese electronics/symphonic music.

RSD 2019 release. Lee Perry is keen to present to the world, a collector's edition 12" box set. Featuring re-cuts of four obscure rhythms from the late '70s period of his Black Ark Studio. Features Dennis Bovell and Studio One's Vin Gordon amongst the musicians. Each LP has four versions of a rhythm, with guest singers Ashanti Roy (Congos) Sylford Walker, Highie Izachaar, and Danny Red, a horns cut by Vin Gordon, a Lee Perry vocal. and a dub version.

RSD 2019 release. In 1968 Enrique Delgado, leader of Los Destellos, launched an original musical proposition that combined tropical music, rock and touches from other genres, which he arranged by drawing on his extensive experience accompanying stars of Andean and coastal music from Peru. He was determined to find his own style and created an earthy vibe that people still love dancing to today. Delgado was a precocious musician from Lima, passionate about waltzes, polkas and marineras from Creole music from an early age, founding Los Destellos in 1966 for purely commercial reasons, aiming to liven up exclusive social gatherings with a wide repertoire of danceable music. In mid-1967 he revamped the band to embark on the task of creating a new style that would be a hit with dance fans and guarantee economic success, influenced by the visit of Hugo Blanco to different cities across Peru, playing cumbias and other tropical rhythms using the harp as a solo instrument. Rock was another ingredient that this Beatles fan added to the mix; his goal was to find a formula through which he could integrate the different musical genres from Peru, ranging from Creole music from the Pacific coast to the exotic dances from the Amazon, thereby acknowledging Peruvian cultural diversity. He put all the ingredients together and mixed them well before going into the recording studio. Halfway through 1968, Fernando Quiroz joined the line-up. Delgado was looking for a guitarist who played rock and was recommended Fernando, who had played Los Zany's. This line-up also included Carlos Ramírez, Eduardo Rivera, and Rodolfo Casaretto. Sicodelicos selects the Los Destellos tracks closest to the genres of psychedelia, beat and boogaloo, released between 1968 and 1978, with Enrique playing lead guitar on the bulk of them. In the 21st century, several compilations such as Vampisoul's own Cumbia Beat (VAMPI 116CD/LP, VAMPI 143CD/LP) series have helped globalize Peruvian cumbia, winning fans from all over the world. Led by Delgado, Los Destellos truly defined the sound of Peruvian cumbia with the incorporation of diverse influences and the use of electric guitars. These 20 irresistible songs are essential elements of Peruvian cumbia, the rhythm that changed the face of Lima, shook the Andes and spread like a forest fire across the Amazon basin. For fans of Los Mirlos, Link Wray, Davie Allan, and surf instrumentals.

RSD 2019 release. Edy Star's debut LP, Sweet Edy (1974), is one of the key cult albums from 1970s Brazil, never reissued on vinyl until now. Still remembered by many for being one of the members of the Sociedade de Gra-ordem Kavernista, the psychedelic and vaudeville project created by Raul Seixas in 1971, Edy Star is an artist whose work has broadly covered very diverse fields: visual artist, actor, singer. In 1974, and with only two recorded singles, producer João Araújo invited him to record a full-length album, possibly excited by his participation in the Seixas project some years earlier. Edy then called upon his friendship with a large number of local talented composers and asked for songs by Gilberto Gil, Caetano Veloso, and Erasmo Carlos. When he received the song that would open the album, "Claustrofobia", a composition by Roberto and Erasmo Carlos, it was accompanied by a copy of an LP by Kool & The Gang to show what kind of rhythm should accompany it. So, despite the clearly "glam" feel that the cover of the album might suggest, the LP starts off with some astonishing funky brass arrangements that evoke very different musical parameters. The album progressively takes one through the swinging vibes of "Briguei Com Ela", the contagious rhythmic guitars of "Edyth Cooper'", the samba jazz with the signature of Caetano in "O Conteúdo", the irresistibly danceable "Super Estrela", to the fuzzy bursts in "Pro Que Der Na Telha", revealing here a piece of a festive work, sounding almost cabaret-like, as well as standing out as work of vindication at the same time, being a pioneer album in expressing gay militancy in Brazil. Despite not being one of the best-known or most sought-after titles in the record label's back catalog, Sweet Edy rivals in quality the best albums released by Som Livre during those years, including songs written by the best Brazilian composers of the time. Regrettably, Edy Star would take decades to return to the studio and release new music after many years living abroad. Featuring glam rock, funk, samba jazz and songs written by the best composers of the time, anyone looking for a Brazilian take on Marc Bolan, David Bowie, or Roxy Music will love this stunning record. Presented in facsimile artwork and pressed on 180 gram vinyl.

RSD 2019 release. Wewantsounds is delighted to announce the first-ever official vinyl reissue of Ziad Rahbani's mythical Lebanese Disco 12" Abu Ali, originally issued in Lebanon in 1978 on his label Zida Records. A highly collectible album, it will get reissued by Wewantsounds with its original artwork, remastered by Colorsound Studio in Paris. Ziad Rahbani is a cultural icon in Lebanon. The musician, pianist, and producer is also a renowned playwright and a political activist, one of the most important exponent of the Lebanese left-wing counterculture to emerge from the '70s. Coming out of an illustrious artistic dynasty (his father is the famous composer and musician Assi Rahbani, member of group The Rahbani Brothers and his mother is the legendary Middle East Diva, Fairuz), Ziad Rahbani started his music career during his late teens, composing music for his mother. Rahbani quickly spread his wings further. He started producing his own music co-founding the label Zida in 1978 at age 22 in the process and started releasing records under his own name. Among these was Abu Ali recorded in Greece at the EMI Studios in Athens with a full orchestra -- there he also recorded his mother's album Wahdon (1979) -- and released it as a limited run EP for the Lebanese market. Legend has it that the album was only pressed at 500 unit hence its rarity. The result is a fabulous New York-meets-Beirut disco ecstasy, developing over two 13-minute tracks and one of the most collectible albums on the international dance and disco scene.

2019 repress. Abul Mogard presents his debut LP, a suite of four analog synth pieces. Mogard was born in Belgrade, Serbia, and spent most of his life working in a metal factory, only beginning to approach music after his retirement. Following two highly regarded cassette releases on Steve Moore and Anthony Paterra's VCO label and a series of compilations and split releases, Mogard makes a surprising departure on this debut album for Ecstatic Recordings. Circular Forms channels a wealth of soulful modular explorations and shadowy white-noise clouds. The end result is evocative, unsettling, and beguiling modern synth music. There's a real emotive essence to his almost lyrical arrangements that is very much removed from the contemporary modular revival. Composed and recorded in solitude using a limited equipment array of Farfisa organs in conjunction with a self-built modular synthesizer, the album's intoxicating distortions and extreme low frequencies translate into personal space and beautifully restrained impressions. Abul Mogard: "Lately I have been reading and appreciating visual art and paintings and this has informed my work on this album. Compared to my previous albums, this was the first time that I had a clear visual representation of my music, as geometrical forms -- each element of a track suggested a form that intertwined with the other elements."

2019 repress. Ecstatic offer a deeply arresting and definitive collection of Works by erstwhile Serbian factory worker-turned-synthesist Abul Mogard; containing selections from two cassettes released in 2012 and 2013 on Steve Moore and Anthony Paterra's VCO Recordings, as well as a cassette only release on Ecstatic, never before available on vinyl. Abul Mogard's relatively unusual path to releasing music is well documented, but bears repeating here. Upon taking retirement from a job at a factory which he held for decades, Mogard craved the mechanical noise and complex harmonics of the industrial workplace, and found that the best way to fulfil that need was through electronic music - using a limited set-up of Farfisa organs, voices, samplers and a self-built modular system to realize a peaceful yet haunting, sweetly coruscating sound that resonates uncommonly with music from Leyland Kirby to Alessandro Cortini, or Fennesz and Tim Hecker. The nine tracks on Works are soused in an emotional richness that's hard to forget once experienced. Broad daubs of distorted bass and naturally glorious harmonic progressions paint panoramas of wide open, grey-scaled skies whilst equally conveying the intimate feel of a person with their nose to the machine, toiling for a sound or feeling that really means something to them, and by turns, us. The fact that Mogard hails from an area hardly well-known for its synth music, and that he's of an age where most people take up gardening or lawn bowls, rather than synth music, only helps to aid the enigma and magic surrounding this remarkable artist and his layered, emotional music. RIYL: Alessandro Cortini, The Caretaker, Fennesz, Tangerine Dream, Brain Eno, Tim Hecker.

2019 repress. Above All Dreams is Abul Mogard's beautifully absorbing new album for Ecstatic -- his first since the Circular Forms (ELP 013LP, 2015) and his popular Works compilation (ELP 020LP, 2016). Counting six original pieces in its 66-minute wingspan, there's no mistaking that Above All Dreams is the most expansive solo release by Mogard to date. Taking into account its intangible divinity and cinematic quality -- the result of no less than three years diligent work -- it is arguably elevated to the level of his master opus; presenting a modular distillation of Mogard's most intoxicating strain of hauntology. Consistent with Mogard's music since the sought-after VCO tapes, c. 2012-2013, the allure to Above All Dreams lies in his ability to evoke and render feelings which are perhaps purposefully avoided in more academic echelons of drone music. Rather than a purist expression of physics through maths and geometry, Mogard voices his soul, improvising on modular synth for hours, days, months, and years in the same way a more conventional "band" develops group intuition. While hands-on, the intuitive evolution of process locates a newfound freedom in his music that implies a recognition of the metaphysical or post-physical, while Mogard explicitly points to influence from the Brazilian music of Tom Zé, Antonio Carlos Jobim, and Chico Buarque, whose approach to shape and density, or perceptions of light and delicacy, also go some way to explaining the ephemeral intangibility of Above All Dreams. The results are best considered as the ephemera of non-verbal communications. From the gaseous bloom of "Quiet Dreams" to the opiated depth of "Where Not Even" to the starlit awn of "Upon The Smallish Circulation", and through the B side's keeling, 16 minute+ panoramas of "Above All Dreams" and "The Roof Falls", the power of Abul Mogard's dreams above all transcends sound, feeling, and physics in a truly remarkable way that evades words or concrete notation. RIYL: Alessandro Cortini, early Oneohtrix Point Never, Coil, Brian Eno. Master and cut by Matt Colton at Alchemy.