When you're running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing Balmat has released so far. Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. This album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill. This stylistic turn is thanks in large part to Vitiello's choice of collaborators. Active since the early 1980s, Rowe -- a violinist, guitarist, and producer/engineer -- has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally. Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown. A few more surprises along the way: Reanimator's Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls "resonant dustpan;" and none other than Animal Collective's Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy. An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together.

We Jazz Magazine, Issue 14 (spring 2025). Cosmos for Sun Ra. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented in English. Includes a collection of Sun Ra pieces by Francis Gooding, Mats Gustafsson, Rui Miguel Abreu, Stewart Smith, and Joshua Lane, rare Sun Ra Arkestra photos by Guy Stevens, Larry Stabbins by Dave Waller, Angélique Kidjo by Rob Garratt, Heli Hartikainen by Wif Stenger, Alan Wilkinson by Daniel Spicer, Black Artists Group by David Mittleman, Mike Stern by Rob Garratt, album reviews, book reviews, live reviews, photo essay and more."

Going belly up, guess it's always a possibility. Following the release of their latest acclaimed record You Never End (Pitchfork, The Quietus, RA) Moin follow up with their latest EP, Belly Up.

Ouzo Bazooka enchant on Kapaim, drawing listeners through a maze of hypnotic, head-snapping grooves, cosmic string bending, and swirling guitar explorations. As trailblazers of the new Middle Eastern psychedelia movement, the band fuse traditional folk sounds with gritty soul, funk, and rock. Their latest release is a testament to their boundary-pushing spirit, offering a soundscape that is both otherworldly and deeply rooted. Across five albums and a decade, Ouzo Bazooka has achieved international recognition for their music and performances, from the UK all the way to Japan, including The Great Escape, Fuji Rock, and Sziget Festivals. Core member and multi-instrumentalist Uri Brauner Kinrot -- musician, composer, and producer -- has been active in the international music scene for over two decades. He has played in acclaimed and diverse groups such as Balkan Beat Box, Firewater, Shotnez, and Boom Pam, who also collaborated with Anatolian rock legend Selda Bağcan, and recorded frequently with Kutiman. Launched as a solo project, Ouzo Bazooka quickly morphed into a full-fledged group. However, Kapaim (Hebrew for "palms") sees Kinrot refining the Ouzo Bazooka sound back into a largely solo endeavor. With more space to experiment, the mostly instrumental album is beautifully arranged and given room to breathe. The bass grooves, wonky synth motifs, head-nodding percussion, and soaring guitar solos create a hypnotic and uplifting experience. The title track, "Kapaim," urges listeners to clap along to a groove as solid as steel, fusing the legendary New Orleans instrumental funk of The Meters with snake-charming synths and cosmic Anatolian guitar licks. An otherworldly intro gives way to a tight bass-and-funk groove reminiscent of Bob James' heavily sampled "Nautilus" on "Seed," before Kinrot makes a rare vocal appearance, imagining himself as a seed at the center of the universe. Having played a key role in the global instrumental movement, Kinrot stands among peers such as JJ Whitefield, Shawn Lee, and Kutiman. The album recalls the cinematic depth of David Axelrod but with a distinctive Middle Eastern/ Mediterranean touch. Fans of Glass Beams, Derya Yıldırım, LA LOM, and hip-hop producer Oh No's sample-heavy tour of Turkish, Lebanese and Greek psych, Dr. No's Oxperiment, will find much to love. A testament to Kinrot's incredible talent, Kapaim carries a deep emotional resonance. It is Ouzo Bazooka's most personal and addictive album to date, radiating joy, creativity, and a spirit of boundless freedom.

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. Garra was originally released in 1971 and brought listeners Valle's classics such as "Com Mais De 30," "O Cafona," "Vinte E Seis Anos De Vida Normal," and the rare groove classic "Wanda Vidal." Remastered from the original tapes and pressed on 180g vinyl, this release is part of Vampisoul's new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon, and more. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d'état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. Garra maintains the same socially conscious content as in his previous album while also combining diverse musical styles and influences.

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. His much sought-after and stunning self-titled album from 1970 includes "Ele E Ela," as sampled on Jay-Z's "Thank You," as well as some of his most popular songs like "Freio Aerodinamico" and "Os Grilos," swinging between sophistication and groove. Remastered from the original tapes and pressed on 180g vinyl, this release is part of Vampisoul's new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon, and more. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d'état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. Marcos Valle was originally released in 1970 and features a dynamic musical backing from some of Brazil's most gifted players.

LP version. Corbett vs. Dempsey presents this joint release with Thanatosis Records (Stockholm), the second record by the quartet Das B. The lineup features Maya Magdas on piano, Mazen Kerbaj on trumpet, Mike Majowski on bass, and Tony Buck on drums. Taking structural and dynamic cues from the classic John Coltrane record A Love Supreme, Das B totally reinvents the music, and in the process meticulously subverts the notion of the tribute or songbook. Available on both CD and LP, in strictly limited editions.

LP version. Composed, performed and produced by Cosey Fanni Tutti, this nine-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019's acclaimed album TUTTI. It is a personal reflection; a sonic realization of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swinging world events. Centering on her own strength and self will, the album's two distinct parts -- one rhythmic, one more meditative -- are connected by an overwhelmingly positive mood. Even in the more melancholic moments, there's a lightness that she explains is an "acknowledgement that it's alright to be sad, that's part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance." There are also threads from her most recent projects running through 2t2. Cosey's process and the different strands that make up her work form a totality of vision. She goes on to say, "Once you get creating and listening, weaving, collaging sound it's a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within." The artwork reflects this idea that the album is a "sound cameo," reflecting the light within the music, and the buzz of life that exists within all of Cosey's work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channeling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream.

Gusano mecánico has become a coveted collector's item, highly valued by music lovers worldwide. It has been included in 5001 Record Collector Dreams by Hans Pokora, receiving the highest rarity rating and hailed as a musical masterpiece. It was released in 1974 by the legendary Bolivian rock band Climax and was a big leap from their early recordings, where they paid tribute to their musical heroes. It became a landmark of prog rock in Bolivia and one of the few conceptual albums produced in the country. Gusano mecánico explores themes such as the loss of personal essence and the vindication of indigenous peoples. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Álvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. They quite literally brought psychedelic and prog rock to Bolivia by carrying new, experimental vinyl records in their luggage, at a time when rock music (and music in general) had very limited exposure due to the scarcity of media resources. Their musical project reflected their influences and laid down the first traces of what would later be called heavy rock, a genre that never achieved widespread popularity in Bolivia. Climax embarked on a prog rock journey, exploring themes such as the loss of personal essence and the vindication of indigenous peoples. Their rebellious discourse opposed the mechanization of humankind brought about by past decades of industrial exploitation in which they resist being absorbed by the system. It became a landmark of prog rock in Bolivia and one of the few conceptual albums produced in the country.

"Definitive reissue of a Zamrock masterpiece, ranging from hard psych to wistful folk. Contains bonus track 'Sunday Morning Sunshine,' never before on LP. Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria's was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as its newly-named country, formerly known as Northern Rhodesia. Zamrock is startling in its completeness, especially for a scene that emerged, unfurled, and disappeared so quickly. From Musi-O-Tunya's fusion of Fela's Afro-beat, Hendrix's rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog's acid folk/rock, Zambia's rock scene contained all of rock's subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent -- or elsewhere. Zamrock came from a nation's youth carrying forth the momentum of a political and social revolution with a musical revolution that maintained the fiery power of early rock -- in the mid-to late-'70s. From that era, Zamrock's energy is matched only by the punk and hip-hop scenes of England and America."

In 1970, Italian composer Sandro Brugnolini recorded the two psychedelic lounge masterpieces Overground and Underground at Dirmaphon Studios in Rome. Featuring a lineup of some of Italy's finest musicians -- Silvano Chimenti (guitar), Angelo Baroncini (guitar), Giorgio Carnini (organ and piano), Giovanni Tommaso (bass and effects), and Enzo Restuccia (drums) -- these sessions were deeply rooted in the late 1960s psychedelic sound but uniquely fused jazz improvisation, funk, and Latin and African rhythms with cinematic melodies. This fusion defines their distinctive character and cements them as two of Brugnolini's most impressive works, remaining among the most sought-after artifacts from the golden era of Italian library music. Overground -- which Sonor Music Editions reissued in 2024 -- was originally released as the soundtrack to Persuasione, a documentary commissioned by Ente Provinciale Per Il Turismo Di Trento. Meanwhile, Underground was issued in two separate releases, RT 104 and RT 16, on the library and soundtrack label Record TV Discografica, founded by Alessandro Derevitzky in the late 1950s. In 2014, Sonor compiled both versions for Underground's first-ever reissue, featuring the longer version of "Psichefreèlico" from RT 16, instead of the shorter "Sostenuto" and "Ballata" versions from RT 104, along with new artwork. Now, in this 2025 reissue, Underground returns in its original RT 104 attire, with its original track listing and artwork. Sourced and carefully remastered from the original mono tapes and lacquer cut by Jukka Sarapää at Timmion Cutting, this edition features carefully restored Record TV Discografica label design artwork, printed on high-quality card stock.

Black LP version with limited art print. Scottish singer Quinie releases her third album Forefowk, Mind Me with Upset The Rhythm. The record is largely sung in Scots language, one of Scotland's three official languages along with Gaelic and English. Quinie sings with a style inspired by Scottish Traveller singers. "I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalized and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs." To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album's vinyl release is accompanied by a book and film, documenting this unusual research process. Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

This wonderful and highly sought-after album was originally born from a promotional campaign by the U.S. Army to encourage recruitment. The recording perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by brilliant anonymous musicians. Virtually impossible to find in its original edition, Vampisoul are now reissuing it once again thanks to a collaboration with Now Again. Pressed on 180g vinyl. Often, the most prized records by collectors hold unexpected stories. When they also feature incredibly high musical quality and only a few original copies are available, they become the holy grails of collecting. This is the case with this album, recorded by American soldiers stationed in Germany in the early '70s. During the Vietnam War, the U.S. Army organized a band competition among its soldiers. The winners would record a promotional album that would be distributed for free to encourage enlistment during such a turbulent time. The result was a double LP shared between the bands SOAP and East of Underground. Although East of Underground's repertoire consists of covers of soul and funk hits, the quality is surprisingly high: raw guitars, crushing drums, and brilliant vocal harmonies. When the label Now Again tried to reconstruct the story of East of Underground, they only managed to contact one of its members after digging through documents in the New York Library and collaborating with the U.S. Army.

"This is an album made during a crucial period in South Africa's history during which there was a palpable feeling of a slow turning towards the collapse of the apartheid state side by side with an increasingly well-organized culture of resistance through the formation of the United Democratic Front (UDF) and various affiliated bodies. However, as a result, there was increased pushback from the state security establishment, a turning to dirty tricks and the formation of hit squads whose members murdered and tortured many of our friends and created chaos throughout South Africa as well as neighboring countries. This album is situated in this political environment however it took advantage of the new do-it-yourself music technologies available at that time. Technologies that made it possible to make and release records without interference from traditional record company executives. Two musician friends of mine pooled their resources after their respective bands had broken up. Ivan Kadey (National Wake) and Lloyd Ross (Radio Rats) built an eight-track recording studio control room and fitted it out in a second-hand caravan and called it Shifty... All the work on this album was completed there, mainly after hours and mostly alone.... Influences of 1970s progressive/kraut/and psychedelic rock combined with mbaqanga bass styles, early reggae/dub and Indian tabla rhythms. Stockhausen, early Zappa and Holgar Czukay were radio text and shredding influences, and Chris Cutler's band Henry Cow & Art Bears helped me see a way to political expression. Mostly though was the exciting post-punk and no-wave music coming through to us from Europe and America: bands like This Heat, the Mekons, Raincoats, Sonic Youth, and Pere Ubu were immensely important to me.... Most important at that time was the influence of sound recordings I had made and experiences garnered from working as a sound recordist on documentary films. These financed my work and later the studio and were consistent employment throughout the 1980s. Film work also enabled me to experience much of South Africa that was hidden from most. The track 'Independence Day' is a good example; drawn from some time spent in the rural homeland of Venda. This then was the first full length Kalahari Surfers album -- completed in summer of 1984 it was taken to EMI pressing plant but rejected by the cutting engineer as being 'political, pornographic and anti-religious.' Chris Cutler at Recommended Records took up the challenge and released the album through his label. He wrote the original liner note." -- Warrick Sony, 2025 Johannesburg

LP version. Les Disques Bongo Joe present Lateena and Bony Fly's debut collaborative album, a ten-track journey through the pulsating rhythms of dancehall, bouyon, shatta, and reggaeton. Lateena, a queer trans artist hailing from Jamaica, channels her bold identity and raw energy into music that is both deeply personal and universally empowering. Paired with Bony Fly's innovative production -- steeped in his Guatemalan roots and honed by a career spanning global collaborations -- this album offers a fresh and exhilarating take on modern dancefloor sounds. Born out of an electric encounter at the Dancehall Fusion Festival in Geneva, the project reflects the duo's shared commitment to pushing boundaries. With Lateena's magnetic freestyle prowess and Bony Fly's mastery of production, each track is a celebration of diversity, resilience, and the transformative power of music. From infectious hooks to vibrant Caribbean beats, the album promises to captivate hearts and ignite dancefloors worldwide. Also featuring Carlton Osonga, Colombiana, and Oxric.

Drawing a line under his Pulse series, Pev brings a fifth and final dose of positivity to the dance with a distinctly techno-oriented focus and space for the odd curveball. Strident opener "Pulse XVII" bookends a lean, subtly stepped mid-section workout with pearlescent synth strings and chord stabs patched in for maximum Motor City uplift. "Pulse XVIII" operates within a taut house framework, stirring up a forthright jack track with the sparsest of ingredients drawn from the palette of bassweight 4/4 that has run throughout the Pulse series. The tempo noticeably nudges up on "Pulse XIX" -- a nagging dub techno variation where the genre's usual blown-out dreaminess is replaced with snappy urgency. That leaves it to "Pulse XX" to close the series out with a sharp left turn towards light-footed leftfield steppers gear with alien hooks -- an approach that harks back to earlier Pev output, but given a fresh lick with the bright-eyed production that has informed his latest phase of studio exploration. 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 electronic music.

In 2022, Greg celebrated the release of his book On The Street I Met a Dog and album Vintage Violence with a lively event at Rochester's House of Guitars, featuring a surprise set by The Shitkicker Rebellion -- a one-off band with former Chesterfield Kings and Low Spirits members. The energy led to a quick return to the studio, resulting in this very single. For such a special event, a book signing was scheduled, spiced up with free pizza, a "party" atmosphere, and a small, unannounced live performance. Greg was joined by Rick Cona (bass), Paul Morabito (guitar), Zachary Koch (drums) and Ryan Moore (lead guitar, piano/organ). The band performed five songs under the name The Shitkicker Rebellion. As expected, it was a blast, leaving both the artists and audience wanting more. Within a couple of weeks, they headed to the studio to record two songs from the brief live set with the idea of releasing a single. This one.

The Nervous Eaters are an original rock and roll band from Boston, MA who helped define the Boston underground garage/punk rock scene of the late '70s. The band was formed by Steve Cataldo on the North Shore of Boston in Beverly, MA. Fueled by the raw sounds of Link Wray, early Chicago Blues greats and British guitar legends Beck, Clapton, and Page, the Nervous Eaters created a raw edgy song style uniquely their own. This single presents two previously unreleased tracks from 1980, taken from a reel recently found at Perfect Crime Studios in Watertown, MA. 100% Eaters sound: sharp guitars, hooks galore, their world-famous rhythm section and the unmistakable vocals (and songs) of Steve Cataldo.

Two awesome Latin jazz-funk gems for the dance floor, blazing with the rich brass section and percussion. Both songs are taken from mega-rare Venezuelan LPs released in 1976. Reissued on a 45 for the first time. La Retreta Mayor was founded and led by guitarist Alex Rodríguez. "Torta de pan," reminiscent of recordings of classic US funk bands such as the JBs, was originally included in their only and hard-to-find LP. On the flip side comes "La venganza" that was part of a mega rare soundtrack written and recorded by Pablo Schneider for the obscure Venezuelan sexploitation film Sobre la Hierba? Virgen. Both songs were released on Discomoda in 1976 and the original records are almost impossible to find in any condition. How cool and handy is to have both songs together on a DJ-friendly 45? First time 7" reissue.

"VP's archival imprint 17 North Parade goes esoteric with this Augustus Pablo set, a strange collection of odds and ends from the vaults of reggae producer Gussie Clarke. The title track comes from a single, 'Classical Illusion' and 'No Entry' are made available in their extended 12" mixes, and the two versions of 'Skylarking' are previously unreleased. This is well worth any dub collector's attention." --David Jeffries, AllMusic

The Slits' Live at the Gibus Club is pure, unfiltered chaos. Recorded in Paris on 26 January 1978, it captures the band at their wildest -- raw, untamed, and ready to explode. Just 14 years old, Ari-Up howls through "So Tough," "Love and Romance," and "Shoplifting" like she's starting a riot. Palmolive (drums), Viv Albertine (guitar), and Tessa Pollitt (bass) slash and pound through a jagged, off-the-rails set that feels like it could collapse at any moment. The crowd is tense, the banter is sharp, and the energy is electric. This isn't just a live album -- it's a time capsule of pure punk fury. Essential.

Carrying on from recent archival releases from masters of Indian classical tradition such as Kamalesh Maitra and the Dagar Brothers, Black Truffle presents a previously unheard recording of a concert by Pakistani vocalist Salamat Ali Khan. Born to a musician family in Hoshiarpur in the northwestern state of Punjab, Khan moved with his family to Lahore in Pakistan after the 1947 partition of India, becoming a child musical prodigy. Khan was a master of the kyhal form of Hindustani classical vocal music, a style integrating influences from Middle Eastern musical traditions that gives the singer a great deal of improvisational freedom. Travelling widely across the globe from the 1960s until his death in 2001, Khan approached ragas performed in the kyhal style as expressive forums for risk-taking improvisation, enlivened by ceaseless ornamental invention. This remarkable recording was captured by Michael Hönig (of krautrock legends Agitation Free) in concert at Berlin's Neue Nationalgalerie as part of the MetaMusik festival in 1974. Khan, who is also heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither), is joined by Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. The lack of a familiar underlying tanpura drone gives this performance a weightless, floating quality, with all three of the musicians playing masterfully with the interaction between silence and the pulse propelling each section of the raag. Virtuoso tabla interjections at first barely state the tempo, and the interplay between musicians is so spacious that we hear scraps of audience noise and the squeak of the harmonium's mechanism in between the notes. Gradually picking up rhythmic definition and melodic complexity, after around fifteen minutes the music builds dramatically, with Khan letting out emotive yelps and swooping scalar shapes ranging across his full vocal range. Accompanied by stunning black and white concert photographs, the LP also contains a moving and entertaining recollection from acclaimed German musicologist Peter Pannke, looking back on his experience assisting Khan and his musicians in Berlin at the Metamusik festival (including a mouth-watering description of a feast cooked by the maestro himself). As Pannke describes in his account of attending the concert, the beauty and spiritual intensity of this music leaves the listener speechless.

"Dive into the evocative soundscapes of the past with the first ever vinyl reissue of Piero Umiliani's 1972 library masterpiece, Guerra E Distruzione. Known for his innovative and genre-defying compositions, Umiliani's work on this album encapsulates the raw emotions and tumultuous energies of war and destruction through a unique blend of orchestral finesse and experimental brilliance. This exclusive reissue has been remastered for vinyl by Davide 'Bassi Maestro' Bassi to capture the full depth and richness of the original recordings, bringing to life every nuanced note and intricate layer. Presented in a stunning gatefold jacket with opening in the inside, replicating the original pressing, the album's artwork is a tribute to its historical significance and artistic value, offering fans and collectors a visual and auditory feast. Limited to just 500 copies, this release is a rare gem for connoisseurs of library music, soundtrack enthusiasts, and vinyl aficionados. Immerse yourself in the hauntingly beautiful and profoundly stirring world of Guerra E Distruzione, a timeless work that stands as a testament to Piero Umiliani's enduring legacy in the realm of cinematic soundscapes."

2025 repress. Kalita Records unveil the first ever compilation focusing on the phenomenon of "Burger Highlife", a crossover of West African melodies with synthesizers, disco, and boogie that took over Ghanaian airwaves during the 1980s and beyond. Highlighting key recordings from genre-defining artists including Thomas Frempong and George Darko, as well as more obscure sought-after tracks by elusive bands such as Aban and Uncle Joe's Afri-Beat, Kalita come to the rescue of audiophiles, DJs, and music-lovers alike with Borga Revolution! The 1970s had witnessed an increased Western airtime and physical presence in Ghana introducing funk, soul, and disco sounds to the region. By the turn of the decade the country was also enduring economic turmoil, with rising poverty, military dictatorships, and long periods of enforced curfews (amongst other factors) making it impossible for artists to survive. As a result, many Ghanaian musicians with a broader outlook began to pursue their careers in the west, moving to both Europe and America in search of stardom. It was here that Ghanaian musicians developed a digitized version of highlife music which fully embraced Western contemporary music styles and newly introduced technology such as the Yamaha DX7 synthesizer and various drum machines. It is in this context in which the evolution of Ghanaian dance music and the emergence of "Burger Highlife" was born. With Borga Revolution!, Kalita endeavor to tell this story, with prominent and lesser-known musicians' accounts and documentary evidence providing a comprehensive understanding of this shift to the digital age. Also features Native Spirit, Wilson Boateng, Paa Jude, and Dr. K. Gyasi's Noble Kings. Includes 16-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos. Gatefold sleeve.

2025 repress. The very first commercial release of two legendary remixes of Arthur Russell's In The Light Of The Miracle. Both are widely regarded as transcendent masterpieces and very much befitting of the title "holy grails." At last, these jaw-dropping mixes are widely available to every Arthur fan in the world. This is musical perfection. The deep Loft classic "In The Light Of The Miracle" remained unreleased during Arthur's lifetime, finally discovered when Phillip Glass included the original version on Another Thought on Point Music in 1993. The story goes that Gilles Peterson heard the remixes on a visit to the Point Music offices and wanted to release them on Talkin' Loud. These remixes both extend and undeniably enhance the original, elevating it to new heights. The 13-minute remix on the A-side is by Danny Krivit and Tony Smith with editing duties performed by Tony Morgan. The "Ponytail Club Mix (Part 1 & 2)," produced by Tony Morgan in the mid-'90s, is in a more up-tempo style, with vocals higher in the mix, the BPM upped to 120 and the addition of a housey 4/4 kick drum. A 14-minute epic, you could say this is a more straight ahead "club-friendly" mix. It also has some really interesting vocal parts not used in the other versions, including some vocals from guest poet Allen Ginsberg. These remixes are part of the same original project that also produced the Another Thought album so it seems only right that they have a sleeve that matches. Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year.

Region Code: 0. "The Rock Prophet is the best kept secret of rock and roll, and only rock's mighty heroes know about Link Wray and his infamous three chords. An unlikely figure responsible for the birth of rock and roll, music superstars such as James Brown, Jimi Hendrix idolized him, and Jimmy Page said he would have never picked up a guitar if he hadn't heard him on the radio. The Native American musician catapulted into the spotlight with his iconic song, 'Rumble.' Born into poverty, he faced adversity his whole life. He was pursued by the Ku Klux Klan, mis-represented by record companies, he even lost a lung during the Korean War and was told he could never sing again. Featuring an A-lister cast of rock legends such as Pete Townshend, Jimmy Page, and Dan Auerbach, director and media-industry veteran Jon Brewer (BB King The Life of Riley, Nat King Cole: Afraid of the Dark) and iconic Music Doc Producers, Cardinal Releasing tell the story of The Rock Prophet: Link Wray for the first time on screen. Why is it that most people don't know about this foundational figure in the history of rock music? The Rock Prophet looks at his life and asks why."

2025 restock. Reissue of Ital Dub, originally released in 1975. This is Augustus Pablo's first collaboration with King Tubby.

Repressed. "Years past the space time of Automaginary, Bitchin Bajas and Natural Information Society have reported back at last from beyond. If the new title doesn't clue you, Totality brings good news. Since their first collaboration, the path ways that lead from Natural Information Society's ecstatic all-world jazz to Bitchin Bajas' microtonal soundscapes have grown ever finer in their articulation. Across the spectrum, the septet balance a deeply searching mood with wonderfully in-pocket production feel. This makes for collective aural transport of the highest order to all those listening in. In the time since their 2015 first convergence, the Natural Information Society have released four albums (one in collaboration with Evan Parker, one with Ari Brown) and Bitchin Bajas five (one a soundtrack, one with Bonnie 'Prince' Billy, one featuring the songs of Sun Ra). Given the multivarious paths both groups have traveled, it makes sense that their second convergence seems to emanate from centuries, eons beyond or below -- some undefinable elsewhere -- from their first. Totality is that. These days, Natural Information Society is populated differently. From the sextet NIS that co-created Automaginary, Joshua Abrams, Lisa Alvarado and Mikel Patrick Avery remain. In the stead of the departed former players is Jason Stein on bass clarinet. This might account for some mere impression of aspects of time, space and evolution to be found here -- but then again, Bitchin Bajas flow on in their long-standing trio configuration (Cooper Crain, Dan Quinlivan, Rob Frye), so the 'people in the room' theory of how Totality ever got this way will only take us so far. Recorded in a single day with Greg Norman at Chicago's Electrical Audio, then slowly considered into the finished record we hear here, Totality is a sweet-tempered second child. It experiences time in ways the first kid didn't. If you're in it for slow-shifting trance formations, it's gonna be cool. There's lots here for you, lots of simmering time and synth atmospheres dappled with radiant woodwinds -- but there's some head-snapping hypno-rhythms that stand apart from the groove energies of the first one. It's just natural facts: two different days in time separated by years, with the experience of several live encounters between the two groups in between. Beyond that, only the music can say anything else. That said, here are a few thoughts from this listener's log... The low-key revolutionary thump of 'Nothing Does Not Show' and 'Clock no Clock' notwithstanding, Totality charts impressive new launch angles from NIS & BB's improvisatory heart, with their careful listening and response time continually redefining the space in a relaxed manner that rewards deep zoners. Additionally, their blended corps assimilate marvelously on Abrams' composition, 'Always 9 Seconds Away.' Here, and with the aforementioned groovers, the collective resonates beyond familiar kraut/spiritual/minimal power lines, bringing new time conceptions to bear in the always-expansive space of this album event. It's about time we got back to the singularly-divined space of Natural Information Society & Bitchin Bajas with Totality. That's the best way to way to define this new music -- it's about time."

Luritja artist Keanu Nelson traces the afterglow of Wilurarrakutu with a two-track 7", cut from the same home-studio haze with producer Yuta Matsumura. The pair continue their singular weave of community-rooted storytelling and elemental electronics, shaped with the gear at hand. Hints of YouTube hip-hop and emotionally charged piano ripple through "Place Where I Go," a dubbed-out reflection on the daily realities of life in Papunya, Nelson's desert home. "Kapi Ngalyananni" finds Nelson singing in language, a mesmeric water song bridging the personal and ancestral, with elevating chords, clapsticks, and Matsumura's parched melodica lines. These remote dispatches carry a vital new voice from the heart of the desert, where tradition and sonic experimentation delicately converge.

LP version. Afrosonica is a multidisciplinary project developed alongside an exhibition at the Museum of Ethnography in Geneva (MEG) in 2025. It explores African and Afro-diasporic sound through critical, artistic, and sensory lenses. The record, Afrosonica: Soundscapes, features commissioned works by KMRU, Midori Takada, Yara Mekawei, and Ntshepe Tsekere Bopape (Mo Laudi). Through sound art, they reactivate museum collections and explore links between memory, identity, and diasporic trajectories. Together, these two objects offer a polyphonic and critical reflection on how sound can carry, question, and reimagine histories. The International Archives of Popular Music (AIMP), affiliated with the Ethnographic Museum of Geneva (MEG), is a label and collection dedicated to the preservation of world music. Founded in 1944 by musicologist Constantin Brăiloiu, it gathers over 18,000 recordings, from wax cylinders to digital formats. AIMP releases albums and collaborates with artists such as Midori Takada, exploring the connections between sound archives and contemporary creation. Through these projects, the label preserves and reinterprets musical traditions on a global scale.

"Four Flies Records presents Paesaggio Bellico, a collection of unreleased music from legendary composer and multi-instrumentalist Alessandro Alessandroni. Paesaggio Bellico is a true gem hidden within the vast treasure trove of Italian film scores and library music. The album brings together themes and atmospheric pieces inspired by the world of war, viewed not just from a military standpoint, but also through a deeply human and existential lens. The LP version features 18 tracks, meticulously unearthed from scores written and recorded by the maestro between 1969 and 1978 for television documentaries and war films. Alessandroni's war-inspired music masterfully balances action, suspense, and introspection. Expansive, panoramic themes give way to anxious, tormented moments. Horrifying visions are countered by calmer atmospheres, and glimmers of hope soften the intensity of pain. Each track embodies the unique sound that has made Alessandroni an irreplaceable figure for soundtrack and library music enthusiasts. His signature whistle -- so unmistakable for generations of fans of the genre -- soars above delicate 12-string acoustic guitar arpeggios. More dramatic pieces feature his iconic Fender Stratocaster, equipped with a fuzz distortion pedal. And, of course, Alessandroni's vocal group, the Cantori Moderni, a constant presence in his arrangements, contribute, this time lending their voices to the more unsettling aspects of military psychology. The release is enriched by original artwork from Eric Adrien Lee, who reimagined the 1970s graphic design of Italian war-themed library albums. The vinyl LP is housed in a tip-on hard cover (the kind used for higher-end productions during the golden age of Italian soundtracks), with an inner sleeve featuring a color-inverted variation on the cover art, which makes the physical record even more unique."

Bárbara Salazar aka Barbarelle is an experimental multidisciplinary artist from Buenos Aires, known for her conceptual work as a DJ, creative director, and curator. In addition to her work as an artist, Barbarelle is the founder of Atlas, a platform dedicated to active listening through radio, live performances, listening sessions and more. She is also known for her radio show of the same name on Dublab, where she shares her unique approach to sound with eclectic selections and interviews with the likes of Air, BADBADNOTGOOD, Lucrecia Dalt, Juana Molina, and more. Celesta marks her first foray into composing and producing her own music; a debut that reveals the intimate, heartfelt territories of her creative universe. The culmination of years of composing for herself -- "behind closed doors" -- Celesta is a deeply personal, self-guided masterstroke of beguiling, free-flowing ambient soundscapes and DIY electronics. With Celesta, Barbarelle artfully transitions from ardent music aficionado to fully-fledged artist, unveiling an enchanting sonic world that has quietly matured over time. Celesta is an exquisite odyssey of sound, assembled from fifteen tracks recorded between 2022 and 2024 in Buenos Aires and Los Angeles. Conceived as spontaneous and intuitive explorations, many of these tracks were recorded in one take without technically-minded premeditation. The product of organic experimentation rather than concrete intention, Celesta is an authentic, candid record of emotions, memories, and profound interiorities. Over time, the pieces in this tapestry found a common thread: a conversation with the ethereal, defined by expressive, softly spoken eloquence. Celesta is an invitation to immerse yourself in soundscapes that merge to the point of dissolution, evoking the transparency of water and the lightness of a dreamlike world that transcends matter. Like the song of a siren, the voice becomes just another instrument, beyond language yet full of significance. A collection of songs that feels like opening a secret diary; a direct pathway to the center of the heart.

LP version. "Shards is a collection of pieces originally written for various film and TV soundtracks Tim Hecker has scored over the years. These compositions were originally written for scoring projects including Infinity Pool, The North Water, Luzifer, and La Tour."

LP version. A long-time best-seller of the MEG-AIMP collection and long out of print, this album of sanza music recorded among the Gbaya people of the Central African Republic by ethnomusicologist Vincent Dehoux was originally released on CD in 1993. It is now being reissued to coincide with the exhibition Afrosonica - Soundscapes. It features a selection of "songs for thought": an intimate repertoire conducive to introspection, accompanied by the repetitive, meditative sound of lamellaphones.

Emerging from the Minneapolis underground and heading straight towards the sky, IE arrive on Quindi with a full-length album of sparkling, sophisticated wonder. Touching on kosmische grandeur, Riley-esque cyclical patterns, lounge pop and dubbed out psychedelia, the five-piece allow their songs to unfurl with a natural, hypnotic elegance which can take many different forms. There's a loose, live quality to the recordings IE's members commit to record, which reflects their steady presence gigging in Minneapolis and the surrounding area. Since putting out their first release in 2016, they've glided from drone and synth-led jam band ambience (2018's Pome) to strung out, stoner-tinted slowcore (on 2023's outstanding Junk Body). For Reverse Earth they strike a smoky note that wraps itself around your skull across extended run times that evolve with a meditative poise. From the deceptively driving 4/4 thrum of the opening title track through "Divination Bag"'s snaking tryptamine mantras on to "Simplify"'s slow and smoldering indie-soul, IE's sound is bathed in a sumptuous warm glow that rounds out the lows and the mids, creating a nocturnal shroud in which their nebulous song structures can feel deliciously endless. Meredith Gill's drums provide rolling and tumbling undercurrents for the slowly shifting phases of the instrumental players, as Michael Gallope and Travis Workman trade keyboard parts and Workman and Sam Molstad chop and pick at their six-strings. Atop the thrum of her bass, Mariel Oliviera's vocal adapts to the scenery, from a distant, dreamlike siren song on "Reverse Earth" to a spoken word meditation on "Babel." There's space in each track for every instrument to cut through and have its moment, from a spiraling key vamp to a chicken-scratch guitar flex. The gently twisting, head-feeding groove exercises of the first four tracks give way to a slow and powerful march on "Dark Rome," closing the record on a noirish anti-ballad fit to peal out in the closing slot at Twin Peaks' Roadhouse (circa season three). As much as the tracks teem with composition, musicianship, and production to savor, a sound like IE's has a soporific quality that soaks in unconsciously. It's an evocative portal where the band feel as if they could just play on each piece ad infinitum -- where the time itself seems to dislodge from its moorings.