Out-Sider present a reissue of Stone Harbour's Emerges, originally released in 1974. The absolute king of lo-fi basement psychedelia, originally released as a private pressing in 1974 by this duo from Ohio. From dreamy melancholic tracks to insane fuzzed-out heavy psych ones. Remastered sound; Insert with photos and liner notes by band member Ric Ballas; Includes download.

"... It's 1974, you're young and have a head full of Hawkwind and Roky and the Elevators, old brutalist blues in the Hound Dog Taylor/Fred McDowell backwoods whisky-fucked mode, freak folk and LSD; you're stuck in Hicksville, USA -- that's Youngstown, Ohio to you lot; the music scene sucks; glam's dead or dying slowly; punk a good year or so from even starting to get itself born. Town's too damn small to even muster up a band in. It's just and your buddy and that's it, man. So you grows your hair and wear satin, wander wide-eyed and tripping across small town railway tracks and hang loose at the weekend in your basement. You gather a bunch if cheapo instruments on the never-never and you start cutting low-fi bedroom demos... Stone Harbour were Ric Ballas (electric, acoustic and slide guitars; organ; piano; synthesizers; bass guitar, percussion, voice) and Dave McCarty (lead vocals, drums, and percussion), and out of nowhere and nothing, at entirely the wrong time, they cut an LP that will blow your head clean off. This is a trip into the true dark heart of psychedelia . . . Dave McCarty's vocals emerge from some subterranean cave and the keyboards flicker, flicker, flash across the periphery of the song; 'Rock & Roll Puzzle' is dark, twisted fried garage punk blues brutality in the same mold as 'White Faces' or 'Cold Night For Alligators', pre-empting The Gories and Pussy Galore by a good ten years!! . . . Songs fade in and out; finger-picking blurs into screaming squelching synths; guitars melt in the mid-summer heat. 'Grains Of Sand' frazzles like The Stooges through a fucked-up amp and filtered through a transistor radio with the valves burning out. 'Thanitos' is the freak-out ending of 'Julia's Dream' lost in suburban downtown US of A with the taillights cutting on the freeway... whilst 'Summer Magic Is Gone' is the most haunted, haunting song I've heard in many a long strange moon . . . Best record I've heard all year." --Hugh Dellar (Shindig!)

LP version. Clear blue vinyl; edition of 500. Join Mattias Uneback (known from Ìxtahuele and The Test Pilots) on a fantastic underwater exotica adventure in sound. Sail the high seas, explore their depths, marvel at their strange and colorful inhabitants. Beneath the waves and through the depths, forgotten worlds lie waiting. Bioluminescent creatures that have never seen the light of day, ancient beasts of gigantic proportions, sunken continents and underwater caves all await you. The Voyage Beneath The Sea album project is about composing music based on underwater fantasy worlds, as well as actual places. A musical discovery below the surface of the ocean; the mysterious unknown and one of the last outposts still uninhabited by man, but also the cradle of all life on our planet. You travel in to the deep sea, as a parallel to, and parable with, the exploration of outer space, as well as the inner worlds of the mind and the subconscious. This is visionary music inspired by the space-age underwater themed exotica recordings of the early 1960s as well as the peculiar aquatic library type albums of 1970s. The songs are amusing and entertaining one moment, dramatic and fierce the next, but most of all: serenely beautiful. The production of the album has been an important process for Mattias and he feels it has seriously widened his views as a musical and composer. Using a variety of both classical and novel instruments; from exotic percussion and full-scale orchestra and choir to vintage electronics, Mr. Uneback paints a vivid and living tableau for the receptive listener. This is exotic orchestral seduction for those willing to embark on a journey of imagination. Submerge yourself in the sounds!

Tresor present a reissue of James Ruskin's seminal Point 2 album. First released in 2000, it marked a fine debut that entrenches the minimal sequences, utilitarian funk and eerie hypnosis found within Ruskin's body of work. As Tresor's relationship with the UK sound grew stronger across the course of the '00s, it was Ruskin, the label owner of Blueprint Records, who played a critical part in this. Throughout the trio of LPs released over that decade, inspirations of the sci-fi minimal Detroit sound lie abundant, rendered through corporeal slammers typical of the UK vein. Point 2 was the first of Ruskin's trilogy for Tresor, and brought a direct and uncompromising vibrancy to the fore, from the aquatic symphony featured on "From Over The Edge" to the pinpoint gaze of "Subject". Gurning loops beat against alien samples, drained into refined abstractions of pure techno. Newly remastered and featuring two tracks previously not cut onto vinyl, this upfront and bold classic is set to span dancefloors once again. New mastering, new cut, two tracks previously uncut on vinyl, new artwork. 180 gram; includes download code.

Double LP version. Includes an extra track "Venice" which was featured at the Venice Film Festival red carpet event. Lustmord is a Welsh electronic musician, composer, and sound designer based in Los Angeles. Active since 1980 he has released a prolific body of work across various labels such as Touch, Hydra Head, and Blackest Ever Black. Often credited for starting the dark ambient genre with his Heresy album in 1990, Lustmord's music has been described as sweeping and profound, a vast dreamlike soundscape that utilizes organic and real-world scenes as source material. Lustmord albums have been made from caves, crypts, car crashes, cosmological activity, the Los Alamos National Laboratory, and the site of the first ever nuclear detonation.

Lustmord has announced the launch of Vaultworks. Originally an imprint intended to release short editions of live CDs at his live shows, it is now launched as a wider platform for his work in general. Kick starting a planned series of new releases and reissues is the first time vinyl and CD release of his soundtrack to Paul Schrader's 2017 film First Reformed, starring Ethan Hawke, Amanda Seyfried, and Cedric Kyles. The release features extended versions of the score formatted as a standalone album.

The Early Years collection has been released to celebrate the 25th anniversary of the founding of the music-theater company, Operating Theatre, by composer Roger Doyle and performer Olwen Fouere. Operating Theatre has been active in two phases: the first from 1981 to 1988, and the second from 1998 to 2008. This double-CD set celebrates the first phase, during which the company operated as both a theatre company, integrating music as an equal partner in the theatrical environment, and as a band releasing records.

"Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he's ever been. Thanks to Russell's partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell's vast archive of unreleased material, the world now hears many versions of Arthur Russell. There's the Iowa boy, the disco mystic, the singer-songwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell's dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell's utterly distinct songwriting. And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing. Several tracks on Iowa Dream Russell originally recorded as demos, in two early examples of his repeated brushes with potential popular success -- first in 1974, with Paul Nelson of Mercury Records, and then in 1975, with the legendary John Hammond of Columbia Records. For different reasons, neither session amounted to a record deal. Russell kept working nearly up until his death in 1992 from complications of HIV-AIDS. At once kaleidoscopic and intimate, Iowa Dream bears some of Russell's most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. 'I see, I see it all,' sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell's childhood home and family echo, too, through 'Just Regular People,' 'I Wish I Had a Brother,' 'Wonder Boy,' 'The Dogs Outside are Barking,' 'Sharper Eyes,' and 'I Felt.' Meanwhile, songs like 'I Kissed the Girl From Outer Space,' 'I Still Love You,' 'List of Boys,' and 'Barefoot in New York' fizz with pop and dance grooves, gesturing at Russell's devotion to New York's avant-garde and disco scenes. Finally, the long-awaited 'You Did it Yourself,' until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf's documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell's extraordinary voice soaring at the height of its powers. On Iowa Dream, you can hear a country kid meeting the rest of the world -- and with this record, the world continues to meet a totally singular artist."

"The third part of our 'Ode To The Soundsystem' is here and the abstract sound of the last Ossia album is no longer evident. The influence of the early Disciples 12"s shows up for the first time, with a Drexciyan connection happening on the b-side, creating one of the most lethal and militant 12"s that we have ever released. Ossia is back on Berceuse Heroique and we are very happy about it."

Joy O on the release: "Slipping a new EP by me is up next on Hinge Finger. This one was a bit of a transitional record for me, personally and musically. it paints quite a vivid picture in my head that I hope you'll enjoy, summer in my studio with two of London's finest, @mansurbrownmusic & @keyahblu and a snapshot of winter in New York with @4everinfinite. Oh and a bit of autumn with dad too! The cover is a picture of my nan in London taken some time in the 70's, lovely right? This photo really makes me smile, my mum summed it up the best tho -- 'washing on the line, empty pond and my mum doing the three things she loved the most. sunbathing, smoking and a glass of something'. There's clearly a lot to learn here (get pissed in the garden more?) but I see it as a reminder to make the most of what you have."

Ever played that game where you imagine you can invite a few people from any period in human history to a dinner party guaranteed to produce rich, stimulating, and provocative conversation? Derek Bailey did it for real, musically, in his Company Weeks. In July 1982, his guests at London's I.C.A. were contemporary classical pianist Ursula Oppens, folk/jazz singer-turned-improviser Julie Tippetts and her partner pianist Keith Tippett, violinist/electronics wizard Philipp Wachsmann, guitarist Fred Frith, trombonist George Lewis, harpist Anne LeBaron, and, from Japan, free jazz bassist Motoharu Yoshizawa and sound artist Akio Suzuki. In addition to the stellar group improvisation Epiphany (HJR 211LP), they also recorded enough material for two more full-length albums, of which this is the first. That line above about conversation presupposes that music is some sort of language -- a thorny proposition indeed on which whole books have been written. Suffice it to say that if it is a language -- music certainly communicates, that's for sure -- it's not an Indo-European model: the only way music can express the notion of past tense is by repeating something, so that listeners can identify it as something they've heard before. Improvised music, however, is forever "in the moment", as improvisers like to put it, i.e. the present tense -- and the present tense has never been more wonderfully communicative than it is in these six epiphanic improvisations. Yoshizawa and Oppens (both on the keyboard and inside her piano) bounce ideas off each other like ping-pong balls ("First"); Tippetts, Wachsmann, and Bailey do extraterrestrial cubist flamenco ("Second"); Lewis and Frith rumble at everyone magnificently ("Third"); Tippett and Oppens kaleidoscope the entire history of the piano into just over 15 minutes ("Fourth" and "Fifth") with added seasoning from LeBaron and Wachsmann, and on the closing "Sixth", Akio Suzuki, despite describing himself elsewhere as "pursuing listening as a practice", makes one hell of a racket with his self-made instruments: a flute, a spring gong and his analapos (two single-lidded cylinders attached by a long steel coil, which he can manipulate and strike, as well as vocalize into the tube). Yoshizawa and Bailey give him a real run for his money though, and it all builds to an ecstatic swirling, grinding climax, with Suzuki whooping and hollering wildly. Is it language? You decide. Is it rich, stimulating and provocative? You bet. What a dinner party! Bon appetit!

More buried treasure from the 1982 Company Week at London's I.C.A., seven more epiphanies (previously unreleased!) to add to the six on Epiphanies I-VI (HJR 212LP) and the 48-minute ensemble Epiphany (HJR 211LP). Fred Frith's diverse activities as composer and educator in recent years shouldn't let us forget he's a stellar improviser -- 1974's Guitar Solos is still a seminal album of free improv -- and he has three opportunities here to showcase his considerable talents. "Eleventh" is an extended techniques tour de force, with George Lewis working slowly but surely through a variety of trombone mouthpieces while Frith's guitar, strummed, bowed or prepared, could be a Theremin, a koto, a mouse trapped inside a grandfather clock, or a lion cub inside a shoebox. Bookending the album, on "Seventh" he swaps Webernian shards with Lewis and harpist Anne LeBaron and on "Thirteenth", with pianist Keith Tippett, condenses a whole lifetime of musical exploration into a mere twelve minutes. Elsewhere, on "Eighth", violinist Philipp Wachsmann reveals his understated mastery of both his violin and the electronics he's devised to extend its range, and pianist Ursula Oppens proves she's as adept as conjuring forth magic from inside her instrument as she is caressing it out from the keyboard. Those that moan that improvised music is more about finding extraordinary new sounds and less concerned with exploring nuances of pitch, both horizontally (melody, yes) and vertically (harmony), should listen up. "Ninth" is a spikier affair, with Lewis giving a whole new meaning to the word embouchure, quacking, spitting and wheezing like a flock of geese let loose in a fairground, while Derek Bailey and Motoharu Yoshisawa patiently explore the outer limits of acoustic guitar and double bass. Bailey and Lewis team up again on "Twelfth" to take on Oppens -- and everybody wins. Voice is more to the fore on "Tenth", with Julie Tippetts's coloratura and flute and Akio Suzuki's analapos and spring gong flying high while LeBaron, Wachsmann, and Yoshizawa weave intricate webs of pizzicati, spiccati, and glissandi beneath. The word that comes to mind here most often is virtuosity, not just in terms of simple ability on one's chosen instrument(s) but also in knowing just how and just when to display it -- not surprisingly it was Fred Frith who coined the term "virtuoso listening". That's what these folks do, and ever so well: be a virtuoso listener yourself and check it out.

Hospital Productions present a reissue of Slogun's The Pleasures of Death, originally released in 1997. From the austere and frightening cover with the name of forgotten killers to the monolithic washes of analog synthesized grit and dust cloud vocals of the id, this legendary album first released as a limited cassette of 100 on the cult Labyrinth Recordings from NYC (one of the all-time great NYC cassette imprints) and then famously reissued to wide distribution via cold meat industry sublabel Death Factory, The Pleasures of Death came to prominence in the minds of the same era of release entertainment and descent magazine and Alchemy Records and Bloodlust. Never has there been such an in-depth, caustic, intelligent and evil exploration of true crime violence. Slogun has managed to take familiar stories, untangle them and create deep profiles that leave the listener with unsettling conclusions that do not provide the answers we are commonly forced to accept. Set against the decline of America, the abstraction of the victim landscape is shattered with the brutal and disturbing lyrics faithfully reprinted. A classic of NYC radical art and true crime electronics. Wide spine sleeve; includes large-format booklet and poster taken from the original cassette version.

Hospital Productions present a reissue of Masonna's first full-length CD from 1990, Shinsen Na Clitoris, originally on Vanilla Records. The supreme voice of Japanese noise here on vinyl for the first time with audio preparation by Kris Lapke. What would become an inimitable explosion of energy and vision from Japan heralded in the glory days of '90s alternative rock, death metal, and psychedelic synth music, Masonna surpassed all extremes with a full frequency violence that was as fast as it was psychedelic. Not once has any artist emerged with more intensity and focus in the history of noise. It was said onstage that Masonna has reduced the pure elements of classic rock, the guitar stack, the feedback, and the lead singer to an explosive few seconds of visceral feedback, metallic noise from the physical shaking and pressure of his fist around the shaker, processed through the self-described "harshtronics" and indeed ending in "exclamation!" If you have wondered where to start in the vast and increasingly difficult to find discography of this legend look no further. Presented in immaculate sleeve recreated original art with poster and insert.

Double-LP version includes 44-page art book with the whole distinctive cover-series; includes additional track by Thore Pfeiffer; includes download.Wolfgang Voigt on the release (September 2019): "20 years of Pop Ambient. Already? One didn't notice. It's an anniversary which comes quietly. An anniversary with quiet tones. In the spirit of the special restraint of pop-elegance, it has no reason to drawn attention to itself with a big 'Tam-Tam'. Or better: 'Bum-Bum'. The bass drum stays outside. Nevertheless, in fast-paced, overstimulated times of moving forward, it's a joyful occasion to look back. What strikes most by putting or listening to 20 years of Pop Ambient in a row is the central theme that holds together the dense aesthetic concept like the pearls of a necklace. Floral beauty for digital naturalists. Music like flowers, that don't wilt. Timeless. Ageless. But with all of the conceptual unity and resolution, Pop Ambient would not be Kompakt without the break, the friction, the expansion of musical boundaries in between tradition and innovation, in between conspiracy and the openness of the discourse. Aestheticism, escapism, acting in the spirit of 'nevertheless'. Swans drifting by, clouds pass over, everything is floating and: 'Boredom is a stylistic device' (Andy Warhol). Pop Ambient music is medicine against illnesses, that you don't even suffer from. It's giving everything, demanding nothing. Musical lotus leafs, off which the virtual wastewater of our time is rolling like the reality is dripping off the matrix. In this sense, we're happy about the pop-ambient anniversary greetings from new and old companions like Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco, as well as contributions from T.Raumschmiere, Andrew Thomas, and, after a long break, from friends from early days like Joachim Spieth, Markus Guentner, and Klimek... Breath in. Breath out. Thank you." Also features Maria Estrella, Gen Pop, and Pepo Galan.

If Kompakt had to name one thing fans have been consistently asking for, it's a vinyl version of The Field's legendary first album From Here We Go Sublime: originally rolled out in 2007, this much-acclaimed full-length debut of what was to become one of the most celebrated projects in the label's fold saw a regular CD edition and an accompanying 12" sampler -- but never a full vinyl release. Following Kompakt's long sold out 2014 limited edition reissue for Record Store Day, the label welcome From Here We Go Sublime back as a double-LP in gatefold vinyl.

Axel Willner, aka The Field, joined the Kompakt family in 2005, bringing forward a new fusion of ambient and techno that fed on his adoration for Wolfgang Voigt's classic '90s projects Gas and M:I:5 as well as the shoegazer rock of Slowdive and My Bloody Valentine. Called a "techno pop landmark" by Pitchfork, From Here We Go Sublime almost immediately became a cult favorite, starting a trend that continues to this day -- as can be seen with The Field's 2013 full-length offering, Cupid's Head, that has been lauded by critics and crowds alike. The most striking feat of From Here We Go Sublime must be its sonic cohesiveness, debuting a fully-formed artistic vision that -- seven years and three albums later -- hasn't lost any of its luster. As a fixture in The Field's discography, it remains as important as ever, with Axel Willner installing a blueprint that inspired many but sounds like no one else... except himself. Giving you a feeling of warmth and familiarity on first listen that you can't quite grasp, it's like this sound has always existed, when in fact it was the unique creation from one highly gifted producer. And it all starts here.

"A composer, writer, percussionist, singer and coordinator, Doug Hammond was born in Tampa, Florida in 1942, the city where he cut his teeth in percussive studies with Don Templeton's Tampa Metropolitan Symphony, preparing for a career in classical music that he would never enter into. Instead, Hammond began a career that would eschew typification and stylistic categories, excelling at everything from blues to bop and free jazz. Though he may be most remembered as the composer and one of the vocalists of Mingus Moves, Hammond is much more than that. His journey began as a musician. Before his high school graduation, he was playing blues music with Barney Lowis and B.B. King, who went onto get him his first gigs sitting in with Earl Hooker. By the grace of pianist and vocalist Kitty Daniels, Hammond was inducted into jazz, at first playing with Andy 'Gump' Martin and then, upon graduation, The Five Royals, Little Willie John and Sam and Dave. Splitting his time between New York City and Detroit in the 60s and 70s, Hammond lent his percussive and vocal talents to Donald Byrd, Sonny Rollins, Kenny Dorham, Charles Mingus, Sam Rivers, Etta James, Nina Simone, the Dorothy Ashby Trio and more. In 1967, he became a founding member and vice president of the Detroit Creative Musicians Association, an artist-led cooperative that presaged Tribe, Strata and Strata-East. Released in 1977, Ellipse features Hammond on percussion, drums, piano and voice along with Karen Joseph on flute and alto flute. Moving fluidly from the uptempo 'Warm Up' to the deep, dreamy 'Concentric Dream', this session runs the gamut with Hammond drawing inspiration from an 'inner-voice that has roots in Africa, which manifests itself through impressions perceived by the composer in America from his African ancestors'. A rare and underrated spiritual jazz excursion."

Double LP version. Gatefold sleeve. For the third instalment of Detroit Love's acclaimed mix series, none other than Dirt Tech Reck label boss and Slum Village co-founder Waajeed steps up for a 20-track mix paying tribute to the margins of Detroit and beyond. Hot on the heels of mixes from Carl Craig (PEDL 002CD/LP) and Stacey Pullen (PEDL 001CD/LP), Waajeed's Detroit Love Vol. 3 tells a highly personal tale of the Detroit spirit, of someone living and breathing its culture since a young age. Having grown up to the sounds of Roy Ayers, Kraftwerk, and Funkadelic, cultivated his sonic profile alongside J Dilla as part of Slum Village, Waajeed launched his own Dirt Tech Reck label that veers towards more dancefloor-focused tracks. And even though Waajeed's sound has gone through a multitude of changes over the years, his cautious understanding of the symbiosis between soul and grit has always remained true to its Motor City roots. For the mix he calls upon a number of his most respected contemporaries, forging an authentic blend of genres spanning familiar grooves and a slew of unheard exclusives. From Patrice Scott and Doc Link to LADYMONIX and DJ Rimarkible, Detroit Love Vol. 3 blends the old and the new, the jazzy and the industrial, bound together by their idiosyncratic nods to the city's legacy. Detroit Love Vol. 3 offers, yet again, a detailed portrait of the sounds and personalities that lend to the city's rich musical heritage.Double-LP version includes an eight-track package featuring many of the new and exclusive tracks from the compilation; features Roddy Rod, 14Kt, D-Love Muzic, Teflon Dons, LADYMONIX, DJ Rimarkable, Matthew Law, and Damon Bell; Gatefold sleeve.

A reissue of Little Tree by legendary Japanese jazz guitarist Ryo Kawasaki with his band The Golden Dragon, originally released in 1980. Some of his famous works are mellow jazz fusion masterpiece Tarika Blue (1977), dance jazz classic Trinkets And Things (1978), and cosmic new wave jazz Lucky Lady (1983). Little Tree, with his band The Golden Dragon, is probably the best album for fans of wired jazz, Brazilian, Balearic music. Japanese crate digger "Chee" picked this album as his favorite album from Japan on Resident Advisor. Little Tree is the first album that Ryo Kawasaki used a self-made guitar synthesizer. Rich in variety, Little Tree includes the Japanese Brazilian jazz fusion classic "Looking Around You", experimental guitar ambient piece "Capricho Arabe", the cosmic fusion of "Quasar Infection", Balearic jazz masterpiece "You Are The Sunlight", club jazz classic "Little Tree", folky jazz vocal "Jamiko" -- there's a lot of great songs on this album.

This "Like A Prayer" edit has been a secret weapon in Mike Simonetti's DJ sets for almost three years, and has been one of his most requested tracks. The fact that it has amassed over 15,000 downloads on SoundCloud before being taken down by Madonna's people has only added to the mystique of this particular rework. The b-side is the polar opposite -- yet equally as effective -- rework of krautrock legend Faust. Here, Mike takes a meandering kraut masterpiece, and in a more classic edit style, turns it into an 11-minute dancefloor journey with bigger drums, faster BPMs and buildups/breakdowns. Where the Madonna edit is sparse and bare, the Faust edit is lush and ecstatic.

"The David S. Ware Archive Series was launched in November 2015, and AUM Fidelity has marked the anniversary of his birth -- November 7, 1949 -- with a vital new edition therein every year since. David S. Ware was a master saxophonist of the highest order, and an unparalleled sonic alchemist of the modern jazz era. As his distinctly potent sound & vision was an integral inspiration toward the creation/devotion of AUM Fidelity, that mission continues strong with the DSW-ARC series. Théâtre Garonne, 2008 presents a luminous concert from a transitional period in David S. Ware's ever-creative life. His 17-year-longstanding Quartet with Matthew Shipp & William Parker, which had achieved a naturally ascendant worldwide acclaim, performed their final concerts on a triumphal European tour in March 2007. Knowing that this end was coming, David had already begun writing new compositions and conceptualizing what would become his new quartet. The first iteration of this group -- foundationally with guitarist Joe Morris -- debuted at New York's Iridium jazz club in mid-July. The group was made whole with Ware's stalwart musical companion William Parker back on bass and fellow master musician Warren Smith on drums."

2019 repress. Be With Records present a reissue of The Ahmad Jamal Trio's The Awakening, originally released in 1970. Ahmad Jamal is a jazz giant and The Awakening is his iconic masterpiece. The landmark deep trio session -- recorded in NYC and released on Impulse! in 1970 -- is an essential album and perennially sought-after on vinyl. Ahmad Jamal is a jazz giant and The Awakening is his iconic masterpiece. As a "Zen master of jazz piano" and one of its greatest innovators, Jamal evolved his elegant sound with this adventurous record. The Awakening showcased his fast, richly melodic chops in remarkable variation. A consummate orchestrator of his own complex arrangements, Jamal was emboldened here by his potent sidemen. Backed by the exquisite timing of bassist Jamil Nasser and the precision of Frank Gant's drumming, he was liberated by the reliability of the trio setup. Free to juggle rhythmic dexterity with harmonic intricacy, Jamal brilliantly performed groove-oriented compositions written by himself, alongside wonderful renditions of tracks by Herbie Hancock, Oliver Nelson, and Antonio Carlos Jobim. It is impossible to discuss The Awakening without acknowledging its indelible mark on golden age rap. A defining album of hip-hop culture, producers of the highest caliber have famously sampled elements of this timeless record to lace all-timers with a foundation for their most legendary tracks. Indeed, both the experimental "DJ Premier In Deep Concentration" and Shadez Of Brooklyn's seminal "Change" utilized Jamal's sparse title-track to stunning effect. A melancholy motif from "I Love Music" was employed by Pete Rock for Nas's crucial "The World Is Yours" whilst, over a more abstract refrain from the same track, Jeru memorably delivered his "Me Or The Papes" ultimatum. Over in Chicago, No I.D. elevated Common's peerless "Resurrection" by lifting a precise riff from Jamal's plaintive rendition of "Dolphin Dance" whilst the head-nod quality of All Natural's hypnotic "Renaissance" owes it all to the looped keys of Jamal's take on "You're My Everything". With bold beauty and unhurried grace, Ahmad Jamal plays piano differently from everyone else. He was a huge inspiration to Miles Davis and influential to how Wynton Kelly performed across Kind of Blue (1959). Presented in a gatefold sleeve adorned with the original eye-catching artwork throughout, along with the original sleeve notes. Mastered by Simon Francis and pressed for the first time on 180 gram vinyl.

Repressed. Black Truffle present the first ever vinyl reissue of David Rosenboom's legendary Brainwave Music, originally released on A.R.C. Records in 1975. This is an expanded double-LP edition with over 40 minutes of additional contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley, and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems. Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long "Portable Gold and Philosophers' Stones", four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analyzed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses. The result is a slowly unfolding web of filtered electronic tones over a tanpura-esque fundamental, possessing the unhurried, stately grandeur of an electronic raga. In "Chilean Drought", three different variations of a text about a drought in Chile, read by a different voice in a different style, are associated with the beta, alpha, and theta brainwave bands. Alongside an insistent piano accompaniment, three constantly shifting vocal recordings are controlled by the relative preponderance of each of the brainwave bands in the soloist. "Piano Etude I (Alpha)", the earliest piece included here, is based on research into the link between alpha brain wave production and the execution of repetitive motor tasks. As Rosenboom plays a very rapid, incessantly repeated pattern in both hands, two filters controlled by monitoring his brainwaves process the piano sound, moving gradually higher in frequency as the average alpha amplitude increases. For this reissue, the original LP is supplemented with an additional LP containing an unreleased 1977 live recording of Rosenboom's "On Being Invisible", in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Stretching out over 40 minutes, the piece begins in similar territory to "Portable Gold and Philosophers' Stones" but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence. As Rosenboom explains, the piece creates a situation in which the "performer's active imaginative listening became one of the ways to play their instrument, as well as an active agent in how self-organizing musical forms might emerge." Includes archival images and new notes from the composer. Gatefold sleeve design by Lasse Marhaug. Mastered by David Rosenboom from the original analog tape masters. Cut by Rashad Becker at Dubplates & Mastering, Berlin.

"1982 was a decisive year for The Fall. Their critically acclaimed album Hex Enduction Hour was released in March on Kamera Records, closely followed by Room To Live in September. This double LP includes the classic album (Room To Live) plus live recordings in Manchester, London, New Zealand, Netherlands and Canada. This release is a double vinyl on coloured marble effect vinyl."

Erik "Keysie" Ritfeld and Arp Frique's Improvised Suites For Analog Machines celebrates the most influential analog synthesizers of the '70s and '80s. Each track is uniquely dedicated to a different synth, experimenting with the variety of sounds each is capable of producing while telling a story of the past. The whole album is a mesmerizing improvisation demonstrating what each instrument can do, while maintaining a wonderful fusion of old and new. Performed and composed by Erik "Keysie" Ritfeld and Arp Frique.

A stunningly accomplished work, Deep Rave Memory is an insight into Richard Fearless's worlds --both metaphysical and geographical. Pulsating in unison with the heartbeat of a modern metropolis, it was recorded at the Metal Box -- his studio located on the peninsula of land where the River Lea meets the Thames. The haunting and wistful blue ambient "Vision of You" leads into the bracingly chilly "New Perspective", which evokes a heavy rush where perceptions are blurred and vision is freeze framed, via elements of techno-soul, Sheffield Bleep and Mika Vainio. A snarling beast of a track, the relentless machine funk of "Devil on Horseback" perfects the pure cathartic release of dark n' hot body music, whilst "Acid Angels" is a throbbing low-fi 303 requiem, which encapsulates that perfect dancefloor moment, when the first light breaks through the shutters. A future classic and the album's modus operandi, title track "Deep Rave Memory", features discordant filter passes sweeping across a hypnotic melody, communicating a deep sense of warm nostalgia and taking you on an epic journey -- stretching out a single riff over 12 minutes -- akin to the krautrock greats of which Fearless is so fond. "Atlas of Insanity" is big room techno with pounding kicks, death-whip metallic snares and head spinning, spiraling synth lines that drill into your core. This is raw, impulsive and frantic music that sizzles with electric effervescence. The Germanic kosmische idyll of "Driving with Roedelius" is a homage to one of Richards' heroes -- Hans-Joachim Roedelius -- and was inspired by his experience playing a set consisting solely of the electronic pioneer's music, at a festival celebrating his life and career. On the album's closer, Fearless recounts, "'Broken Beauty' is something I've always strived for in my art. It's inspired by Robert Frank, William Eggleston and the way they could take the most inane object a turn it into something of beauty. It's equally schooled by the aggressive simplicity of King Tubby's dubbing and the transcendence of Joy Division's 'Decades'. The sparse allure of the best dub and techno is something I'm always striving for; being able to conjure emotion with the fewest possible elements; to not fix what's broken, but to make it shine."

LP version. This album was recorded during Thollem McDonas's 2017 residency at Brooklyn-based multi-discipline mecca Pioneer Works. It's the second by Radical Empathy, which combines three uncategorizable improvisors. Michael Wimberly has been astonishing folks since his days in Charles Gayle bands and Steve Coleman & Five Elements in the early '90s, and has gone on become a composer and educator of note. Nels Cline has spent decades changing people's ideas about the role of the electric guitar in multiple contexts, ranging from Wilco to Anthony Braxton (think about that!) as well as many projects as a leader; this is his fourth album in trio with Thollem, and a fifth will follow in 2020, also on ESP-Disk. Some people have given ESP-Disk' flak (and "flak" was not the first word choice here) about putting out Thollem McDonas albums. "He's not in the jazz tradition," they say, and even though their idea of the jazz tradition includes Albert Ayler; ESP-Disk' think that this album will make their little, closed minds explode. The heavy electronic sound of the first track, with its swathes of distortion, put it very much in noise territory, with Wimberly contributing coloristic accents and heavier flurries of rhythmic activity. After the twenty uncompromising minutes of "Collective Tunnels", for "Conscious Tunnels" Cline switches to a guitar tone John Abercrombie wouldn't shy away from and Thollem sits down at an acoustic piano (for a while) -- though their free improvisation is just as uncompromising. The timbres cease pacifying jazzers when blippy 1950s electronic sounds slinkily slither from the speakers. Then the piano comes back, but the guitar's tone gets dirty. Genre boundaries are crushed underfoot as the moods continue to vary wildly as "Conscious Tunnels" covers an amazing breadth of timbres and textures. Personnel: Thollem McDonas - keyboards; Nels Cline - electric guitars; Michael Wimberly - drums. Recorded by Justin Frye at Pioneer Works, Brooklyn, NY Sept. 13, 2017.

On the front cover of Saharawi singer-songwriter and activist Aziza Brahim's new album, Sahari, a young girl poses in ballet shoes and a glistening white tutu. It's a common childhood scene, but it's tipped upside down. She's an exile, living nowhere near her homeland, and behind her stand the tents and buildings of a refugee camp. There's a desert on the ground and a burning sky above. Yet even in this bleakness, she has optimism. She believes in a better future. The music Aziza Brahim makes reflects both the sorrow and the hope of these people. She grew up in one of those camps in the Algerian desert, along with thousands of other Saharawi who were removed from their homes in the Western Sahara. Her grandmother was a famous Saharawi poet, her mother well-known as a vocalist, and they passed their strength and fearlessness to her. Now, as one of North African most lauded singers, Brahim uses her position to make the plight of her people known -- and of the refugees across the world who have no choice but to exist in the camps. Sahari is for them as much as it's for her own family. The political remains intensely personal for Brahim. She lives in exile, in Spain, and the music for Sahari -- her third album for Glitterbeat -- was written there. And while her songs remain grounded in her homeland, her gaze is increasingly global. To achieve that, Brahim worked with the acclaimed Spanish artist Amparo Sánchez of the band Amparanoia on the album's pre-production, and the collaboration has made a transformative impact on the music. The focus is broader, with programming and keyboards a vital part of the new sound. The different approach extends to the very root of Brahim's music, the tabal drum that's been the heart of Saharawi music for centuries. The process was made smoother by having a sympathetic band who've been with her for years. All the members played a part in framing the new material. When Brahim began as a composer, her work reflected her own reality, growing up in the far, rocky desert known as the hamada. These days she's become a voice for refugees across the globe, and what she sees every day on the news has inevitably affected her writing. Perhaps Aziza's empowered, healing music, can help refuel our sense of justice and compassion.

"The band-authorised 6-CD set At A Point Between Fate And Destiny features all surviving recordings, with much-loved studio albums Mighty Baby and A Jug Of Love joined by rehearsal sessions, a complete and previously unissued alternative version of the first album, audio from the band's only TV appearance and other studio outtakes."

Still Und Dunkel is the project of musician and visual artist Christoph Brünggel, film maker Benny Jaberg, and media artist Pascal Arnold. Their debut album Abandoned comprises ten compositions created for their audiovisual art live performances which draw on an ever-growing archive of moving images and sound recordings. The three artists started working together in 2011 and visited abandoned and hidden places at night or underground throughout the world to collect images and sounds. The trio documents and archives the transformative processes that these former symbols of civilisation have been undergoing since they had been deserted or forgotten -- that is, if they had ever before been accessible to the public in the first place. Abandoned contains additional information on Still Und Dunkel, as well as artwork by Arnold and Jaberg, including a 64-page booklet with images from the project and its creation as well as an essay by writer Brian Dillon. All this makes it one of the most ambitious releases on the Hallow Ground to date.

A vinyl 7" with the non-album track "Lalaland Symbiose" by G.A.M.S. featuring Felix Kubin backed with a remix by Unprofessional! G.A.M.S. is the new duo of Andi Stecher (drums) and Guido Möbius (feedback).

Mathias Modica's Kraut Jazz Futurism compilation is evidence of a new musical wind blowing through Germany -- especially in Berlin. After years of having been the techno capital of the world, the city now is embracing a much wider musical palette, attracting a new generation of sonic adventurists: international jazz musicians as well as German talents. These highly skilled performers are searching for something new, merging different styles and influences. It's a fact: jazz no longer 'smells funny.' And after London and L.A., Berlin is on its way to becoming a new hotspot for the next generation of jazz-influenced musicians, thanks to its free hedonistic spirit as well as a blossoming scene of new live clubs, festivals and happenings. This compilation showcases some of the most interesting artists on the new German scene to date. Yet, while other new jazz movements are more influenced by hip hop and R&B, these young German musicians have audibly steeped themselves in their own heritage: Krautrock and electronic music. The majority of the tracks on this compilation were composed exclusively for this release or have only seen a limited release via the artists' own channels. Features Karaba, SALOMEA, David Nesselhauf, Shake Stew, and more. Also features: Karl Hector & The Malcouns, Stimming x Lambert, Sissi Rada, C.A.R., Andromeda Mega Express Orchestra, Oracles, Onom Ogemo And The Disco Jumpers, Torben Unit, JJ Whitefield, Niklas Wandt, Ralph Heidel // Homo Ludens, Keope, and Toresch. 180 gram pressing, gatefold jacket.

Official reissue of No Side, the debut from seminal Japanese hardcore band The Comes. Originally released in 1983 on Dogma Records, a newly created City Rocker's side label to release hardcore/hard punk, No Side remains a milestone of first wave Japanese hardcore. A vital document to understand the days when the Tokyo hardcore scene was small and unknown with G.I.S.M., Execute, Gauze, and The Comes as main runners. Bands who shared stages, record labels and who grew to be one of the most varied, influential and enigmatic punk scenes of the planet. The Comes' music is frantic and sharp punk, bass-driven and manic sounding with vocalist Chitose's aggressive vocals punctuating every syllable and dominating the tunes. Like most first wave hardcore acts, they own their own sound. And although many times imitated, it has never been matched. Comes in an old-school, paste-on board sleeve with a faithfully replicated insert.

Livity Sound's final transmission of 2019 comes from the esteemed Freerotation resident and UntilMyHeartStops co-founder, Leif. Quietly earning himself a well-deserved reputation for his outer-worldly production stance and forward-thinking approach to DJing, Leif has spent the last decade refining his musical palette with a slew of releases including highly acclaimed LPs for Whities and UntilMyHeartStops. In 2017, he launched the TIO-Series label as a vehicle to showcase the more off-kilter rhythmical side of his own productions releasing contemporary anthems such as "July V" and "Bluebird". This new EP for Livity Sound continues in the exploratory TIO-series vein finding Leif in percussion mode, combining nimble rhythms, deep bass, and hazy synths in his idiosyncratic style to dazzling effect. This 12" vinyl release comes with brand new art direction from Tess Redburn in a full-color artwork reverse board sleeve.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

Rabih Beaini's Upperground Orchestra (Beaini, Alvise Seggi, Tommaso Cappellato, and Piero Bittolo Bon) are back with their first studio material since 2008. Upperground Orchestra is the hybrid jazz band of Rabih Beaini and his fellow musicians Cappellato (drums), Bon (woodwinds/electronics), and Seggi (bass/oud). The band returns with a new LP, seven years after The Eupen Takes (DOSER 013LP, 2012). Euganea is a five track LP recorded during their Musica Veneta residency, promoted by FAI (Fondo Ambiente Italiano) in the great setting of Villa dei Vescovi. Working around Veneto music, the band developed pieces that merge the deep roots of original fusion (tape music, electronic synths, and processing) with the free spiritual jazz sound of Upperground Orchestra.

TXLAX is Dave Aju's first album since 2015. As always, there is plenty of fresh genre-defying ideas in the music, but this time wrapped in a much more relaxed and focused aesthetic -- a fitting personal soundtrack for the homecoming theme of his move back to Los Angeles from Berlin, as the combined airport letters in the title suggest. There is a sonic stylistic bridge of sorts between the sister cities on display as well, all imbued with that inimitable combination of raw playfulness and warm refined soul as only Dave Aju does. From the soaring west coast future funk opener "Bird's Eye", the nautical disco-not-disco of tomorrow in "Out To C" and the bugged-out broken beat flavor of "Silverfish" to the slick melodic electro vibes of the title track, and gorgeous shuffling deep house closer "Yulia", TXLAX is a masterwork filled with beauty, character, and detail that will reward many repeat listens.

Subtitled: Heavy Psychedelic Ballads And Dirges 1968-1974. 2019 repress, originally released 2009. 2LP version. "Deluxe gatefold jacket containing extensive and detailed liner notes and annotation by Egon, rare photos and other ephemera." Artists: Top Drawer, Sensational Saints, East Of Underground, D. R. Hooker, Shin Jung Hyun & The Men feat. Jang Hyun, T. Zchiew & The Johnny, The Strangers, Damon, Ellison, Morly Grey, Shadrack Chameleon, Ofege, Ana Y Jaime, Kourosh Yaghmaei, Baby Grandmothers.