Mad About Guerssen present a reissue of Kak's self-titled album, originally released in 1969. A west coast classic back on vinyl at last. Recorded in 1968, the lone album by the group known as Kak is a beloved masterpiece, full of the inspiration and promise associated with the California psychedelic dream. The oddly-named, eminently talented quartet from the college town of Davis was together less than a year from start to finish, yet within that short time created a record renowned for powerful performances, solid production values, and the brilliance of its song craft, with a full playlist of compelling material like "Electric Sailor", "Lemonaide Kid", and "Trieulogy". Kak can stand nobly alongside records like Surrealistic Pillow (1967), Electric Music For The Mind And Body (1967), Sailor (1974), or the first Moby Grape album (1967) as one of the most satisfying listens of the late 1960s SF rock renaissance. This newly remastered vinyl edition features extensive liner notes by Kak aficionado Alec Palao, with contributions from band members Gary Lee Yoder, Dehner Patten, Joe-Dave Damrell, and Chris Lockheed. Housed in heavy cardboard sleeve plus obi; Color, four-panel insert with photos and liner notes.

"Heaven is a work of contemporary church music. Centrally occupied with the subject of death, its conceptualization was catalyzed by Dino Spiluttini's discovering his mother's preparations both for her own death and for his. He arrived at her home in 2015 to be led into the local church and shown the two adjacent places she had reserved for their urns. The tracks on Heaven together consist of an analogously personal and anticipatory negotiation with death. Partly derived from organ recordings made in the same church, the album frequently enlists Arvo Pärt's compositional method of tintinnabuli. Aside from the thematic logic of its sacred associations, the method suits Spiluttini's tendency, in spite of heavy and dynamic passages, to minimize tonal complexity. His characteristic uses of gnashing bass, restlessly irregular pacing and serrated distortion return. This time, they combine with pads, harps, fluttering organs and swooping choirs. Track titles throughout Heaven conjure intense emotional conflicts, especially those arising from experiences of embodiment. Touch isolation is a term for the toxic masculine stigma against platonic touch between men. If such a reference on an album preoccupied with death and afterlife raises the question of whether Spiluttini considers any touch -- let alone platonic -- to be possible in Heaven, the title 'Flesh Angel' perhaps answers it. As with 'Body at War' and 'Weakened Centurion', such a title positions the agitation of its music among ongoing struggles with body acceptance. Meanwhile, 'Rainbow Bridge' recalls the 1980s prose poem promising an eternal reunion in death with one's beloved lost pets. In context, these various indices seem to capture the yearning speculation that, as the nexuses of experience, bodies are not discarded in death; on the contrary, they achieve a state of perfection. Heaven revolves within dramatic and ever-changing vignettes. As church music, it lacks real communal participation or fidelity to hymnal text. Instead, it must come to terms with negation and eternity as dependable threats to generational and spatial distance, to personal struggles with earthly embodiment and to the anxious, hyperactive navigation of identity in late modernity." --Edward Trethowan Front photos and layout by Dino Spiluttini. Recorded, produced and mixed by Dino Spiluttini. Mastered by Rashad Becker.

"Looking back in hindsight to the activity and accomplishments of Axis is with much pride -- to witness the relationship between the music and listener evolving to this point. The Director's Cut reissue project is about manicuring detail. It's about a rare opportunity to enhance what we've done so that the relationship strengthens for the long term." --Jeff Mills Chapter 4 comes on 180 gram vinyl.

LP version. 140 gram vinyl; gatefold sleeve; includes 16-page insert with photos and liner notes. For the first time since its inception in 1983, Steve Hiett's elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett's transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York. A career devotee of Brian Wilson's groundbreaking harmonies, Hiett shot The Beach Boys for Rolling Stone -- as well as The Doors, Miles Davis, and Jimi Hendrix -- while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire. In 1982, representatives from Tokyo's Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7" of original music into the back of the exhibition catalogue, Hiett laid down "Blue Beach - Welcome To Your Beach" in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers, and Steely Dan hired-gun, Elliot Randall. Once dispatched, there were requests for him to fly to Tokyo to record; it wasn't until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar, and retreated to his hotel room to start writing. Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders -- one of Japan's most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper, and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of "Roll Over Beethoven", Santo & Johnny's "Sleep Walk" and the 1967 Eddie Floyd soul hit, "Never Found A Girl". Produced in coordination between Be With Records, Efficient Space and the artist, this definitive reissue is restored from original masters; extensive liner notes penned by Mikey IQ Jones.

Gatefold; Purple vinyl. "Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and first half of the 1990s, issuing a number of highly influential albums in the process. Hand It Over, their seventh record, appeared in the spring of 1997 following a lengthy absence, and would prove to be the band's final album-length offering for a decade. Performed primarily by J Mascis, Hand It Over appeared at a time of declining international interest in American alternative rock, but nevertheless received widespread approval and appreciation amongst critics and reviewers. The album was accompanied, unusually, by an EP of non-album songs recorded for the Matt Dillon movie Grace Of My Heart and, later, a vinyl only I'm Insane 7" single, all of which are collected here alongside previously unreleased recordings made on stage in Stockholm and on TV in Australia. Presented here on purple vinyl, and accompanied by in-depth sleevenotes from Mojo's Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a final view of a band about to disappear from the limelight but still as engaging and powerful as ever."

"Imagination: that was the feeling and the starting point of the debut album Jurgen De Blonde recorded under the moniker Kohn in 1998. Surrounded by an old sampler, an analogue synthesizer, a cheap sequencer, acoustic and electric guitar, bass and an electret microphone he modulated and crafted his own personal parallel universe in his bedroom in Gent. A world where the sound of a skipping cd mutates in a shoegaze vibe, hunted mosquitoes are locked in a psycho-acoustic melancholy or ringing phone songs slides into a brutal grime beat echoing the beginning days of Belgian electronic body music. 21 years on this debut is remastered and released for the first time on vinyl. Recommended if you like early Autechre, Oval, vintage electronics, shoegazing beat, instrumental Death Grips, demented industrial, nostalgia futurica, derailed post rock or excellent music in general . . . This person who is 'Kohn' seems to have no interest in seeing the tiny blizzards and blue-phosphorescent stars that pop out of his own chemicals. The whole thing is for us to dissect and admire, I feel certain that Kohn is already onto something new. Probably something so much further out it only exists in the ether." --excerpt of the included liner notes by Brecht "Razen" Ameel

"The goal was to make music that was rhythmic but without obvious percussion and drum sounds, to sample anything and hear what was possible or how it would inspire me. No effects, I didn't want to use any effects like reverb or delay, except as part of the sound. I wanted the sound to be dry and direct. No washes of reverb or sounds drowning in echo. This was not supposed to be an ambient record. Only the last two tracks were allowed an exception to this. Sounds belong to the room they're played in. I didn't want them to be in a space before leaving the speakers. Electronic sounds have no original acoustic space nor are they enhanced by a resonant body before they enter the air through a loudspeaker. I wanted the electronic sounds to be raw in that aspect, no polish or fake space. This, the sound of bedroom production." --excerpt of the included liner notes by Jurgen De Blonde

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: Dome (July, 1980), Dome 2 (October, 1980), and Dome 3 (October 1981). A final fourth album, Will You Speak This Word: Dome IV was released on the Norwegian Uniton label in May 1983. These albums represent some of the most beautifully stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene. Previously issued in the out-of-print Dome 1-4+5 box set in 2011. Floating-point re-master by Russell Haswell, August 2011. Cut at Dubplates & Mastering by Rashad Becker, August 2011. New artwork by Dave Coppenhall. Includes download card.

False Idols -- the record label launched by Tricky in 2013 -- has today announced a fresh compilation album, featuring a selection of mostly unsigned artists from around the world, curated by the label boss himself. The tracks featured showcase Tricky's A&R expertise and vision for the label -- allowing a platform and a context for unheard artists who span diverse genres but effortlessly come together into a unique and compelling album collection. Tricky lends his production expertise to tracks including "The Moth & The Flame" by Bob Vylan -- the politically focused, London based punk and grime duo, as well as an elegant and streamlined re-edit of "Lucien" from Young Magic, the Brooklyn-based group who have toured the US with Tricky in recent years. The two tracks offer a sample of the diversity and versatility of the album. Deeper into the selection, Tricky has also contributed a remix for Mercury-nominated Bristol punk band, IDLES, and co-production for the likes of Namibian producer Sean K, bewitching US singer-songwriter Breanna Barbara -- as well as a new track performed with his enchanting touring vocalist Marta. Add to this new cuts and original material from the likes of Saul Williams, and new artists such as KLOXII, and Chikaya. Also features Dio Russo, Descartes A Kant, TENNIN, and Tricky. Includes download card with four bonus tracks featuring: Suzy Sleepzzz, Rodolphe Burger, Serve The Servants, and Leeroy Thornhill.

Joachim Nordwall digests and mutates dub in unique industrial style on The iDEAList's almighty follow-up to a tape and 7" in this killer mode, bringing guest vocalists, JA's Nazamba and polymath John Duncan, for a deeply crooked ride worthy of rinse and repeat. Picking up where his raw Early Tactical Experiments In Techno & Dub left off in spring 2019, the rugged styles of Say Yes to No poses only slightly less risk of contracting salmonella with a more stewed and treated suite taking in proper songs starring Nazamba and John Duncan amid all manner of virulent, wayward electro-dub variation. As with his superb tape for Industrial Coast, that wicked 7" with Genesis P-Orridge, and even his recent albums as Joachim Nordwall -- Conventional Wisdom with John Duncan (IDEAL 182LP), and the collaborative CD Communication Is Key -- the iDEALIST naturally highlights fundamental links between dub and noise, the core principles of manipulating sound in space, with a critical blend of tactile playfulness and rigorous pressure. The two vocal cuts are outstanding in their own rights; "Bigga Boss" features Kingston-based poet and playwright Nazamba utterly possessing the opening shot with his baritone growl, rooting the LP at one pole, while John Duncan's equally compelling appearance on a similar riddim in "Tough Doubt" comes to epitomize the project's direct approach toward alloying and allying styles with alchemical suss comparable to The Bug, Ossia, or Andreas Tilliander. Vocals also spill out into the LP's other tracks, but here they're more textural and elusive, scudding thru "Everyone Fucking Relax" in a way recalling DJ Scud's thudding remix of Bong-Ra, or masticated into intelligibility on the amorphous dub-noise lurch of "Inner Space Dub (Insane Version)" and the LP's cataclysmic closer "Say Yes To Dub", which are all held tight in contrast with the more defined techno and electro-dub structures of the LP's club-ready highlights, "The Ecstasy" and "Shit Skull/Golden Mind". It's a hugely enjoyable album -- one that leaves bits in your teef and gets up in your head like a healthy dab of shatter. RIYL: Ossia, DJ Scud, Andreas Tilliander, Jay Glass Dubs. Mastered for vinyl and at Dubplates & Mastering, Berlin.

Mad About Records present a reissue of Reggie Andrews and The Fellowship's Mystic Beauty, originally released in 1969. '60s jazz holy grail LP out of California -- a mythical album on many jazz collector's want-lists. This LP is on the extremely limited and sought-after private press label HME. It has deep Latin, Afro/Cuban-influences, and consists primarily of acoustic jazz pieces. Influences also range from the cerebral to the soulful, but it defies any one-dimensional tag like "spiritual jazz" or "soul-jazz" or "jazz-funk." Heralding from LA and led by pianist Reggie Andrews, it doesn't sound particularly "west coast". It's a beautiful session all around, really something special and profound. In recent years, Reggie Andrews has taught, mentored, and produced many talented musicians including Patrice Rushen, Terrace Martin, Ndugu Chancler, and the Dazz Band who wrote "Let It Whip", along with his close friend Leon Ndugu Chancler. He is the founder of the jazz-fusion group Karma. He worked with Earth, Wind & Fire, produced Moacir Santos for Blue Note Records, served as an "electronics consultant" for Donald Byrd, and took to mentoring The Pharcyde and J Dilla. 180 gram vinyl; Heavy cardboard sleeve with obi.

Recital label head Sean McCann on Towards A Total Poetry: "Culled from live performances in Los Angeles in 1980, Towards A Total Poetry holds radioplays and sound poems by Julien Blaine, Adriano Spatola, F. Tiziano, and Paul Vangelisti. Two concerts were organized by poet and professor Vangelisti and broadcast on his KPFK radio show. A rare gathering of extreme French and Italian sound poets in California, flown out on with an arts funding grant (my, how things have changed!). A jarred specimen on a golden platter of a time passed . . . Sadistically funny, dizzy with confusion: a map lies dissected on the table. Adriano Spatola (1941-1988) is the most beautiful Italian post-war poet, also publisher of Baobab, Tam Tam, Geiger editions. His stage presence is that of a drunken wolverine, thrashing his words and letters, madly chuckling and whispering secrets to himself. Spatola interprets a disfigured rendition of 'Buddenbrooks,' a traumatic and shocking radioplay, held alongside his infamous 'Aviation / Aviateur' and 'Al Capone Poem,' read with explosive tension. His younger brother, F. Tiziano, is a more mysterious figure. His radioplay, 'Los Angeles Bridge,' has four characters: North, South, East, and West. Quibbling through a fever dream over a card game. Professional voice actors were hired for all of the radioplays, translated from Italian by Vangelisti (as with all of Spatola's English publications). French artist and sound poet Julien Blaine (1942) composed the play 'Passe/Futur' -- utilizing his actors as verbal instruments: buzzing and howling as carefully as dots on sheet-music. His sound poems are hilarious, 'Amputation' mimics the sound of four severing surgeries, and 'Mots d'enfants' still confuses me as to what exactly is going on... Paul Vangelisti's works open and close Towards A Total Poetry. The Los Angeles poet and publisher of Red Hill Press organized the affair and was able to hold his own against such powerful artists. Paul's pieces are conceptual, opening with a fitting typewriter hymn, 'Radio,' and concluding with 'Auld Lang Syne,' the Ms of the phone book sung by chorus. These are some of the strangest radioplays in existence. A format I feel is underused. The infusion of drama and comedy and open air to fill... oh, the possibilities. Towards A Total Poetry is of my personal favorites on Recital... exemplifying the core of what I love to publish." Includes 12-page booklet with essays and poems by the artists; Edition of 250.

Two years in preparation and working closely with long term collaborator Francis Gorini to mix and master the songs and realize the album artwork, Rivers That Flow In Circles is an album that sees Boat To Row expanding their musical horizons. From the golden laurel canyon sounds of "On Your Own", through the ever-changing soundscapes of the four movements of "Fledgling", the band have taken every opportunity to develop and redefine their songwriting. Written and recorded through a tumultuous period of line-up changes, corrupted recording hard drives and studio closures, Rivers That Flow In Circles captures the band at their resilient best, refusing to quit. Drawing on the talents of band members past and present as well as colleagues from their native Birmingham scene, Boat To Row have created an album which captures their musical explorations perfectly. Edition of 250.

Iona Fortune crystallizes and convects enchanting thoughts on the legendary I Ching in a keenly awaited second volume of Tao of I, following from her resoundingly acclaimed 2017 debut for Optimo Music (OM 010LP), where lustrous synthetic subbass meets traditional Chinese strings with sublimely spirited and timeless effect Issued by Ecstatic as the second of eight albums by Iona exploring hexagrams of the I Ching, or "The Book of Changes" -- a 2,500-year-old Chinese divination text referenced extensively in religion, art, philosophy, psychoanalysis, science, and mathematics. Tao Of I Volume 2 sees the Glasgow-raised, Zurich-based artist refer to millennia of human experience through an electro-acoustic prism of Synthi AKS, guzheng, and Gamelan, newly expanded with erhu, kim, yanqin, zhong, and bawu. The wider scope of her palette allows a greater detail of airy calligraphic expression to her multi-dimensional microcosmos, channeling a wondrous energy in a fluidly melodic narration of mystic ideas made musically tangible. In eight parts Iona acts as conduit for extraordinary, invisible, and arcane forces. Inspired by the I Ching's fundamental principles, her music resonates with a visceral and cosmic conception of human essence, infusing minimalist frameworks with finely tempered but lush emotive cues that bring to life the I Ching's conviction that "music has the power to ease tension within the heart and to loosen the grip of obscure emotions." Iona's music most beautifully manifests this idea in concisely exacting forms and to contemplative ends, creating a slow, serene and harmonious music that coolly commands relaxed states of reception, best for mulling over life, and stuff. At once as light as a fleeting thought but permanent as an organism passing on its code, the music conjures mindsets comparable to Coil at their uncanniest, the post-erotica 4th world sensations generated by Jon Hassell, or the dark energy expressed in David Lynch films and their soundtracks. Most crucially Iona achieves this through a synthesis of self-exploration and instrumental actualization, employing an unusual composition strategy of inner cultivation and empathic performance to divine and realize a spellbinding, penetrative otherness. RIYL: Coil, Laraaji, Jon Hassell, David Lynch & Angelo Badalamenti. Mastered and cut by Dubplates & Mastering.

Grup Doğuş (literally means "rising") is a unique type of band among the others in the soundscape of "Gastarbeiter" (guest workers). The band is formed by two brothers, who were guest workers emigrated from Turkey to Germany. Tufan Aydoğan, also attributed as "Hammond Tufan, the Conqueror of all the Organs" by Barış Manço, was organist and the vocalist of the band while his brother Muhittin Aydoğan was on bass, Koray Dikmen on drums, and Sedat Ürküt on guitar and vocals. While performing in nightclubs, by a good coincidence, they received a proposal to record for a one-take album to be issued on cassette in 1975. This low-selling cassette album full of Anadolu pop repertoire was almost forgotten till now. Selected tracks from the album have been remastered and released in vinyl format -- as it had long deserved. The songs here are raw and non-produced type of Anatolian pop, which offer us a soundscape that is not restricted with the limitations of mainstream labels. Therefore, long lasting guitar and Hammond solos, a progressive attitude, flowing energy and groove leave a strong mark on all titles. Strange but true, Grup Doğuş definitely found the way to perform those songs of Anatolian pop heritage in a more mind-blowing way compared to originals of their composers or performers such as Barış Manço, Cem Karaca, Üç Hürel, and Selda. The album contains eight songs from the only album of Grup Doğuş. Includes two-page insert in English and Turkish with lots of photos.

Floating Frequencies/Intuitive Synthesis Volume I was originally released in 2006. This 2019 cassette edition was remastered by Eleh.

Cold Spring Records announce the first ever official physical release of the soundtrack to Lars Von Trier's controversial film Antichrist, originally released in 2009. Ten years after the film's initial release, the extreme, provocative performances from Willem Dafoe and Charlotte Gainsbourg in Antichrist still have the power to shock, repulse, and divide. The sound design by Kristian Eidnes Andersen with Lars Von Trier was composed using only natural sounds and samples (including internal body recordings). Each element was recorded specifically for the film and overseen by Von Trier, including a brand new, somber performance of Händel's "Lascia Ch'io Pianga", recorded in Kastelskirken church in Copenhagen, 2009. Pressed onto heavyweight 180 gram vinyl with an etched B-side; housed in a heavy 350gsm full-color sleeve featuring the original theatrical release artwork, approved by the director.

Award-winning Danish composer Kristian Eidnes Andersen has produced music and sound design for films, television, and documentaries for 30 years, notably working with Lars Von Trier on the films Antichrist, The House That Jack Built (2018), Dancer In The Dark (2000), Melancholia (2011), and Nymphomaniac (Vol I & II) (2013).

Recital label head Sean McCann on Stones : Dreams: "The first audio document ever published by Fluxus artist Geoffrey Hendricks (1931-2018). There is a romanticism found in Geoffrey, that, in my mind, sets his work aside from his Fluxfriends. Known for his timeless sky paintings, applied to canvas, cars, clothes, and so on, the conceptual married the majestic. He was a master painter, whose work could have filled cathedral ceilings. Instead, he chartered his bow alongside George Maciunas, John Cage, Dick Higgins, etc. in the 1950s. Hendricks became a prominent member of Fluxus, shown in exhibitions around the world for over 60 years. In the 1970s, composer Charlie Morrow approached Hendricks about recording an album for the New Wilderness Audiographics cassette series. This became a 40-year dance of orbiting schedules and slipping dates. The sky aligned in 2014, and a recording session at Ear Up Studios in New York manifested. Geoffrey's connection to nature not only focused upwards at the sky, but always downwards to stones. 'Rock Music' consists of a box of rocks being cast across a room. Pounded on wood, soft and hard, the sonar-like snapping echo mapping the dimensions of the room. Small bells hover over the rubbing of stones humming to each other. You can tell that this was a therapeutic ritual he practiced for years, not merely an improvised recording concept. With the LP is a booklet that includes diaries of his stone collecting on Cape Breton island in 1973, beautifully infused with dream recollection. The cassette of 'Music for Sky Slate Wall' was discovered by chance earlier this year in the vast archive Hendricks left behind. It holds Geoff's close friend Philip Corner performing at an Emily Harvey Foundation exhibition in 1999. Corner responds to the Hendricks installation, interpreting the wall adorned with watercolors of day and night skies, grey slate, and a ladder hanging more paintings and golden ornaments. Philip Corner performs with prongs, Korean shaman cymbals, his voice, and a shoe. Their charming friendship can be heard in the interplay. This project was made possible by Geoff's widow, Sur Rodney (Sur), his children, Tyche and Bracken Hendricks, Philip Corner, and Charlie Morrow." Includes 16-page pamphlet with essays by Tyche Hendricks and Charlie Morrow, diaries and artworks by Geoffrey Hendricks. Edition of 220.

The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts, and a convicted murderer... Issued originally in 1959 it originates from Phoenix, Arizona. The concept behind the recording was unusual -- to bring together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg. Little can be found of A.I. Groeg, but before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album. Sublime vocalist Marni Nixon, the voice of Maria in West Side Story (1961), was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration. The original LP states that "Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream." Jonny Trunk on the reissue: 'I'd first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden's Island album (1960) and occupies a similar musical space. But this album has a little more death. Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take." Personnel: Buddy Collette - flute, clarinet; Gene Cipriano - oboe, English horn, bass clarinet; Gerald Wilson - trumpet; Justin Ditullio - cello; Al Viola - guitar, banjo; Red Callender - bass, tuba; Earl Palmer - drums; Ed Lustgarden - cello. New sleeve notes by Trunk.

2019 repress. Very limited double-LP bundled version of the two individual LPs, 180 gram color vinyl. Includes printed inner, Nagaoka anti-static record sleeve, plus and Obi-style insert in a fold-out outer sleeve. Only a handful of years ago, the name Julius Eastman would have been met by a unanimous blank look. The legacy of this once-darling of the New York post-minimal avant-garde had, since his untimely death at the age of 49, in 1990, been almost entirely lost. Eastman's story is as fascinating as they come: black, angry, and queer in an all too polite, straight white musical world. A prodigy and genius whose music took him to astounding heights, whose unwillingness to conform and play by the rules took him down the path of drug abuse and homelessness, as well as the loss of his scores. Even before his death, he was already a forgotten name. Eastman belongs to a generation of composers who inherited the mantel left by minimalism, but despite being highly respected by his peers, he was given few chances to record his work, relegating most of his talent as a singer and pianist to the realization of others' work. It was Eastman who conducted the iconic recording of Arthur Russell's Tower of Meaning, and whose piano cuts its way across the 1976 recording of Morton Feldman's For Frank O'Hara. It's likely that Eastman's work would have been entirely lost, had it not been for rigorous efforts of a few close friends, the most persistent of whom was the composer, Mary Jane Leach, who spent years tracking down his lost scores. These efforts eventually led to the comprehensive CD collection, Unjust Malaise (2005). It was the beginning of a turning tide, and over the 13 years since, Eastman's singular voice has slowly returned to the audience he always deserved. It also represented the recorded debut of some his most thrilling and controversial work, three compositions for piano from what he called the N*gger Series: Gay Guerrilla, Evil N*gger, and Crazy N*gger. The three pieces are now issued across two LPs in their first-ever vinyl release with extensive liner notes by Leach and Bradford Bailey. These three seminal works by one of the most important, but neglected, American composers of the 1970s and '80s, return to the light once more. Not only are they an entire rethinking of musical minimalism, but they ferociously blow the doors off of what classical music can be. Mastered by Giuseppe Ielasi. All three compositions on these 2 LPs are for piano quartet: Performed by: Frank Ferko, Janet Kattas, Julius Eastman, Patricia Martin. Recorded 1979/80.

Blume present the first ever reissue of Winfried Mühlum-Pyrápheros's Musica Nova Contemplativa, originally released in 1970. This stunning artifact of its era has, until now, remained among the rarest artifacts in the field of cross-disciplinary efforts known as the Artist Record: sonic adventures embarked on by artists primarily dedicated to the visual realm. Creatively challenging, ahead of its time, and unquestionably beautiful, its rare musicality sets the stage for alternate understandings of what minimalism was and came from, during its early years. Droning and tense, subtle melodic elements underpin sheets of tone and atonality, sculpting an incongruous sense of spatial ambience; the concept of Musica Nova Contemplativa drew on a unique, unfixed compositional system created by combining traditional musical notation with mobile and variable elements, expressed graphically as a system of coordinates which leave variation, interpretation, and improvisation up to the performer. Captured as eleven distinct movements, the work, in hindsight, can now be understood as a lost, freestanding work of musical minimalism, echoing idiomatic roots in Fluxus and the raw temperaments of artists like Tony Conrad and Henry Flynt, threaded with touchstones in the work of Eliane Radigue, Giacinto Scelsi, and Jani Christou. Born in Germany during 1941 and educated in philosophy and psychology, over the last half century the bulk of Winfried Mühlum-Pyrápheros's artistic output has been largely oriented around painting, sculpture, and installation, each focused on the experiences of phenomena, environment, and light. Musica Nova Contemplativa was composed in 1964 as a graphic score, then it was interpreted and recorded by Mühlum-Pyrápheros on violin and Johann Georg Ickler on organ three years later in a Franciscan church in Bensheim as is a logical extension of the artists broader concerns: seeking further territories of inclusive and expansive environments of experience. Intended as acoustic extensions of his paintings, the collective contents of the album are a metaphysical and esoteric rising in sound. Out-of-print for almost 50 years, this edition represents its first ever reissue in any form, complete with an interview between Winfried Mühlum-Pyrápheros and Stefan Bremer conducted for the occasion of this reissue, and newly commissioned liner notes by Bradford Bailey. Includes printed inner sleeve and an original insert that functions as obi; Edition of 300.

2019 repress. Double LP in gatefold sleeve with insert and download code. Expanded edition of the soundtrack to the celebrated 2014 documentary film Don't Think I've Forgotten: Cambodia's Lost Rock and Roll, originally released on CD by Dust-to-Digital in 2015. On April 17, 1975, Phnom Penh fell to the Khmer Rouge and Cambodian rock and roll was no more. Its star musicians were targeted and killed, record collections were destroyed, clubs were closed, and Western-style music-making, dancing, and clothes were outlawed. The deaths of approximately two million Cambodians and the horrors of the Killing Fields have been well documented; add to this John Pirozzi's fascinating tale of Cambodia's vibrant pop music scene, beginning in the 1950s and '60s and influenced by France's Johnny Hallyday and Britain's Cliff Richard and the Shadows. Cambodian culture has long been synonymous with a love for the arts. Don't Think I've Forgotten pays homage to the country's rock legends who paid for their creativity with their lives. Punctuating rare archival footage with telling interviews with the few surviving musicians, Don't Think I've Forgotten examines and unravels Cambodia's tragic past through the eyes, words, and songs of its popular music stars of the '50s, '60s, and '70s. Compiled by Pirozzi, the soundtrack album is very cinematic in nature -- the sequencing and remastered audio transport the listener through the rock and roll history of Cambodia in a way that parallels the film. It is both entertaining and essential to hear so many tracks that have never before been available outside of Cambodia. Performers include The Royal University of Fine Arts, Sinn Sisamouth, Chhoun Malay, Huoy Meas, Baksey Cham Krong, Ros Serey Sothea, Pen Ran, Sieng Vannthy, Va Sovy, Drakkar, Pou Vannary, Yol Aularong, and Cheam Chansovannary. Includes two tracks not included on the CD version ("Three Maidens" by Ros Serey Sothea and "Have You No Mercy" by Drakkar).

"One of the first releases on EMI's progressive rock label, Harvest in July 1969, Alchemy was the debut album by Third Ear Band. One of the earliest signings to Harvest, the band was formed in 1968 around a nucleus of Glen Sweeney (percussion), Paul Minns (oboe), Richard Coff (violin, viola) and Mel Davis (cello). Third Ear Band were unique in their exploration of exotic baroque music fused with experimental rock. Signing to Blackhill Enterprises in 1969, the quartet opened for many of the legendary Hyde Park free concerts by Pink Floyd, The Rolling Stones and Blind Faith. Recorded at Abbey Road studios in the early months of 1969, Alchemy is regarded as one of the most striking and original works of the era with its unique gothic improvisational music and this new Esoteric Recordings 180 gram vinyl edition is a faithful reproduction of the original 1969 gatefold LP release. It has been re-mastered from the original Harvest master tapes and has been cut at Abbey Road studios for this definitive edition vinyl reissue."

LP version. "Both are legends because both innovate -- and activate and motivate. King Tubby (Osbourne Ruddock) arrived on earth in 1941. As a teenager he repaired radios before moving onto repair sound system speakers. Since the mid-50s, sound systems had conquered Jamaica, replacing live bands as the people's favoured choice of access to their music. Tubby (a very slim man) found himself much in demand. In 1968, Tubby opened his own shop, Tubby's Home Town Hi Fi. That led him into the world of sound, led him into recording studios where first he remixed. But then he got bored and in doing so released himself by devising his own amazing aural vision. Tubby invented dub and he did so by experimenting, by creating a unique template where he stripped away certain parts of the record, replaced them with another, highlighted some instruments, dropped others, and on top of this used all kinds of studio effects. And thus King Tubby became King of Dub. In 1971, inevitably, he opened his own studio -- and he took the music deeper. Many musicians loved his set up, including Augustus Pablo. Pablo (Horace Swaby) arrived on earth in 1954. He hit the musical scene playing... the melodica. No one had thought to do so previously. Again, the breaking of new ground was heard in Jamaica. The instrument was perfect for the King Tubby vision, Pablo's playing producing a sound that was melodic, harsh, edgy, and soulful. Over Tubby's shuffling rhythms and maelstrom of sound, Pablo improvises with huge imagination and skill. His major hit East Of the River Nile suggested and put forward a sound derived from the Far East and he was up and running. In 1975, he began a fruitful collaboration with King Tubby. Their first album together Ital Dub is a classic. The later King Tubby Meets The Rockers Uptown is more than that, it is legendary. And now The Messenger is upon us, an album cut at some point in the 70s and which remained in the vaults. Should it have stayed there? No way. This is music that upholds the very high stars of their past, music which fires itself on imagination and strength, a collusion and collaboration of immense proportions, music that provides and creates moods with such purpose and drive. Pablo's melodica is centre stage but is counterpointed by contagious rhythms and touches of inspiration as horns and bass lines mesh in and out of view, held down by an ever-steady barrage of sturdy drums and bass and a never ceasing source of imaginative and delightful sounds. The sound constantly changes and because it does the album contains a staggering array of moods, from upbeat into deep waters. The Messenger is forward music, still sounding as fresh as it did on the day of its conception. And it will do so for time eternal." --Paolo Hewitt London 2019.

A Colourful Storm presents a mini-album by Kallista Kult, the newest and most shadowy members to join the label's eclectic roster. Rumored to be comprised of a core group of modern Oz improv and DIY luminaries with ties to Brandenburg and Black Rock, the sprawling, deeply evocative tracks draw comparisons with the Ghost Box axis, that Michael O'Shea record, Inga Copeland and, quite possibly those rare-as-hens-teeth Threshold Houseboys Choir CDR's. Edition of 150 with printed lyric sheet and insert.

The melodically adventurous soul of Leon Ware continues its expression in his final opus Rainbow Deux. The album features new songs recorded and performed by Leon before his health turned, leading to his transition on February 23rd, 2017. Co-produced by Taylor Graves, it has stellar musical contributions from the likes of Kamasi Washington, Thundercat, Ronald Bruner Jr, Rob Bacon, and Wayne Linsey. Because Leon was always writing, it's impossible to pinpoint any single moment of Rainbow Deux's genesis. Six of the songs go back to 2012/2013 and were released in 2014 as part of Sigh, a Japan-only CD collection heavy with Rob Bacon's tasteful licks and Wayne Linsey's piano vibes. The rest of the material comes from Leon's sessions with Taylor. The album was finished-up around August of 2016 in a back-and-forth between Leon and his go-to mastering engineer Toni Economides in the UK. Leon worked on Rainbow Deux with life's greatest challenge looming over him, yet it is one of his most focused and cohesive solo offerings since the 1980s. The entire record is a vibe: mellow, deep, and smooth as silk. The lyrical themes are eternal, and the music is elegant, soulful, and sensual. The hypnotic throb of "For The Rainbow" opens, coming on like a percussive, slow-mo house shuffle. The exotic "Let Love In" follows with its gradual-build island funk, intricate guitar picks, and sassy female vocals. "Sigh" is a stylish slow jam with serene guitars and polished drums. The easy-burning broken-beauty "The Darkest Night" is the centerpiece of the album with Kamasi Washington's lurking sax, Thundercat's signature creeping bass, and Leon's perfect, seductive sax-soul vocals. "Surrender Now" conjures waves of vocals to swell and wash over the glossy piano, subtly bumping hip-hop drums, and bubbling synth-bass stabs. "Summer Is Her Name" has Kamasi's effortless, melancholic sunshine sax give way to rising tempos and propulsive rhythms. "Are You Ready" sees a nimble groove of piano and synth rolling around Theo Croker's sensual trumpet playing. With lush G-Funk sensibilities "Streets (Keep Me Runnin')" sounds like a lost Dam-Funk produced gem. "Samba Dreams" is the first of two tracks that bring a little Rio magic to Rainbow Deux. "Let's Go Deep" is a dreamy, between-the-sheets quiet storm anthem and a real showcase for Leon's vocals. The dripping, honeyed harp-funk of "We Should Be Laughin'" marks the star turn of the brilliant Kimbra. Warm synths radiate shuffling samba soul on "Wishful Thinking" as those Brazilian rhythms return to bring Rainbow Deux to a close. 140 gram vinyl; gatefold sleeve with printed inner sleeves.

Beat Generation present a vinyl reissue of Rev Up, the 1980 debut of the legendary The Revillos. Following the break-up of The Rezillos, The Revillos were born and would soon release this fun packed whirlwind of frantic new wave, punk rock, '60s pop, classic rock & roll, and much more, laced with science-fiction and B-movie awesomeness. Clocking barely over 30 minutes, the album mixes über catchy original tracks like "Yeah Yeah", "Motor Bike Beat", "Rock-A-Boom", or "Rev Up" with classic covers like "Cool Jerk" or "Hippy Hippy Sheik", making it an absolutely essential party album. Get ready to rev up! Includes fold out poster.

LP version. 180 gram vinyl; printed inner sleeve. Trepaneringsritualen return to Cold Spring Records with an album-long ritual working entitled ᛉᛣ - Algir; eller Algir i Merkstave. This record -- constructed from a series of rituals designated to guide the last ceasing of ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ - T × R × P -- is manifest in its most obscure form. Sonically minimal yet devastating in emotional impact, this working lets the listener grasp the last vestiges of Nifl and Múspell, and with them as weapon and beacon traverse the Night. ᛉᛣ reveals a barren landscape where crooked paths lead onward, through soot black veils to a point of radiant light where all that is Union & Dissolution. Dedicated to our sister, ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ. T × R × P channeled through the forms of ᚦᛟᚦ ᚷᛁᚷ, ᚾᛟᚺ ∀⚭∀, and ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ at the 63rd Link, 4 & Rising, and Zone Rouge December 2017 e.v. - July 2018 e.v. Mastered by Martin Bowes. Artwork by Nullvoid.

LP version. Ron Geesin on ExpoZoom: "In 1969, I was commissioned to make all the music and organized noises for nineteen looped films to be run in the British Pavilion at Expo 70 in Osaka, Japan. The overall concept was to have all the films running in fixed positions so that the individual visitors would 'mix' their audio and visual experience by the speed and direction of their movement through and around the environment. Since most of the ninety-second films focused on highly technical aspects of British industry, it was decided with the producer, James Archibald and Associates, that we should do the final sound mixes with the finished films in the dubbing studio from as many ingredients as I thought necessary for each film. So I made all those textures separately, but was never provided with the finished mixes. Recently, I pulled out the five 10.5" spools of tape from my archive and ran them. Firstly, after nearly fifty years, the physical tapes were in good condition being formulated from stable chemicals before the horrible 'sticky tape syndrome' of the 1980s. Secondly, having not revisited any of this material after 1973, I noticed that there were many prototypes of ideas made with much tape editing and analog synthesizers that only emerged from me in the pieces for KPM Electrosound and later in the 1970s, so there was a certain energetic outpouring of crude vitality from these earlier works. After all those years, I had little idea of how the original film tracks were mixed, so I transferred all those initial ingredients to my preferred digital setup and made new pieces, keeping each group of modules under its original title where known. In a few cases I added or strengthened a melodic line and, where pure electronic tones were made on tape with inevitable dropouts, remade the tones digitally. The pieces, influenced by the original pavilion layout, then suggested to me that they be grouped in four movements. One piece, 'Wool', is left out because it was lifted as 'Twist And Knit For Two Guitars' for my As He Stands (1973) album. Maybe if this lowly composer had been allowed to go to Japan, to join and probably embarrass the gray-suited British Government officials, he would have remembered more about the final structure of the films - and maybe just as well he wasn't, and therefore didn't." Recorded, composed, and mixed by Ron Geesin.

LP version. Audiophile, blue vinyl; Edition of 500, hand-numbered. Critically acclaimed as one of the best records ever, Robert Wyatt's 1974 Rock Bottom masterpiece has been re-arranged by Craig Fortnam for his amazing North Sea Radio Orchestra. Featuring long time Wyatt's collaborator and Henry Cow founder John Greaves on bass guitar and vocals and the amazing vocalist Annie Barbazza as lead singer: this is a heartfelt, fantastic tribute to Robert Wyatt's music. Cover notes by Robert Wyatt and Jonathan Coe.

"This concert is a beautiful event, for me. These musicians seem to me to have really grasped what my songs are about; but at the same time, created an entirely fresh way of putting the music together. I feel so honored and so grateful." --Robert Wyatt, March 2019

"One of the greatest albums of the 1970s, beautifully reimagined and re-written for orchestra. I have listened to Rock Bottom hundreds of times, and thought I was familiar with it: but this brilliant new version opens up new depths, fresh vistas, hidden truths. An amazing achievement." --Jonathan Coe, March 2019

"From Melbourne Australia, EXEK are proud to unveil their third album, Some Beautiful Species Left. Like their previous releases, Some Beautiful Species Left is the cultivation of numerous edits and overdubs, where once again EXEK subscribe to Brian Eno's philosophy of the studio as an instrument. This MO allows the songwriting process to develop simultaneously alongside the recording process whilst privileging greater sonic control. The result is a record difficult to pigeonhole but post punk is perhaps the easiest way to categories EXEK's music -- post-modern and containing the defiance inherent within punk whilst incorporating elements of dub production, classical arrangements, hip hop and krautrock rhythms and the use of kitchen appliances as instruments."

Ross Alexander first came to our attention with Memorias Vol. 1 - Bugandan Sacred Places (SUC 007CS), released back in 2017 on Sucata Tapes. The release featured a mind-altering mix of recorded sounds from a series of visited sites considered sacred within the Bugandan Kingdom and session recordings with Ugandan musicians Albert Sempeke and the Nilotika Collective layered with his own original composition using the Yamaha DX7 and programmed FM synthesis. The result was a unique reconfiguration of new age vocabulary with East African traditional sensibilities. The tape quickly sold out and the new Volume Of Memorias presented here arrives now on the mother label Discrepant, comes on vinyl with an expanded sound palette appropriate to the format. Memorias Vol. 2 - High Atlas To The Sahara Desert is the logical progression of Volume 1; based on a series of field recordings Alexander made during a trip through the High Atlas Mountains and into the Sahara Desert in 2018. The aim of the trip was to visit a gathering of nomadic musicians at an oasis close to the Algerian border. Like Memorias Vol. 1, the recordings made on the trip were then later processed, layered, and arranged with original compositions. Where Vol. 1 had clear nods to new age music, this volume explores the more ambient side of '80s industrial sound. Mastered and cut by Rashad Becker.

"Ned Collette's last album, the 2LP set Old Chestnut (FTR 362-2LP), was hailed as a masterpiece by 'most everyone who heard it. Part of this was due to the darkly delicate lyrics and vocals of Ned himself (akin to the work of Graeme Jefferies, ca. This Kind of Punishment), but much was also due to the elegant lyricism of the music, which had a fantastic prog/folk heft as impossible to peg as it was to ignore. With this new LP, Collette (an Australian ex-pat, now based in Berlin) goes all-instrumental, along with his long-time drumming partner, Joe Talia (fellow ex-pat, now in Tokyo), and composer James Rushford (also from Australia) on viola. The two, side-long tracks are a departure from the pop formatting of Old Chestnut, but an expansion of that album's instrumental passages, playing with a syncretic fusion of several genres, while remaining beholden to none. Talia -- who has been working with Collette for over a decade, but is perhaps best known in the U.S. as Jim O'Rourke's drummer of choice -- uses synths and tapes, apart from his deft touch with the tubs. Rushford's work on viola is as idiosyncratic as you'd expect, given the evidence of his recordings with Ora Clementi, Food Court, and others. Rushford does opt for more standard tactics in spots, but his approach to long tones is not always clearly wrought by human hands. Collette's playing on guitar, synth, bells and drum machine combines a clear affinity with the trope of both 'new music,' and also with the artfully wrought dream-hybrids of Old Chestnut's musical textures. This means that while the music on Afternoon-Dusk may not be as immediately engaging, it also scratches some of the same itches as Old Chestnut and will definitely reward listeners who spend time with its soaring sonic inventions. The aspirations of Afternoon-Dusk are monumental, neo-symphonic and spectacularly successful. You have been warned!" --Byron Coley, 2019 Edition of 300.

Double LP version. Heavy Psych Sounds present a reissue of Brant Bjork's Jalamanta, originally released in 1999. Brant Bjork: "Jalamanta was a life changing record for me. It's the record that launched my journey as Brant Bjork. Listening to the tapes 20 years later was amazing. Tony Mason and myself were transported back to that moment in time. Jalamanta was a first for both Tony and myself. My first record as a solo artist and his first record as an engineer. We didn't think twice about re-mixing it. With our combined experience over the years, we knew we could take Jalamanta to the place we always wanted it to go... and we did. Dig it." Features a Blue Öyster Cult cover, "Take Me Away".

Produced by Brant Bjork. Recorded by Tony Mason at Rancho De La Luna, Joshua Tree, California, February 1999. Re-mixed by Tony Mason and Brant Bjork at North Star Ave., 29 Palms, California, March 2019. Re-mastered by John McBain, JPM Mastering, San Francisco, California. All songs written, composed and performed by Brant Bjork. Words and vocals on "Toot" by Mario Lalli, additional guitars by Mario Lalli and Gary Arcy. Cover photo by Sam Grant, Skull Modern Relics by Joe Herbick. Art direction by Ryan Jones, layout by Branca Studio.

Double LP version. 180 gram vinyl; includes download card. With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns with his most ambitious project yet: a tribute to the legend that is Yusef Lateef titled, The Storyteller - A Musical Tribute to Yusef Lateef.

Nat Birchall on the project: "When Jazzman Gerald first mentioned to me the idea of doing an album as a tribute to the jazz giant Dr Yusef A. Lateef, my first thought was 'Where on earth do I start?' Lateef was such a colossus of music, and his scope so broad, that I couldn't hope to begin to cover his musical universe. He was a master of the tenor saxophone, a master of the flute, a master ballad player, a master blues player. Not to mention his skills as a composer and arranger and of course his exploration and use of musical methodology and instruments from all over the world. I've always been a great admirer of Lateef, and the challenge was intriguing, so I decided to give it go. We interpreted some of his own compositions (Brother John, Morning and Ching Miau) as well as some compositions by others that he made his own by careful arrangement and interpretation ('Love Theme from Spartacus', 'Ringo Oiwake'). I also wrote some original songs that, while certainly not written in his style, might be said to fall into his very broad approach to music making. I also wanted to utilize as many different instruments as possible, something I hadn't explored too much until this album. So it was a nice opportunity to finally get around to playing some of the many small instruments I've collected over the years; the Turkish zurna, the mbira from Zimbabwe, the balaphon from Mali and the arghul from Egypt. We have also tried to use varied time signatures in the music, so we have songs in 3/4, 5/4 and 7/4 time, as well as the standard 4/4. Ultimately the best music tells a story to the listener and takes them to places they might not have imagined themselves. Yusef Lateef certainly did that, and as such was a master storyteller."

Kalita Records present the first re-release of Stirling March's 1985 Bahamian boogie grail "Under Cover Lover". Accompanied by never-before-seen photos and interview-based liner notes. By the age of 22, March decided release his own record in an attempt to demonstrate to the Bahamian music industry his own ability. Written over the space of just a few hours, the result was "Under Cover Lover". A sun-kissed Caribbean boogie track, the track was recorded at a local studio in Nassau.