Double LP version. Includes printed inner sleeves. A North American road trip of coming-of-age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space's latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache, and unchecked, unrealized ambition. Across seventeen open hearted ballads recorded 1965-1974, the album collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock n' roll mania and buoyed by local newspaper ads promising fame and gold records. From the tangerine dreams of eight grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardleys' poetic Farfisa vamp and lilting folk pop, and The Landlords' weepy break up B-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illinois, Arkansas, Nevada, Massachusetts, Ohio, Idaho, Texas, and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centers, often barely a stone's throw from where their contributions were originally laid. A barely teenage Dennis Harte's "Summer's Over" perhaps best taps the collection's essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John's "Twilight Zone". Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set-up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallized by Colin Young's fastidious audio restoration, the original artwork of Elise Ganebin-de Bons and an aptly penned forward from Sonic Boom. Also features Decompressed Impossibility, The Living End, The Newports, The Landlords, The Prisners Dream, The Fortels, The Bohemians, Tresa Leigh, WM. Penn & The Quakers, Carroll, and Toe Head.

LP version. Reissue, originally released in 1967. In 1966, pianist Alexander von Schlippenbach assembled his first large ensemble to play his compositions "Globe Unity" and "Sun." This 14-piece band, which brought together some of the leading figures in European improvised music, would eventually expand -- incorporating not only Europeans but also American and Asian musicians -- and assume its rightful name: Globe Unity Orchestra. In its nascent outing, beautifully recorded at Ariola Studio in Cologne, Schlippenbach's band was already sensational, performing at various festivals and solidifying the reputations of some of its star players. Most notably among these was a 25-year-old saxophonist named Peter Brötzmann, whose whole band -- saxophonist Kris Wanders, drummer Mani Neumeier, and bassist Peter Kowald, the latter of whom would for a period assume nominal leadership of Globe Unity -- was incorporated into the large Schlippenbach group. Globe Unity was Brötzmann's first outing on LP. Kowald's too. And future drum heroes of the krautrock genre, Neumeier (with Guru Guru) and Jaki Liebezeit (with Can) constitute the incredible rhythm section. If you factor in German early-free-music mainstays Gunter Hampel (here on flute and bass clarinet, no vibes), trumpeter Manfred Schoof, bassist Buschi Niebergall, and tenor saxophonist Gerd Dudek, Dutch saxophonist and clarinetist Willem Breuker, French trumpeter Claude Deron, the enormity of the band's potential becomes apparent. Add Schlippenbach himself, an absolute cyclone on the piano as well as prominent tubular bells and gong, and the global scene is set. Schlippenbach's unique position at the time, as one of the foremost players in German free music, but also as a rising young composer who'd studied with Bernd Alois Zimmermann, allowed him to serve as exactly the right conduit for several approaches to creative music, from introducing his graphically notated scores to making a perfect context for the debuts of future star improvisors Brötzmann and Kowald. Schlippenbach's Globe Unity was first issued on SABA in 1967, then MPS a couple of years after that. It has long been out-of-print and has only ever appeared on CD in a tiny Japanese version published in 1999. Corbett vs. Dempsey's reissue comes with facsimile cover. The music was remastered from the original tapes and is licensed directly from MPS. Anyone interested in the history of improvised music needs to hear Globe Unity, which retains a sense of urgency 56 years after it was waxed.

The first progressive girl group of the French Occitan language pop scene bring you folk funk, sun-baked bossa, Coltrane jazz and their own brand of punky "Dizco Rural" against an untouched French Balearic backdrop spanning the late '70s and '80s. If even the most assiduous of European record collectors consider the Occitan language music scene to be France's best-kept secret then it's as fair to say that the incredible multifaceted recordings of langue d'oc prog girl group Lei Chapacans has spent the last four decades hiding in plain sight. In all fairness this overlooked treasure chest of minority language excursions into folk funk, Balearic, bossa, John Coltrane-penned jazz, baroque psych, Palestinian poetry, comedic synth skits (and even the rawest form of femme-fronted multi-lingual punky disco) has been stowed away in inconspicuous photographic record sleeves, falsely evoking something closer to contemporary C&W while oft-misplaced in record shop cassette racks alongside "traditional" spoken-word and scholastic albums. So, for the uninitiated, don't be too hard on yourself. The fun starts here. For those who are familiar with the rare and sought-after one-off solo album by Occitan singer Miquela (FKR 103LP) and have craved for more, then you've come to exactly the right place. Lei Chapacans (a name that roughly translates to "The Vagabonds") is the all-girl vocal group assembled by Miquela herself just two years after her debut release, having toured the world and snubbed major label record deal offers with a steadfast allegiance to the protection of the Occitan language in which this album is primarily penned and performed (minus a small amount of German and sarcastic English in one rebellious instance). For European collectors with a penchant for French savoir faire, but have further yearnings for folkloric femme funk, then it's time to look towards the Occitan sunset where you will meet Lolo, Miquela, Sophie, Irena, and Denise. These amazing, and undeniably culturally important recordings might have taken some time to find a wider audience, but for music lovers, crate diggers and vinyl vultures alike there are still a lot of tasty morsels out there to be scavenged and devoured, ask any self-respecting Chapacan and they'll concur wholeheartedly.

Reissue, originally released in 1974. Our Swimmer present this first-ever vinyl reissue from a UK songwriting hero. English singer-songwriter Bridget St. John grew up in a musical family in Surrey, beginning on piano, viola, and trumpet before picking up the guitar in high school. In the late 1960s she met the brilliant John Martyn who quickly became a fan and brought her music to a larger audience, which included the legendary DJ John Peel, for whose label Dandelion St. John recorded her first three albums. Jumble Queen, St. John's fourth album, was originally released in 1974 on Chrysalis, following the dissolution of Peel's label. Featuring help from members of Jethro Tull, King Crimson alum Michael Giles, American guitarist Stefan Grossman, and, most surprisingly, founding Whitesnake guitarist Bernie Marsden, the album is heady, dreamy folk-rock that stands up alongside the singer's more well-known Dandelion albums. St. John's voice -- best described as a more refined Nico -- is the focal point here. Her breathy, earthen tones perfectly complement the lovelorn lyrical content. With a more subdued sound than the rock-heavy backing group might suggest, Jumble Queen is an essential bit of UK folk-rock and singer-songwriter brilliance. After this album, St. John moved to the States and all but left the music business, not releasing another album for more than twenty years.

Reissue, originally released in 1979. "This is an album that takes you on a supernatural journey to the discovery of ancient sounds that move our souls in the deepest of manners." Veronique Chalot was born in Normandy in the north of France, but it was in Paris that she first became interested in traditional French folk music. In 1974 she landed in Rome where she soon earned a small, but dedicated following. In 1979 she recorded her first studio effort, J'ai Vu Le Loup, for the Italian Materiali Sonori label. Over the past 30+ years she has given hundreds of concerts, presenting her repertoire of traditional French/Italian folk songs and building awareness of that fascinating patrimony of antique melodies and dance rhythms. She passed away unfortunately on the 3rd of July 2021. Fully licensed. LP includes inlay card featuring an exclusive essay by Emma Tricca; 180 gram vinyl; edition of 500.

"First glance into Veronique's voice and you're under a spell she's unaware of casting. Like hearing the magical sound of Ulysses' sirens, you want to throw yourself into the deep blue waters of this record, its saucerful of secrets. Like finding the hidden doors into an ancient world of court jesters, magic flutes, troubadours, and love potions, her delivery, both on the instrument and the singing, is of a beauty impossible to comprehend. Pointless for me to dissect every song or try to draw the history of each and every poem or musical piece. This is an album that takes you on a supernatural journey to the discovery of ancient sounds that move our souls in the deepest of manners. All of this and more was how I felt back in the mid-90s, as a kid, when I first saw Veronique playing in a small club in Rome called Folkstudio. This record captures all the wondrous sensations I had seeing her perform; a life-changing experience. Bon voyage; she'll take you places." --Emma Tricca

The first widely available edition of this singular, long-form composition, Within Our Reach: A Symphony Of The Port River: Soundscapes, by Port Adelaide, Australia-based pianist, composer, writer and researcher Chester Schultz. Originally self-released by Schultz in 1996, on his own Waterhole imprint, Within Our Reach was initially distributed free as a community resource, and not available for sale. De La Catessen's reissue is an invaluable contribution to developing histories of music and composition from Adelaide. It also offers the chance for germane reflection on the implications of late capitalism, gentrification, and "development" for both landscape and inhabitants. For Within Our Reach, Schultz has mapped out, via field recordings, an intricate, generous composition that documents the sounds of the Port River tidal inlet area of the greater Adelaide city. The recordings cover the period between 1989 to 1995, during which time the last of the industries based on the banks of the Port's higher land closed; there's something of a ghosted psychogeography of industry past during parts of Within Our Reach, with Schultz's evocative use of field recordings offering the listener clues as to the ongoing spatial rearrangement of the Port River area. Throughout Within Our Reach, you hear the interaction of multiple phenomena. The cawing and singing of birds, individual and en masse, broadcasts out over the submerged drone that modern transport "gifts" to the urban soundscape; for example, a rambling human voice, singing the traditional song "Down By The Riverside", is tangled up in the hum and purr of traffic, and the call of the seagull. Water and wind interact; the wind plays the guitar strings like an Aeolian harp; on "Hulks", Schultz and friends 'play' the debris of the mudflats, tapping on rusty bolts and rotting wood; a scherzo of people, wandering through the everyday, leads into a documentation of families gathered on the mudflats, playing guitar, recorder and clarinets, humming along idly; story fragments drift by, from Schultz and others. The delicate balancing act undertaken here, between the sounds of the natural world, the intrusions of the industrial world, and the constant negotiations of the people and animals that live within, and around, these spaces, is testament to Schultz's sensitive ear and careful, considered composition. Dedicated to theologian social critic Jacques Ellul, composer and ornithologist Olivier Messiaen, soundscape composer R. Murray Schafer, and the residents of Port Adelaide, Within Our Reach is a deeply moving document of the transformation of public space, and a profound, genuinely critical "music of place".

"The first survey of the Fluxus cofounder's prolific avant-garde output, from eight-foot-tall books to make-a-salad performances. The American artist Alison Knowles' (born 1933) groundbreaking experiments -- from painting and printmaking to sculpture and installation, sound works, poetry and artist's books -- have influenced art and artists for more than 50 years but remain relatively unknown among mainstream audiences. The first comprehensive volume on the artist, By Alison Knowles: A Retrospective presents more than 200 objects that span the entire breadth of her career, from her intermedia works of the 1960s to forms of participatory and relational art in the 2000s. The accompanying catalog features contributions by international Fluxus curators, historians and scholars, including lead essays by organizer Karen Moss, Hannah B. Higgins and Nicole Woods, and short contributions by Lucia Fabio, Lauren Fulton, Maud Jacquin and Sébastien Pluot. It also includes reprints of key articles by Benjamin Buchloh, Julia Robinson and Kristine Stiles, as well as a conversation between Alison Knowles and poet George Quasha. Richly illustrated with more than 250 images, the full-color catalog, designed by Kimberly Varella, includes a softcover lay-flat binding, special colored papers for each section, die-cut section dividers and a chronology. The cover of the book is a makeready (press sheets gathered from printing the interior of the book) produced during the printing of the interior pages. Each cover in the edition is unique." 300 pages. 1.2" H x 12.0" L x 8.6" W. Paperback

Reissue, originally released in 1976. Kaleidoscope of Rainbows in unmistakably a trait d'union between the British (orchestral) jazz-rock heritage and a more confident way of writing. Heading clearly to different directions, the album showcases the talent of the main composer with the singular talent of trumpet player Ian Carr (Nucleus), cello player Paul Buckmaster (otherwise known for his collaboration with David Bowie and Miles Davis) and master clarinet player Tony Coe. This is the final part of an Ardley trilogy, preceded by Greek Variations (1969) and A Symphony of Amaranths (1971). Here, Neil Ardley uses Balinese scales -- the pelog, a Gamelan scale comprising seven notes, and the slendro, an older, more commonly used Gamelan scale. They are used in a variety of note patterns, each unique combination the basis of a series of "Rainbow" compositions, from "Rainbow 1" to "7". This brand new concept is fitting, showing different strategies and a more exotic feel with a certain minimalist counterpoint. A new beginning to a certain degree, with the spacey 1979 masterpiece Harmony of the Spheres soon to come. Fully licensed. 180 gram vinyl.

"Cover art by Detroit-based graphic artist Lucy Cahill depicts Wanda Jackson as an alien because why not; with additional recent works by her inside the issue. Glasgow's justly beloved Belle & Sebastian, hot on the heels of a US tour and their best record in ages, deliver unto us decades' worth of posters and ephemera, with an interview with Stuart Murdoch on the history of the group's aesthetics. Novelist and longtime friend David Gordon lets us run the full text of his archival talk with celebrated painter and author Duncan Hannah (RIP -- and yes he goes into detail about the Lou Reed incident described in Please Kill Me). Kevin Esquire spent hours with Motown's almost-star from the 1960s and '70s, Christina Carter, and we have unpublished archival images and many amazing anecdotes. Speaking of Motown, did you know that the son of the great Marxist/Black liberation activist CLR James was in 'mixed race' band Odyssey, who had a record on Motown? We have a great feature on that. Fascinating discussion between guitarist-singer-songriter-innovators Chris Forsyth and Steve Wynn. We have an amazing excerpt from Ben Berton's new book on Dan Treacy and the TV Personalities, detailing how the first 7" came together and John Peel inadvertently named the band. Nate Carlson goes deep on the Tony Iommi era of Black Sabbath. Why Buffy Saint-Marie matters, now more than ever, by writer and musician Emily Pothast. One of our favorite writers, Sara Jaffe, tells us how her own grandfather wrote the song 'I'm My Own Grandpa'! No, really! That alone is worth admission. Plus -- there's a terrific and long and excellently illustrated feature on the country and experimental steel guitarist Barry Walker Jr by Tom Humphrey. Our SF Indie Scene Report: 2022 is so well done that it's going to knock your socks off. Plus, Lucy Sante and Mimi Lipson and the tape column and Katie Lass on her soon-to-be classic Hypnopomp LP and the great Jay Ruttenberg on Sessa, whew. Plus, also of course beautiful images galore, and more besides."

Released for the first time in 2009, utp_ is the third installment of Alva Noto and Ryuichi Sakamoto's V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing ten-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work's debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards. Album art designed by Carsten Nicolai. Mastering by Bo at Calyx.

Radiation Roots present a reissue of Delroy Wilson's Captivity, originally released in 1973. Delroy Wilson was one of Jamaica's most soulful vocalists, and over a 40-year career the singer unleashed a flood of hits and a multitude of masterpieces. Born on October 5, 1948, in the Kingston neighborhood of Trenchtown, Wilson's phenomenal talent would be his ticket out of the ghetto, and his discovery by producer Coxsone Dodd in 1962 would change the path of Jamaican music. Released on Big Shot in 1973 and produced by Bunny Lee, Captivity is one of the true classics from Delroy's discography, back on vinyl for the first time since its original release.

2022 repress; Double LP version. Cameroonian musician Francis Bebey is truly one of a kind. He entered the music scene with his African compositions for classical guitar. He gave recitals while pursuing a career in journalism and then as an international civil servant. The same creative impulse also led him to write pop songs, some of which (based on novels he had written) became big hits in Africa and in the French-speaking world. But few people know that in the '70s, Francis Bebey delved into electronic music. The first electronic keyboards, organs and drum machines offered him new possibilities of totally controlling his compositions. He embraced the technique of "sound on sound" recording (recording several tracks, sequentially juxtaposed on the same tape). This new stage in his musical career included the production of several records (Savannah Georgia, New Track, Haiti), rarities both for their creative explorations as well as their manifestations on vinyl. This was a particularly rich period for him, as he tested the limitless possibilities of the medium, and made use of surprising and novel instruments. Incredible sounds -- in the literal sense of the word -- would soon appear on the planet Bebey. Full-color printed innersleeves with notes in English and French.

"Pure psychotropic madness. A screaming head on fire penetrated my chest, jolting me from the universal plane back to earth." Guitarist/singer/sonic alchemist Dave W's vivid fever dream ignited The Revenge of Heads on Fire, White Hills' latest release, which harnesses the energy of ferocious, hedonistic rock with blissful passages of dark ambience. Exploring themes of mortality, transformation and rebirth, the band reveals a spiritual depth unparalleled in previous works. The roar of fire, swirling of oceans and hallucinogenic visions can be heard throughout the 75-minute journey. From the intrepid prelude "The Instrumental Head" to the closing punk blaze of "Eternity", the album ebbs-and-flows, smoldering and seething in the middle with the 21-minute mammoth opus "Don't Be Afraid". The Revenge of Heads on Fire consummates Dave W's prototype for the 2007 release on Rocket Recordings, Heads on Fire, later picked up by Thrill Jockey. Six rediscovered songs accompany re-mixed versions of the original material, fulfilling the master arch of the pyre lit long ago. Recorded during the band's tumultuous early years, the music vibrates with the energy and volatility of a sonic boom. The album will be released on Heads on Fire Industries. "'Don't Be Afraid' alone makes this an essential listen for fans of contemporary psychedelia." --AllMusic

2022 repress. A proper reissue of Minnie Riperton's debut album Come To My Garden on GRT, originally published in 1970. Her name came to prominence with the highly influential Chicago band Rotary Connection, forerunners of the rock n' soul crossover. In addition to their own recordings, including their 1967 debut album Rotary Connection, the band is notable as the backing band for Muddy Waters on his 1968 psychedelic blues album Electric Mud. Standing on her own, Minnie cut a series of sublime albums moving in a more soulful way. Opening track "Les Fleur" is a shiny cover of a Ramsey Lewis -- who is musical assistant and contributor here -- classic number penned in 1968, literally a cornerstone for contemporary hip-hop and R&B being sampled by the likes of Jurassic 5 feat. Nelly Furtado, Damu the Fudgemunk, Dr. Octagon, and Cut Chemist, among others. Produced by Charles Stepney (already in with Rotary Connection and subsequently behind the desk with Earth Wind & Fire), the album benefits from its lushy orchestral arrangements, pushing the vocal duties of Minnie even forward (her five-octave vocal range, enabled her to sing in "whistle register" nevertheless). The jazzy soft-pop feel overall will mark comparison with Stevie Wonder, Riperton's future employer/mentor. Fully licensed. 180 gram, clear vinyl.

Limited repress. Reissue, originally released in 1978. The only album by Althea & Donna, a Jamaican reggae duo active between 1977 and 1979, mostly known for the number one hit "Uptown Top Ranking". "Uptown Top Ranking" was a song by Jamaican teenage singers Althea Forrest and Donna Reid, recorded when they were 17 and 18 years old respectively. Released in 1977, the song comprises the girls ad-libbing to deejay track "Three Piece Suit" by Trinity.

2022 restock; double LP version. 180 gram vinyl; includes CD. Tak:Til/Glitterbeat present the first ever reissue and remastering of Jon Hassell and Farafina's prescient, "Fourth World" masterwork, Flash of the Spirit, originally released in 1988. Propulsive Burkinese rhythms meet revelatory, ambient soundscapes. Co-produced with the legendary studio team of Brian Eno and Dainel Lanois. Composer and trumpeter Jon Hassell has been an elusive, iconic musical figure for more than half a century. He's best known as the pioneer and propagandist of "Fourth World" music, mixing technology with the tradition and spirituality of non-western cultures. In 1987 he joined with Farafina, the acclaimed percussion, voice, and dance troupe from Burkina Faso, to record Flash of the Spirit. While the album is a natural extension of those "Fourth World" ideas, and a new strand of Possible Musics, it also a distinctive outlier in the careers of both artists; an unrepeated merging of sounds whose influence still reverberates today. The eight members of the band -- who had also collaborated with the Rolling Stones and Ryuichi Sakamoto -- brought their long apprenticed, virtuosic drumming, and melodic textures (balafon, flute, voices) to the sessions. They built up layers and patterns of rhythm, while producers Brian Eno and Daniel Lanois (fresh off the success of U2's Joshua Tree) created a sonic atmosphere in which they could creatively intertwine with Hassell's digitally processed trumpet and keyboards. Despite their initial skepticism, the musicians from Farafina ended up relishing their interaction with the studio team and the trumpeter/conceptualist Hassell. The music that emerged was rich and groundbreaking, a move to transcend the boundaries between jazz, avant-garde classical, ambient and the deep rhythmic tradition embodied by Farafina. On "Out Pours", the groove simmers softly, led by shifting patterns on the balafon, while Hassell's heavily treated trumpet creates breathy swirls of sound that play and dance around them. Percussion leads on "A Vampire Dances," pushing and probing and seeming to force electronic shrieks as a response from Hassell's trumpet, while the keyboard creates a bed of sound that refuses to hold still. "(Like) Warriors Everywhere" takes that idea even further. Over Farafina's surging rhythms, Hassell's electric piano and trumpet dig deep into abstract, melodic ideas hinted at by the Bitches Brew-era Miles Davis band. Farafina create the rhythms and counter-rhythms that spring and move. A new, natural trans-cultural harmony is apparent on the final track, "Masque", where percussion and treated trumpet draw the listener along on a journey through shifting landscapes.

2022 repress. Jeff Mills's Waveform Transmission Vol. 3 initially came out in 1994 on Tresor Records. The eight titles on this album marked a turning point for Mills. It indicates a transition from the straightforward sound he had created through the early 1990s, into the different facets and sound palette he would develop through the remainder of the decade. It is a significant piece within Mills's oeuvre. This repress is a stamped and hand-numbered edition, limited to 1500.

The duo met on a rainy day in Tilburg (NL) while working for a dance project -- they came down from very different roads. Gao Fhunyue, a stage director-performer-musician chameleon, works alone or collaborate with Annalena Fröhlich (Robinrobin, Just Another Woman In Space), Thom Luz, Unplush, Peeping Tom, Dorit Chrysler, Ko Murobushi, Damien Jalet, The Scottish Dance Theatre, Bern Ballett, for a most colorful variety of venues in Europe. She is a member of the music association Bongo Joe (Switzerland). Sven Kacirek, an established musician living between Hamburg and Nairobi, who released several records on Honest Jon's and Bureau B and collaborated with several artists like Shabaka Hutchings, Ogoya Nengo, Marc Ribot, John McEntire, Sofia Jernberg, Nils Frahm, Hauschka, F.S. Blumm, and Stefan Schneider. Their encounter quickly revealed that both their musical sensitivity and their instruments (marimbas, drums, percussions, electronics, theremin, Buchla synthesizer, piano) matched stunningly, and that they had to play together. After a short while of rocky life adventures and theater projects in which they collaborated, their off rehearsal sessions would become a lively necessity. The wish to give birth to a project entirely their own, grew so strong that they locked themselves in Sven's studio at Jaffestrasse in Hamburg, and started working on the debut of their duet. They present and share with you their labor of love, in hope that it will be good to your heart. Includes printed inner sleeve and download code.

2014 reissue. Originally released in 1972. Album by the Australian folk duo Carrl and Janie Myriad.

Limited 2022 restock; originally released in 1987. 180 gram vinyl. "Although Pharoah Sanders was originally considered a firebrand, thanks to his wild early free jazz work in the '60s, his later records are actually more in the tradition of players like his one-time leader John Coltrane and, especially, Rahsaan Roland Kirk. The title track from this 1987 session could have been on any of Kirk's Atlantic albums, a mixture of gospel sway and free jazz honk that builds into a hypnotic swoon under Leon Thomas' rich baritone vocals. (Thomas also appears on his own composition, the blues 'If It Wasn't for a Woman,' and the closing 'Next Time You See Me.') On the extended, relaxed take of Coltrane's 'Equinox,' Sanders doesn't try to copy his former boss' phrasing, but there's certainly a Coltrane-like elegance to Sanders' lyrical solo. In fact, Sanders' playing on the standard 'Polka Dots and Moonbeams,' which also features a lovely Vince Guaraldi-like piano solo by William S. Henderson III, is downright pretty. Oh Lord, Let Me Do No Wrong is a mellow and peaceful set by a player who no longer needs to make noise; whether old-school fans will appreciate this is debatable." --Stewart Mason, All Music

LP version. "Extended guitar hero Oren Ambarchi returns with Shebang, the latest in the series of intricately detailed long-form rhythmic workouts that includes Quixotism (2014) and Hubris (2016). Like those records, Shebang features an international all-star cast of musical luminaries, their contributions recorded individually in locations from Sweden to Japan yet threaded together so convincingly (by Ambarchi in collaboration with Konrad Sprenger) that it's hard to believe they weren't breathing the same studio air. Expanding on the techniques used on Simian Angel (2019), we can never be entirely sure who is responsible for what we hear, as Ambarchi's guitar is used to trigger everything from bass lines to driving piano riffs. Picking up from the staccato guitar patterns that ran through Hubris, Shebang's single 35-minute track begins with a precisely interwoven lattice of chiming guitar figures, expanding Hubris' monolithic pulse into a joyous, hyper-rhythmic melodicism that calls up points of reference as disparate as Albert Marcoeur, early Pat Metheny Group, and Henry Kaiser's It's A Wonderful Life. Building from isolated single notes into densely layered poly-rhythms, the muted guitar tones are joined by subtle touches of shimmering Leslie cabinet tones and guitar synth. Simmering down and funneling into a single note, the guitar stew is soon thickened by Joe Talia's propulsive ride cymbal, which blossoms into a beautifully flowing yet rigorously snapped-to fusion funk, whose ever-shifting details skitter across the kit -- think '70s heavyweights like Jack DeJohnette or Jon Christensen. An unexpected entry of guttural bass clarinet licks from Sam Dunscombe begins the series of instrumental features that pepper the remainder of the piece. Soon we hear from the legendary British pedal steel player B.J. Cole (hopefully known to some listeners from his outer-limits singer-songwriter masterpiece The New Hovering Dog or, failing that, 'Tiny Dancer'), whose languorous yet uneasy lines float in and out of a shifting rhythmic foundation supported by a single note bass groove, cut through with aleatoric synth articulations. Though single-mindedly occupying its rhythmic space throughout, Shebang's dense ensemble sound is carefully composed while drawing on the free flow of improvisation, with individual voices momentarily coming to the fore and subtle changes in harmony and texture. Perhaps the most surprising of these shifts occurs around half-way through when the smoke of a buzzing synth crescendo from Jim O'Rourke clears to reveal something like a piano trio, with Ambarchi's guitar-triggered piano patterns providing restless accompaniment to flowing melodic lines from Chris Abrahams of The Necks, while Johan Berthling's double bass and Talia's drums fill out the bottom end. Before long, things take another left turn as Julia Reidy's rapidly picked 12-string guitar lines take center stage, with O'Rourke's monumental synth clouds hovering in the distance. The ensemble surges through a slow series of harmonic changes before the whole shebang dissolves into a delirious synthetic mirage. Bridging minimalism, contemporary electronics, and classic ECM stylings, and bringing together a cast of preternaturally talented contributors, Shebang is unmistakably the work of Oren Ambarchi: obsessively detailed, relentlessly rhythmic, unabashedly celebratory."

Pilz present a reissue of Bröselmaschine's self-titled debut release, originally released in 1971. What an amazing improvement in the sound of this 50-year-old recording. With the help of the original analog master tapes and state-of-the-art technical equipment, the sensitive melodies of the original cast appear in a wonderful light of romance and empathy. Remastered at Dierks Studios, where the recordings were also made. Produced with the assistance of Dieter Dierks.

"Languorous atmospheres, lovely vocals, iridescent melodies, and shimmering solos combine on Bröselmaschine's self-titled 1971 debut album, the apotheosis of the German folk-prog scene. The quintet took their cue from England's Canterbury scene and even a traditional folk song, 'Lassie,' from that green and pleasant land. The band's signature sound was derived from Jenni Schucker's delicate and at times ethereal vocals in harmony with Willi Kissmer's stronger tenor, and that sound took on a Teutonic tinge when the pair switched from English to German lyrics. But it was the group's extraordinary use of acoustic and electric guitars that cemented its reputation . . . So self-confident were the bandmembers that they had no need for flashy musicianship, preferring instead to impress by the very understatement of their solos. The ambience is exquisite, casting a spell that isn't broken until the final note fades. A masterful album from start to finish." --Jo-Ann Greene (AllMusic)

2022 repress; LP version. This is the third album by Einstürzende Neubauten, also known as Halber Mensch, originally released in 1985. The album opens with the startlingly oppressive, almost fully a cappella title track, with contrapuntal, atonal, en masse chanting. The album progresses to include quite a repertoire of electronically-generated sounds, finding the band developing their mishmash of industrial experimentation matched by terrifying clangs, stomps, and of course, the theatrical, poetic vocal delivery of Blixa Bargeld. An incredibly aggressive album, with insistent, pounding rhythms and razors on metal, and Bargeld's voice dominating your dreams for a month after listening.

2022 repress on yellow vinyl. What exactly happened in the Italian underground/post punk scene of the '80s, is not entirely clear. Therefore, this collection of 13 incredible tunes helps track down the feeling and focuses on the blurry images of a period that was mixing influences from the UK/USA scenes with a more "national" approach to new music developments. The damage began in 1977 when a series of urban/suburban musical agitators, whether skilled or complete amateurs, decided to embrace instruments as weapons for a war against sonic stereotypes. Here's the result: a multiform sonic attack that marks the history of a movement that may have remained local in most cases but whose echo reflected the amazing creativity of a generation. Features Neon, Панков (Pankow), Le Masque, N.O.I.A., State Of Art, Jeunesse D'ivoire, Monuments, Rats, Fockewulf 190, Luc Orient, Illogico, 2+2=5, and La Maison.

Limited 2022 restock. Exact repro, originally released in 1982. Featuring John Hicks (piano), Walter Booker (bass) and Idris Muhammad (drums). "Sanders performs 'It's Easy to Remember' (in a style very reminiscent of early-'60s John Coltrane), an original blues, and two of his compositions, including the passionate 'You've Got to Have Freedom.' The musicianship is at a high level and, although Sanders does not shriek as much as one might hope (the Trane-ish influence was particularly strong during this relatively mellow period), he is in fine form." --All Music Guide

A thrilling collaboration between the acclaimed Belgian composer/instrumentalist Catherine Graindorge and the ever-iconic Iggy Pop. Haunting string and electronic textures melding with Iggy's baritone, cautionary tales. A deep dive into the heart of these unsettled times. It all began with the radio. Together, they've forged a meeting of minds and spirits that's resulted in the The Dictator, an EP that combines their talents: her music, his voice. "He played two tracks of mine on his BBC 6 Music show,"Graindorge explains, "so I sent an email addressed to Iggy to the producer of the show, saying that I was very honored and that I'd be delighted to work on a track with him. It was completely spontaneous; I never thought anything would really happen." But it did. To her disbelief and absolute delight, a reply came two days later: Catherine, I would love to make a track, Iggy. In addition to solo work and being part of the band Nile on WaX, she's worked with artists like Nick Cave, Hugo Race and esteemed producer/musician John Parish. Still, she expected nothing more than to add her violin to a song of his. Instead, she recalls, "Iggy said to send him a track. I began to improvise, and came up with three pieces at home. We communicated and began to exchange ideas." Her wish turned into a fever dream of creativity. "Over Christmas I recorded another track that was more rock. That grabbed him. Then he wrote the lyrics for 'The Dictator' two months before Russia invaded Ukraine." His inspiration came from her sounds and musical structures, and the world he sees around us. "There is a gothic masonry at work here, with a very old force abetted by very cunning structures," Iggy observes about Catherine's music. "My contribution is to report, through words, the current threat, and the longing for happiness and peace."

LP version. Includes printed inner sleeve; includes download code; edition of 700. "'Is it too Sam Prekop?', Sam Prekop asked me in an email conversation in which he delivered his wonderful illustrations which would become the front cover artwork. No, it is not too Sam Prekop at all. His drawings as well as the freeform music on this album are subtly different from anything else he has produced in his solo career. Regardless of the style he is working in, Sam Prekop's music is always imbued with a sense of wide-eyed discovery and unpredictable exploration. On The Sparrow, Sam Prekop expands his electronic cosmos with a remarkable expression of timeless simplicity and coherent execution. It's deceptively simple music that feels accessible without abandoning the experimental legacy of the modular hardware system which serves, besides a polyphonic Prophet 5 synthesizer, as the center piece of this production. The side long title track 'The Sparrow' opens this album with unpredictable synth dissonances and broken step sequenced patterns. 'Palm' brings the set to a close with its irregular fragility while 'Fall is Farewell' is built around a yearning brassy fanfare which resembles the noir romance theme of Michael Smalls soundtrack for the 1971 film Klute. The sparkling essence of 'Step and Stair' seems a suitable space for unforgotten summer holidays of our childhood. On his first solo release for Düsseldorf's label TAL, electronic experimentalist Sam Prekop offers his most captivating yet stripped-down modular music. All compositions on The Sparrow were gradually developed piece by piece. Best known for his jazz-leaning tropicalismo with The Sea And Cake, a key part of the Chicago scene with the likes of Tortoise or Chicago Underground Duo, he has in recent years established himself as a modular synthesist, building his instrument meticulously to create a unique system that allows him to create highly individual music through mechanical patterns, repetitions and chance. In this context his widely acclaimed community forming public tutorials on fb should be noted as well. The Sparrow is an exciting new chapter in his development as a constant creative influence." --Stefan Schneider, Düsseldorf August 2022

Double LP version. Silver pantone, UV spot varnish. 180 gram vinyl. Tresor Records announce forthcoming special editions of the entire catalog of Drexciya and related projects. 2022 marks the 20th anniversary of the passing of James Stinson and the releases of the Transllusion and Shifted Phases albums. In recognition, the rights holders, their families, and the label have commissioned Detroit-based contemporary artist Matthew Angelo Harrison to re-conceptualize the covers of Tresor's Drexciya-related catalog. The series starts with Neptune's Lair, first released in 1999, with the Hydro Doorways single arriving shortly after. These records, individually and as a catalog, represent some of the most crucial moments in the Tresor label history, with the sound and mythic world of Drexciya undoubtedly inspiring generations. Detroit's Drexciya, with their close ties to Underground Resistance, emerged in 1991. With an encoded agenda and socio-political mission aimed at the world, a new page of Drexciya's grand history was written entitled Neptune's Lair. Drexciya is the sound of originality embodying all the musical styles and history that Detroit the city has seen and been part of. Drexciya is music for change that defies categorization; traditionally armed with freestyle electro, techno, funk, and jazz while covering an entire spectrum of moods. While words won't do Neptune's Lair proper justice, rootsy Kraftwerkian techno, gives way to G-style electro, while jazzy freestyle funk evolves alongside classic 4/4 club sound. Although the roots run deep, Neptune's Lair heralded an important new chapter in the musical connections between Detroit's finest and Tresor.

Son of Chi returns to Astral Industries, alongside Spanish artist Clara Brea, for the collaborative release of AI-29. A product of fate, chance experiments, but most of all, sensitive artistry -- The Wetland Remixes exists as a confluence of two kindred musical spirits, a wayfaring epic that draws together a rich archive of ecological field recordings, live instrumentation, and higher inspirations. Ahead of Hanyo's concert at Calma (Madrid) at the end of 2019, the curators organized a special dinner and arranged the meeting of Clara and Hanyo. As Hanyo recalls, "It was like stereochemistry. There was an instant match and understanding, and basically we decided in a split second to exchange recordings and to collaborate on future live and studio experiments." The auspicious meeting of the two ignited a remote exchange of materials and ideas, as the world descended into a series of pandemic-related lockdowns. The first of said recordings included the stems of Clara's Wetland Project -- a site-specific audiovisual project originally produced for Eufonic Festival (Spain), using field recordings from the Ebro Delta nature reserve (one of the most threatened regions of climate change on the Iberian Peninsula). From this initial impetus, Hanyo began working on the first sketches of the album back in Rotterdam, Netherlands. Just like their meeting in Madrid, the project developed naturally and spontaneously with extraordinary ease. Later, Hanyo started adding field recordings from the Magic Cave and Wetlands of the "Kallikatsou" (Patmos, Greece) as well as organic and acoustic overdubs, featuring bass, drums, percussion, guitars, oud, piano, Hammond organ, Wurlitzer, flutes, bells, and mouth harp. In the distance, the sound of birds peek through the effervescent wash of the wetland soundscapes. The pass of running water flows deeper into a land full of secrets never told. On the strike of dusk, the silhouettes of shapely trunks and foliage melt slowly into the impenetrable darkness. As darkness passes, light emerges, with exquisite moments of tranquility that seemingly emerge from nothingness. Beneath the shimmering veneer of textures, wildlife, and melodies, one may hear the deeper references of The Wetland Remixes. With credit to Clara's input, for Hanyo the album process became a kind of refuge, and ultimately inspired the return to the core of abstract sound -- what the Sufis call "Saut-i Sarmad." Such references allude to the spiritual quality embedded in the music -- the autonomous process of self-expression, the great mystery. Deep, luscious mind trips as per the classic Chi sound, The Wetland Remixes beautifully correlates the interconnecting dots of geography, ecology, and mythology's forgotten lore.

LP version. The new third album from award-winning Israeli-Persian singer Liraz is an invitation to dream. Anthems, love ballads, glittery Middle Eastern dance tunes -- a collection of 11 tracks that enrich that signature blend of tradi-modern rhythms and retro-Persian sonics. Liraz and her Israeli sextet (three women, three men) recorded Roya over ten days in Istanbul, in a basement studio hidden from public view and crackling with creativity. With them, on violin, viola and the tar, the wasp-waisted wooden Iranian lute, were composers and musicians from the Iranian capital, Tehran. The same clutch of anonymous players who previously collaborated with Liraz online, under the radar of Tehran's secret police, for her feted 2020 album, Zan (GB 101CD/LP, 2020). Players who'd travelled undercover from Tehran to Istanbul to work with Liraz and producer/multi-instrumentalist Uri Brauner Kinrot in the flesh. Featuring music written by bassist Amir Sadot, "Doone Doone" is a rollicking ode to the Tehrani musicians Liraz befriended through computer screens. "Mimiram" delivers dramatic protestations of love with knowing irreverence; while "Omid" -- with lyrics by an anonymous Iranian female musician and music by Zan co-writer Ilan Smilan -- tells of a man named Hope and of hope, who is also a man. A slow, lonely song about Iran, the string-and-synth-driven "Tanha" was recorded on the day the Iranians may or may not have arrived in Istanbul. Her Hebrew accent intact, her confidence boosted by prestigious awards (Songlines Artist of the Year 2021) and widespread international acclaim, Liraz has never sounded so passionate, so strong and defiant. Roya, then, is the next phase of a high-profile career further distinguished by a drive to fight oppression, to champion the right of women everywhere to sing, perform and be heard. Liraz grew up dancing to the music of divas such as Ramesh and Googoosh celebrated in Tehran in the '60s and '70s, the golden age of Persian pop. She also loved female singer-songwriters: Kate Bush, Tori Amos. Lessons in singing, music and acting -- and a stint spent clubbing - were followed by three years working in the US as an actress, appearing in the big budget films such as Fair Game and A Late Quartet. Liraz also appeared as a Farsi-speaking Mossad operative in the 2020 Apple TV espionage series Tehran. In Tehrangeles -- the Little Tehran of Los Angeles -- she found her people, embraced her inner Persian. With each album, Liraz has grown bolder, more outspoken (ask her about Palestine and she'll extol Palestinian rights, too). Recorded in secrecy in Istanbul with her band from Tel Aviv and risk-defying Iranian musicians from Tehran. A musical portal to a place of peace, joy and unfettered freedom.

LP version. Includes printed inner sleeve, obi, and download code. Japanese indie-pop duo Tenniscoats recorded Papa's Ear in 2012 (MORR 184CD/LP) and Tan-Tan Therapy in 2007, two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians. Released during a prolific phase of collaboration for Tenniscoats -- during the late '00s and early '10s, they would also collaborate with Jad Fair, The Pastels, Secai, and Pastacas -- they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material. Filled with graceful pop songs, autumnal folk tunes, and gentle yet risk-taking improvisations, Tan-Tan Therapy was the first Tenniscoats album to be released in Europe, after a run of albums on Japanese labels, and Live Wanderus (2005) on Australian imprint Chapter Music. It was also the first recorded evidence of their collaboration with the three members of Tape and that group's extended musical family. It opens with one of Tenniscoats' signature songs, the pop fantasia of "Baibaba Bimba", with Tenniscoats singer Saya repeating a light-headed incantation over joyous brass. The essence of Tenniscoats is contained in "Baibaba Bimba": uplifting melody and playful musicianship, tinged with distant echoes of winsome melancholy. From there, Tan-Tan Therapy explores many hues of lustrous blue. "Oetu to kanki no Namoriuta (Given Song of Sob and Joy)" is an aquatic arbor, the musicians' gentle performances growing together like vines and seaweed as Saya's voice swims through the waterway. "Umbarepa!" is full of play and pleasure, sparkling with glockenspiel as snare drum tattoos push the song ever-forward. "Abi and Travel" floats past, a lovely instrumental built from shifting layers of synthesizer and pianet; "Good B.", an extra track originally only available on the Japanese edition of Tan-Tan Therapy, is added to this reissue, and follows a similar thread, its humming pump and Hammond organs swirling under beautiful vocals from Saya and guest performer Kazumi Nikaido. It's a conversational, tender and, at times, fragile music that can only be created out of mutual trust and kindness. There's an element here, too, of feeling out the possibilities of what this creative meeting can achieve, something reflected in the loose-limbs sprawl of "Marui Hifo (Everyone)", which echoes the seaside drift of Bristol post-rock group Crescent, and the following "One Swan Swim", a dreamsong redolent of Robert Wyatt's Rock Bottom (1974).

Compilation of singles recorded for Glass Records. Religious Overdose formed in 1979 and alongside the likes of PIL, Joy Division and Bauhaus helped forge the sound that became to be known as post-punk. In just two years their experimental songs were pushing boundaries. From the hypnotizing drum machine led debut "25 Minutes" and the krautrock influenced "I Said Go" to the synth infused new wave of "Blow The Back Off" and their final single. The sprawling seven-minute "The Girl With The Disappearing Head". This is a celebration of the much underrated and important Religious Overdose. Formed in Barby (near Rugby) in 1979, original vocalist left, Alex Novak joined in 1980, producing three singles for Glass Records. Initially used a rhythm generator then replaced by drummer Pete Brownjohn. Played with Wheres Lisse, Fall, Eyeless In Gaza, Trance, Mystery Guests, Bauhaus, Dance Chapter, Ski Patrol, English Subtitles, Attrition, Theatre Of Hate... the last gig was in Northampton 1982, recorded and released as a tape by Adventures In Reality label and fanzine from Coventry. Yellow vinyl with orange and black splatter; includes printed inner sleeve with posters and postcards.

When we can no longer move forward or look outward, some reflect and seek truth in themselves -- some sharing, through the language of music, what might be impossible to say through words. Amidst the budding tempest of 2020, Jeremiah Carter, hailing originally from Tennessee, found himself embroiled in a near suffocating air of uncertainty and anxious tension, mainly brought upon by the first spikes in a soon-to-be worldwide pandemic. Only having recently relocated to the bustling city of New York, an unprecedented series of events took shape over the following months, isolating and dismaying the citizens around the globe in the process. It was during this time that Jeremiah turned his attention to music, discharging the emotional turmoil surrounding him, into a substantial wealth of newly composed work. Beginning with the album Rejoice, which was completed in the wake of 2020 and released on A Sunken Mall that same year, two more albums took shape in a quasi-self-induced creative tremor, one that soon materialized a wealth of work, forming a triptych of three unique albums, produced within the span of only six months. Finally, presented here is the second stage of the final triptych; Speak, You Also, dedicated to Paul Celan and giving us further insight into the heart of a beloved southerner, who amidst being tangled in the mesh of crisis, passion and communication, gave rise to a momentous yet equally timeless neoclassical body of work. Embossed 350g reversed cardboard sleeve; includes insert.

With Narration, Toki Fuko returns to Affin after a long break. The EP contains four stylistically diverse tracks (some of them overlong), which are captivating in their perfection and document the musical versatility of the musician, who skillfully moves between dubby, hypnotic, in-depth techno here. An extremely worthy successor and a grandiose further development of the Astatine EP from 2020.

LP version. White vinyl. Red cardboard folder, foil embossed; includes six prints and download code with a 17-minute digital bonus track; edition of 300. Arbitrary presents Delirious Cartographies by composer, improviser, and synthesist Richard Scott. "These compositions capture aspects of my personal sonic experience of specific times and places. Extending beyond my usual work with analog synthesizer, these pieces open the doors and windows to the outside world, incorporating field and live recordings made in various locations and situations. Rather than intending any clear sense of narrative, these are molecular dialogues between elements and geographies which do not necessarily share organic points of connection, other than my own incomplete experience and memory of them." The final piece "6 Graphic Etudes" (included as digital prints) is intended as a set of visual/sonic sketches, each of which describes a discrete kind of movement or texture. These may have a variety of uses; as musical exercises, as scores, combined as parts of scores, or simply as stand-alone visual propositions/artworks. The pieces were composed between 2017 and 2021 at Sound Anatomy, Berlin, Spektrum Berlin, EMS Stockholm, NOVARS, University of Manchester University, Boliqueime, Portugal and the Electronic Music Studios University of Huddersfield. As well as various microphones, hydrophones and recorders, the instruments used on this recording are mostly analog and modular synthesizers: Hordijk Modular, Serge Modular, EMS Synthi A, various Eurorack modules, Buchla Thunder midi controller, Oberheim Xpander, Clavia Nord Micro Modular, CataRT and maxMSP, Rob Hordijk Blippoo box. On "Thunder, actually bicycles..." Axel Dörner plays a Holton Firebird trumpet with additional live-sampling via maxMSP and a controller interface developed by Sukandar Kartadinata. Written and produced by Richard Scott. Drawings by Richard Scott. Graphic design by Mads Emil Nielsen. Mastered and cut by Kassian Troyer at Dubplates & Mastering, Berlin. Part of the Danish imprint's Framework editions. Includes six printed drawings as well as a text by Scott.